Since the 1980s, hip hop and America's prisons have grown side by side, and we're going to investigate this connection to see how it lifts us up and holds us down.

Hip hop is talking about what we live trying to live the American dream. Failing that, the American Dream. I'm Zinnemann. And I'm Rodney Cormark.

Listen now to the Louder than Ariete podcast from NPR Music, where we trace the collision of crime and punishment in America.

Welcome the dilemma of really being honest about just a giant piece of shit to the big, silly Bald Eagles, a podcast exclusive that none of our bosses asked for more sports, more work, less pay.

I haven't stopped talking in a month.

I mean, I tell you, just when you thought the show couldn't be more diluted than last time I listened to this show. I haven't listened for years.

Now here's the marching band. No way am I missing something.

What am I missing? The end of the story that. Chris Fallica, it's Fallica you made on the penis and the habitual liar.

I didn't ask for any of it. You was for all of it. The big Zoey.

I'm Chris Coati, BSP.

And so some of you astute listeners of what we do around here might have felt this man's imprint on some of the things hiding in the shadows here on what we've been doing with Big Suey local our like I can't tell you how much I respect this dude as a creative force because he's, you know, the father of like a my generation of comedy. Right. Whether it's Saturday Night Live being at its heyday and writing for that show or making the movies that I love so much that I quote lines from whether it's, you know, Stepbrother's or Anchorman and then graduating from that from Talladega Nights, from Sacha Baron Cohen, a genius in his own right to now doing the heavy stuff, the heavy lifting in Hollywood, where he's doing the political movies, where he uses his power to do a movie with Billy Corben, the Cocaine Cowboys director, about politics and Miami, because he's the gatekeeper at HBO where he creates things like succession or as an executive producer on them.

And, you know, a show like Netflix Dead to me is just one of his side projects. Anyway, all of that is awkward introduction to tell you how much I respect Adam McKay, who now is at the height of Hollywood with the release here just recently saying that he is making a movie about I think it's about climate change. I'll talk to him about that in a second. But with the height of Hollywood with you know, you're talking about Meryl Streep and DiCaprio and Jennifer Lawrence.

And so he's doing an important movie at an important time trying to making it make it during a pandemic. And he joins us now, all of which is long winded introduction to explain to the audience that I want to talk to him about his creativity in the projects that he's done. Funny or Die is another side project, just like this is he's got a ton of them. So anyways, Adam, thank you. If I had told you, though, when you know you were doing.

Let's just make it anchorman. Hey, in 15 years, it's going to be Streep DiCaprio and you're going to be the hotshot Hollywood director who gets to tell a climate change movie. Did you think that that's where it would end up?

No, definitely not. Well, you know, I mean, you just do what's in front of you, you know, like so we were so giddy to do anchorman. We couldn't believe that we were out in, like, you know, parking lot with, like, expensive camera equipment IT professionals around us. That was such a giddy experience, Carol. And I just laughing the whole time. So, you know, I was happy to have a functioning, working camera with a good DP behind it.

That was like my dream achieved.

OK, so what you're doing now is basically because it's important, right? You've got a movie coming out on HBO because you took care of some local filmmakers here in Miami who are also very good. And you got something made here about Miami in October that you loved. Right years. Yours is a discerning palate. So I wanted to talk to you a little bit about that as well. What what can we tell the audience about what your what that project why that project is something that it it was meaningful for you to do?

Well, honestly, I got to give you a fair amount of credit, because now I've gotten to know you pretty well through the years and you're friends with Billy Corben and Alfred Spellman, who are terrific filmmakers, who have done some of my favorite documentaries, Cocaine Cowboys screwball. I think one of the best thirty for thirty is the you and a bunch of other great projects as well. So I was already a huge fan of these guys. You know, I had had some brushes with them through the years, like, you know, just saying how much I appreciated Screwball and then coming back and said, Oh, thank you.

But you were the one who told me they're working on a movie that's right up your alley called Five Thirty Seven. And it's a the 20th anniversary of the recount in Florida when the Supreme Court basically decided the election for George W. Bush over Al Gore. That was one of those kind of fork in the road moments in American history where we could have gone down one direction or the other. And because of intervention from Republican Party operatives, said nothing. I'm saying, by the way, Republicans would agree with those two who know about what?

And this is what happened. They did an incredible job of getting down there with their operatives and swinging, making sure certain votes weren't counted and making sure through the Supreme Court that George W. Bush won that election, which changed the course of American history. So they did a documentary. What I love about Billy and Alfred is whatever they do, it's got a buoyancy to it. It's fun. It's got to it's got a lightness while at the same time talking about really important stuff.

And that's kind of what I try and do with the stuff I make as well. So it really was like a peanut butter chocolate kind of moment where when I started working with them and giving notes and going back and forth, I was like, oh, this fits like a glove. And best of all, the movie is terrific and HBO bought it and give it a nice big fat premiere on October 21st. This is the definition of a movie you should watch with your kids, even if your kids are as old as 40 years old.

I mean, this is a major moment in American history and it's fun and there's stuff in it. I didn't even know about it, even though I lived through it. So credit to you that you definitely hooked us up on this?

Well, the documentary, I thought, I don't know what you love the most about it, OK? But because it is that rare combination of funny and infuriating. But to me, the idea that these guys could make a movie that would absolutely explain what's happening in America right now, today is it feels like America's burning without ever mentioning what's going on today or just in a very glancing fashion, like it's not that overt that we've already lived what we're living now.

We lived it in 2000.

It's remarkable. And it's you're 100 percent right. And what you realize is these, you know, the forces that have been kind of dismantling American government and society and all of our institutions, you know, they've been in play for a long time. You know, these things have been around. A lot of people can trace that that some people call it the Reagan revolution to the mid 70s when these forces started coming together with money and the religious right and the corporate right and all these things.

So really what you see is all these episodes are almost like a Russian doll where it's a small one with the bigger, with the bigger, and they're all kind of mirrors of each other. So you're a hundred percent, right? You take that this recount story and it lays like a perfect template over what's happening now. It's the same forces, but in this case, it happened in one of America's most constrained towns, which you know very well, Miami, Florida and and Florida.

So it's Billy and Alfred. Just have a great eye for what's happening in Florida. Great sense. Like Carl Hiaasen, kind of like yourself, a great sense of what Florida is about. And that was the part I loved about the movie. There was such a lens of local politics. You know, all politics is local, and yet it was local politics being magnified into the entire country. Yeah, it's it's it's really so enjoyable, informative, funny, the characters.

And then you're right, like just a baseline of holy crap, this whole last 20 years could have been completely different if that goes another way.

Well, it's funny because in getting to know each other in in recent years, I've gotten a sense that you really know your politics, you really know your history, but that you had a bit of a blind spot. I gathered about what exactly Cuban politics is, because what happened with the Elian Gonzalez story I found is that all throughout the country, it felt lonely. That story as a Cuban-American as I lived it in 2000 because nobody understood what Cubans were saying, because of how much we valued freedom, that that kid's mother died trying to get him to freedom.

And it felt very lonely trying to tell America that because America wasn't hearing it. Yeah, I had no idea because I was on Saturday Night Live and that all happened, in fact, I think I wrote one of the sketches they show a little or co-wrote one of the sketches they excerpt in the movie. And I had no I just didn't know about the. What would you call it, the powder keg and the political power of the Cuban-American population down in southern Florida?

You know, my knowledge of it was pretty much, you know, I knew about the rise of Fidel Castro. I knew I watch Godfather two, so I knew it from that a little bit. I lived in Florida when I was a kid for like a year, but I was little, so I didn't really counter it. And I just didn't understand those dynamics that were at play. And now you're seeing it again this year. I mean, I just saw a story that Billy Corben posted actually about how Trump was trying to do business in Cuba and was registering LLC is down in Cuba and setting up to do real estate deals with the Cuban government.

And I read it and I had a whole different layered, nuanced response to it, like, what is the Cuban American population think in Florida at this? Like, do they care or are they just down for Trump no matter what? And so, yeah, that's my favorite part of the documentary. It's just a whole whole world that I wasn't as familiar with.

It's interesting because the movie you're presently working on and I don't know what we're allowed to tell people about DiCaprio and Meryl Streep, but one of the things that you're doing on a grander scale, it sounds like, is you're making the biggest Hollywood movie with the stars and you wanted to have a climate message. You want climate change message. You know, you are no longer just making the frivolous stuff that makes you laugh. You're now trying to make work that matters during an important time, which is what art is supposed to do.

So are you just trying to laugh here with the movie you're making now or are you trying to sort of give us a message about how, you know, your beloved California is burning with 125 mile an hour tornado fire?

I have to laugh because every time I hear somebody casually talk about fire potatoes, it's just it's beyond it's something we would have written in a sketch at 19 that we would have made up the idea of a fire tornado. And now they're just part of the weather forecast in Florida. Yeah, the idea of this one was this is a comedy. It's called Don't Look Up and you're allowed to talk about it. We announced a cast yesterday. So it's DiCaprio.

Jen Lawrence and actor Rob Morgan are the three kind of main scientists, the movie. And then Meryl Streep plays the president. Jonah Hill plays her son, Cate Blanchett, as a sort of morning political talk show host. And we've got eMESH. Patel is Lawrence's boyfriend, great actor Kate Cutty's. And Ariana Grande is going to sing this incredible song for it. And so, yeah, we've got an incredible cast. It's a comedy. Scientists discover these kind of mid-level kind of shlubs.

Scientists discover that, you know, a 10 kilometre wide interstellar comet is going to hit Earth and they have to go on a media tour to warn everyone. And basically, it was written as initially as a pretty thinly veiled analogy for climate change. But now what's happened is I wrote it before the pandemic. It's really now just about the way we communicate and how crazy everything is. And one of the scientists gets turned into a celebrity. The other ends up becoming like hated and, you know, and their worlds are just ripped apart.

The science is twisted and, you know, confused. And it's a lot of stuff you would think would happen. But hopefully we do it in a unique and ultimately funny way. I mean, it's definitely a comedy. So it's going to be it's going to be good to be able to laugh a little bit as we deal with fire, tornadoes and micro micro fire climate. That's another one I've been hearing about lately. And and, you know, parts of the Gulf Coast are hit with four consecutive hurricanes.

I mean, it's just jaw dropping the scale of it. Yet we still chug along talking about how Le'Veon Bell got released, which, by the way, don't get me wrong, I'm interested in it. I want to see where it goes. It's just funny, like day in, day out to be like I just talk with a friend of mine. I wonder if the Steelers would take them back. And then the next news story is fire.

Tornado hits, you know, hit a hospital or something. It's crazy.

You don't want to hear about to his footwork. You know, that's not something you want to hear about. This is the time you don't want to talk about to his footwork. You always want to talk about to his footwork. I'll just ask one question, how are his powers to be flipping those hips when he's got when he's turning turning fields, when he's breaking out of the pockets and flipping those hips fast? Are you right now filming in Boston, are you like are you in the middle, you're saying all of this in the middle of a pandemic?

I think you're supposed to be filming this movie a year ago. I don't know if you would have had DiCaprio and Meryl Streep if you had filmed that a year ago. But are you you're going to be telling the story of our times through this comedy, aren't you? Like the pandemic is literally affecting you in filming it?

Yeah. Yeah. We're we're we're in Boston. We're in preproduction. We have the craziest safety protocols. I mean, borderline NBA level safety protocols. I love, by the way, that the NBA is now the medical gold standard. It's not the federal government. It's not the CDC.

It's the NBA has now become the United States gold standard for epidemiological reactions, medication, sports and politics always colliding, as you know, McCay, as you know, it's.

And so we're doing work we're talking about here in Boston and we're in preproduction. And so far so good. I mean, we've had we test every week. We do spot tests and we've had no positive returns. And the actors are coming in and we have a whole crazy protocol to shoot. Yeah, I mean, we basically we're going to have kind of similar cast to what we had before the pandemic. Everyone was circling it and discussing it. But I think what happened is it just lit a fire under everyone because everyone was emailing, you know, saying and jumping on the phone with me saying, I can't believe you wrote this before the pandemic, because half the stuff that has happened, I mean, it's it's been really freaky, although I always say that it doesn't mean my writing is so president.

It just means that the total beep storm that we're in right now is so predictable that it's all it's like saying like, oh, when that car crashes, the window is going to break. I mean, that's that's the level of me being Nostradamus on this. It's all fairly obvious what's going to be happening. So, yeah, yeah. We're going to give it a go, man. And, you know, the safety is so strong that everyone feels good about it.

And if by chance we can't pull it off, then, you know, we go home and hopefully resume and there's a vaccine.

Adam, you are so good on the subject of climate change and politics. Are you honored? Do you sort of take an amount of ego, pride in the fact that DiCaprio and Meryl Streep, both very discerning artists, not just movie stars, but people who make choices that other people go to their movies because of those choices those people make, not just because they're good actors? Did they choose your movie? Because it is a comedy? For our times, I don't think of those two as comedic actors.

I mean, the funny thing is they're both hilarious. You know, like Wolf of Wall Street is a comedy, in my opinion. And DiCaprio killed being. And that was one of the reasons when his name came up, I was like, oh, he could do this. Streep's been crazy, funny and a bunch of stuff. Yeah, it's funny when you get to these actors, when they're this good, they're funny. Like one of the funniest actors I've ever worked with.

Ryan Gosling is crazy. Funny. Christian Bale's really funny. Amy Adams has done comedy. So it's really good. Actors just tend to be funny as well. So, yeah, I think definitely I think we're all desperate for some way to process what's going on, you know, I mean, it is kind of what we do. And, you know, we make movies. So, you know, when you're living through something like this, you the idea that you can do a movie that's like kind of processing it and dealing with it.

And then on top of it, we get to laugh, which is definitely one of the best reactions you can have to what's going on as grim as everything it is as everything is. So, yeah, it was it was very exciting. It's by the way, I don't mean to downplay it. It's always exciting when you write a script and I'll never forget it with the Big Short and you send it to these actors are you admire so much and then you hear back like Ryan Gosling wants to do the big short.

Meryl Streep loves it. She's like, that is one of the most thrilling thing. Because, you know, I grew up watching these people. I mean, Meryl Streep, I think I'm not much of an argument, probably the greatest film actor in history. So and by the way, the loveliest, warmest, most generous person I know. People say that about everyone, but she actually is. So when she said yes, I mean, there's no doubt I was giddy like a 12 year old for like four hours.

You know, Stewart says she's a fraud. She's a fraud. Østergaard says pounded her as a fraud, overrated as one of the gods as LeBron argument.

You can get to the final so many times, but how many times have you lost?

You're a cliche, McCain saying all the throwing all the roses that our beloved the overrated Meryl Streep. I'm like, you've got to be surprised that McKay is saying that Christian Bale is really funny. I mean, is American Psycho a comedy? Yeah, it's one of my favorite comedies of all time. Yes, and he's funny in the big short, like there's some moments in the Big Short where he's hilarious when they confront him about like, why are you making this crazy investment?

That's all of our money. And there's really he got huge laughs in that part. And he's a goofball. He's like the craziest thing. We're shooting Vice because he's in this, like, world class make up, you know, the guy, literally the team that literally won an Academy Award for it. And he looks exactly like Dick Cheney and he keeps doing the voice. But you can still talk to him as Christian Bale. So I was like hanging out on the set with like 20 cool Dick Cheney, who I thought but I thought he was a thespian.

You can be both things when you're saying as a director, you're saying that to be good at acting, you almost have to be funny unless you're one of these self serious guys like Mike Shannon.

Mike said it's funny. I don't. No, Mike said it is funny. I'm telling you, I've never met a great actor. Brad Pitt is hilarious. Like if you ever seen Brad Pitt in Snatch, he is so funny.

I've got him right here, actually. Hold on a second. I've got him right here is so dangerous here. I've got him right here. I've see. I've got Brad Pitt, Brad, Brad Pitt and Snatch is right here.

This is like the lame version of parading Blake Griffin around. Come on, Donald Sterling. OK, so you're fine.

Periwinkle blue if your heart is terrible.

No, no. I'm saying like, all right, we were at SNL. Sometimes we would have serious actors on and we will go, are they funny? And if it was a really good actor, I'd go, yeah, they're even if they're not funny, they're going to get it to the degree that, you know, they're going to be good. And sure enough, like Julianne Moore hosted and was awesome, like every sketch she was in, she was incredible.

Just because she's a great actor, like, I mean, the only guy I've never met him, but like is Daniel Day Lewis funny? That would be the one. But I don't know. I don't I've never asked anyone. That's the one. Never asked anyone.

You've got access to all these people. How can you not ask the question of whether or not Daniel Day Lewis is funny? He's the guy, my left foot right. He became a character actor and he actually lived his life for how long? With only his left foot.

Yeah, yeah. I mean, and and he actually did it for months and months and months. And he is a guy who stays in character. Like when you talk to him. I do know this. When he's off camera, he stays in character and you have to refer to him as the character, whereas Bale stays in character. But it's weird you could still talk to him as Christian Bale is.

Daniel Day Lewis funny? You can't just ask him.

I'm going through now. I mean, when I when I talk to him again, I will definitely ask him is definitely crack jokes the silly is he. Yeah. Now I will find out. I will bring you that information back. All right. I got a question for you. Is, is Adonis Haslem funny?

It's Udonis Haslem. I think I've told this story before. I've only seen Udonis Haslem laugh one time. And it's when I came back into the highly questionable studio and he was and I've covered him since high school. And he is leaning up against my father. And they're watching my father do rap video lyrics with the rappers themselves on television. And so Udonis Haslem might be funny, but I had never seen it before. My my father brought it out of him.

I think our goal, our joint venture between our company and you guys has to be get Udonis Haslem on the Larry David show. OK, I think that has to be like our sole mission. And I know some of the writers on it. And Larry, David's around town and we got to get him to do a scene on that show.

Well, didn't I think Roy Hibbert, Mike sure was all happy because Roy Hibbert was in an episode of Parks and Rec, just the most random thing you've ever seen in your life. All of a sudden, did Roy Hibbert becoming a recurring character in of shrimp dead?

Oh, we've got to start planting. I think you're kidding. We've got no, he's not kidding. He's not kidding. But we've got to start planting. Hold on a second.

Tommy had the warehouse for his company. He just paid obscene amounts of money just to have Detlor shrimp playing pick up ball in the offices.

Shawn Kemp was on wings for three seasons.

Oh, wait a minute. That's not true. You've got this is what you've got to do for the big city audience and for the local our audience and for all the podcasters. You have to help us figure out a way to randomly get maybe. Can we get Udonis Haslem in your movie? In this movie? Can I get you done? This has nothing. Curb Your Enthusiasm making an appearance next to Meryl Streep, thanks to Meryl Streep.

Or can I tell you my shots get my shot cap. Sorry. Yes, of course. We tried it. We tried. And get Anchorman made Ferrell and no one will make every financier, every studio told this story before, everyone says no, it's like wanting to knows. It was like just like you're a boxer and you broke your right hand and you can't throw it anymore. And a guy is just hitting you in the face with two straight punches.

So it was an awful, awful week. So that hit you go to the back of the line, we could get our movie made. So the only movie that anyone would greenlight for Ferrell is a movie where he's a grown man who plays an elf. And we get Jon Travolta directed. And I come out to L.A. and I'm in a hotel room and we're kind of sitting there like, what happened? Like, how did it all go so wrong that we're rewriting a script where you're a grown man playing an elf and Farrows is looking at me like, I don't know, man, but it's the only movie I got, like, it's the only thing anyone will let me do.

And we're like, all right. And we got to make it good. Like, let's just write our asses off. We'll do the best we can. And meanwhile, I'm in this hotel room and I see this very tall African-American guy walking up and down the stairs. And I love the NBA. So I'm like, holy crap that Shawn Kemp. And we start putting it together and we realize Shawn Kemp is coming to L.A. because his career is kind of winding down.

I think the Cavaliers have caught him and the Clippers will give it a try out and the Lakers will give him a book. So you stand in this hotel in Santa Monica, and every morning I would walk up to go to the hotel because I wasn't saying they were using it as a writing room. And I would see outside Shawn Kemp's door there would be like three empty plates from pizzas. And I was like, oh, Shawn, no, no.

And then I got to give it up to Jon Favreau. Very, very funny. Sometimes I would be standing by the open doorway on this balcony and right across the room with Shawn camp. And it would walk out of his room and father would yell, Hey, Shawn, and then Fabio would duck away. So it would just be me left standing in the doorway. I just screamed his name and I would have to wave it up awkwardly.

But anyway, I did that with Tom DeLay. Your story, your story, so much cooler than mine. I did that with former Blue Jays general manager Pat Gillick. You did it with Shawn Kemp and Favaro. I you're and bad, though, in some ways, the more obscure the name, the better. Anyway, the final thing is I we finished the off script, everyone was happy with it. My last day there, I saw Shawn camp and I was like, Hey man, this is weird, but we've been writing a script over here for the last three weeks that you've been here.

Would you sign my script? So I have the first draft or maybe a third draft of because there was another draft before ELF and it's autographed by Shawn. Camp is one of my favorite objects that I own. Elf.

OK, we've got to get you out of here because you're an important Hollywood person and you've got a very hard out here. But I wanted to talk to you like you've got two side projects, things like you're the executive producer with Ferrell on things like Dead to me and succession. Like you've become a a real tastemaker when it comes to, like, discerning television making even as your side projects. Like, how does all of that come to be? It's a it's a you talk and they will take you away, drag you famous Hollywood director guy.

But just explain to me, like, how it is that you have your fingerprints all over so many cool things.

Well, that was those shows came out of I had a company with Pharrell for 14 years, Gary Sanchez Productions. And basically, you know, you hire really good producers who work with you and find projects and bring them back. So in the case of dead, to me, that's a great producer who still works with Pharrell. Jessica Elbaum found that show and it was great. You know, you read the first script, you hear the pitch, you know, you give a couple of notes on the first edit.

And otherwise, that's really talented people doing a good job. So, yeah, in that case, you're kind of the the gatekeeper in the sense of you try not to let anything through. That's not good. And all credit to Jessica Obama. She found that show in the case of succession that the writer Jesse Armstrong we've worked with before, Kevin Mesic heard that he was working on this pilot, got me an early copy. And I was like, I will direct this pilot will be producers on it.

We will back this one hundred percent. So, yeah, it's basically the trick is the trick for everything you do hire good people. And, you know, we have that Lakas show was picked up for series for HBO. It's still untitled. It was originally called Showtime, but we're messing with the title. So that was one where we had read the Jeff Pearlman book. We loved it. And we're just like, we got to do this.

MacSporran seem really talented. Writer wrote it. I directed the pilot. We're now producers on it. We have another show, Motherlands. Same thing. Eliot Lawrence, great writer at The Ready. His treatment for it loved it. So, yeah, a lot of it's like people start to trust you like HBO we have a deal with. So they trust us that we're not going to do lousy stop. Hopefully knock on wood and they then when you get the project, you hope it's good enough that they want to lay some money down to make it.

And but the fun of it is you get to work with all these different, really talented people like Elliott Lawrence. Like, you know, in the case of Hustler movie, we produced Lorien Scalfari, a crazy, talented writer director like such a joy to get to work with her. And so you just get to meet all these cool people and blend with different styles. And that's my favorite thing about it with producing, is you can only do so much when you write and direct, but you get to be involved with like Billy Corben and Alfred Spellman was five thirty seven and these are people I've admired forever.

And so yeah, it's really fun. We have a new company now, Hyperalgesia Industries. We've been around for a year and a half going on two years and we're doing this don't look up movie and the liquor show and we're, you know, succession and a bunch of other things. And and we just have great producers, Todd Schulman, Betsy Kotch, Kevin Mesic. And that's really the trick. I wanted to ask you about that Showtime project.

The Showtime project. It's Jerry Buss. And is it John C. Reilly or what can be announced there?

Yeah, I think they announced that. I can't remember. Maybe I'm making a mistake, but. But screw it. You can say a John C. Reilly plays Jerry Buss and is crazy good. Jason Clarke plays Jerry West Solomon, who plays Kareem Abdul Jabbar. We have all these great actors who are playing these real characters. The one next door Nixon's son plays for Nixon in the show and is just astoundingly good. It's an incredible cast. I mean, it was a kind of a dream show for me because it's basketball.

But then it's also dealing with issues of race class that, you know, racism and and basketball I like and what it means for American culture. So it got a little weight to it. But at the same time, it's fun as hell. And I just love that show. I'm so excited about to come out.

How about the journalism podcast project that you're doing with the Miami Herald reporter who, you know, broke really broke one of the seminal stories in journalism with everything that happened with Jeffrey Epstein to. Ibrahim, an incredible what she did, I mean, that story was fading away, horrific, horrific story of billionaires, sex trafficking, young teenagers, underage girls, and yet Julie Brown just wouldn't quit on it. So we're doing a podcast with her. It's called Broken Seeking Justice.

And we work with the victims to not let this case go away because man or man do a lot of powerful people want it to go away. And we're doing that with free uncanny for productions here. Palmari is the host of the show, Adam Davidson, three unaccounted for. We have another podcast that I'm doing coming out. I love the podcast called Death of the Wing that I'm actually hosting and I've been working on. That'll probably be out in January.

And it's about that just the rash of young, talented basketball players in the 80s and the 90s who died tragically or through drugs, had their careers derailed in their life to release an incredible amount of really young up and coming stars that we lost during that age. You just don't see it anymore. And so we kind of go into it like, why did this happen in this 15 year time period of the 80s and the 90s? Why do we lose all these players?

So once again, that's kind of about basketball. It's about political change. It's about class. It's about, you know, conceptions of wealth and excess. And I think that'll be a really cool show, too. I'm excited to get that out. The one thing I got to say, Dan, you've been having this guy Shein back a lot on this. Like no politics, just sports. I just want to tell you and his partner, Harry, the horse, be careful who you associate with.

And those guys seem like creeps. And I just I don't know why you would have them on. I mean, I'm hearing, like, laws being broken when they talk to you. Like I get it, the ratings are sky high. But I just feel like you're better, honestly, as a friend, OK?

I really don't need sermonising from you. Thank you. We appreciate your time. Well, all we did was plug you this entire time. Like every damn project going on, it was like seven. You dropped so many names, so many producers. It was like an Oscar speech, like it was you.

But you also took ten minutes introducing it full Hollywood, like full Hollywood.

I can't if I go I can't say that Julie Brown show without saying the people that are I don't know what to do because they'll hear it. They'll be excited that it's mentioned and then it's just me going, yeah, I did that. That was all me. Like, you got to like that to me. I can't talk about that and not say, Jessica Alba.

All right, get out of here. You know, enough. I don't want to hear about any more.

Producer. I'm not going to get out of here. You're going to hear about it. You're going to hear that. Your view of Hollywood. Stop interrupting me. Golden tuxedos, driving a sports car. Stop interrupting while you're better than that. I can. I can. I got that.