Patton Oswalt Returns

26:48Well, then you start really scary. I mean, I've seen already some photos that are completely AI. And you think, why would someone hire a supermodel again? Exactly. They're stunning. These photos that they put out are absolutely stunning. And this almost makes me happy that I didn't become a supermodel. That I took the left path, not the right path. I thought you chose not to be a supermodel. I chose. Okay. But why? Why? Although, okay, here's the thing, though. Last night, I got to go to the premiere of Spider-Man Into the Spider-Verse. Oh. Yeah, I have that kind of pull. And Spider-Man Into the Spider-Verse is so over-the-top cartoony that it actually connects even more emotionally, whereas a lot of motion capture and a lot of making it look very human, for some reason you don't link to it, but because these are humans creating through art, the way that humans act and talk to each other, It was weirdly there were there scenes where I was almost crying.

27:46It's so emotional, even though these are very stylized cartoons, but they actually connect. So maybe there will always need to be some kind of human element behind it. However, I also mean there doesn't need to be that many humans behind it. There won't be that many jobs left. And they can just harvest our brains in jars anyway. So I'm a lot more optimistic. I don't know. I just don't think they could. I don't think. I don't know. Maybe I'm being just naive, but I just don't think machines can get human nuance the way humans can. A machine's never going to write succession. It's never going to write friends or the office.

28:24No. Don't you think there'll be a merger at some point, though? And that's just evolution happening with a natural force that then is the next step. But even the people that are saying, well, what if chat GPT is just there to supplement your writing? Like, if you can't think of a good transition, chat GPT will spit out 20 minutes. It's like, I still want the humanity of, like, there are scenes in Jaws. They don't quite end right. It's still a brilliant movie because it's Steven Spielberg, and it's a young guy making a movie, and you feel it happening. Yeah. And you're drawn in. And if he had had, like, well, maybe transition this way, here's five other options.

28:59Like, it wouldn't be the movie that it is. Well, I think this is something that I think can lead us back into our various crafts, which is, I mean, back into hope. which is as you know i heard you talk about this once before and we haven't had a chance to talk about it but how great limits are yeah that's why i mean again i i think a lot of a lot of uh you should you should be able to say absolutely anything you want in kind of no no no have some restrictions there so you can find clever ways around them because then that makes what you're doing more shocking if there's no limits then nothing shocking and nothing startling but when And you know that there are certain things.

29:39How do you get around that? Yeah, you're right. And same with music and same with like if you if you're shooting a movie, but you can just do it all on a computer and you can create any landscape that you want. And there doesn't have it's not that urgency of like we've got a day on this location and this actor is having a nervous breakdown and there's a cloud over the sun. How do we make this work? What do we do? We got it. And so many great memorable moments of movies came because stuff wasn't working. Well, it's like it's the classic thing you said in Jaws. You mentioned Jaws and the shark. Bruce wasn't working correctly.

30:10So you don't see the shark nearly as much as they wanted you to see it for a lot of the movie. That turns out to be brilliant. It makes what makes the movie. It's terrifying because you don't really get a good look at this thing. Yeah. And it's it's to this day when I watch that movie, it's electrifying. Yeah. But had greater technology been around or more money, it would have ruined it. It would have ruined the movie. that's why the the first evil dead movie i read this interview with sam ramey was like we want this evil force to be floating through the woods and you see it from the evil forces point of view and he goes here's here was our process to to get that effect how would you do that well uh you build an anti-gravity disc well there aren't any anti-gravity disc what's the next thing we can do we could get a huge board and uh fasten the camera to the middle of the board so it wobbles a little bit was right let's do that so they're literally running through the woods with this wobbly board and it created this weird look that you'd never seen on camera before.

31:05And it was teenagers out in the Midwest with their wobbly piece of wood basically creating a new thing in cinema that's now used all the time, but it's so eerie watching that first film because it's so handmade that it actually feels real. But that's why I agree with you, Sona. I have hope because I do think that human creativity is this crazy, unyielding force. People just have to... Now, there are a lot of things that I would worry about, But I'm not that worried about me being in a porno. I am. I'm really worried about you being in a porno. This whole room, we are very worried about that. I'm worried I'm going to have to see it.

31:42Very, very worried. Yeah, yeah. It's going to be a cross between me and John Tesh. Just really going at it. Oh my God. But I sometimes encounter people on the street that are saying, they'll recognize me and they'll say, don't you hate today? Everything's so PC, you can't say anything. And I'll think, no, you can. Oh, you can't. If you're clever, you can get away with anything. Well, but also you just limits. Limits are healthy and they're part of life. We all gravity is acting on us all the time. Yeah, man. Why do we got to be held down? Because we'd float into space and die. You should be happy that's there.

32:17What are you talking about? And by the way, get ready for there. There are going to be periods where AI will become this weird flavor of the week. Like someone will do something cool on AI that people will run to catch up with. I always, someone should do either a documentary or write a book about after Jurassic, before the Matrix, after Jurassic Park came out, every movie suddenly was like, gotta have CGI. That's what people want to see. They want CGI. They didn't realize that, no, Jurassic Park still tells a compelling story and is great filmmaking. They weren't just going to see CGI. So you saw it was like a decade of terrible CGI in films.

32:58Godzilla, Dragonheart, Air Force One, Escape from L.A., where they were just putting in CGI almost as if that was a star of the movie. And you'll see this CGI. And then it wasn't until The Matrix came along that then someone took it and took it to the next level. So, in other words, and now there's a weird rebellion against a lot of CGI. A lot of filmmakers are trying to do practical effects. and filmmakers want, I mean, I think it's one of the reasons that the Top Gun movie was so huge and why Tom Cruise still has this massive career because he's willing to go out and kind of almost kill himself in every film.

33:30There's not CGI trickery going on. It's like, that dude almost died. I, okay. So, I'd pay to see that. But there will always be that pushback of, because I think any kind of new technology also creates that sense of like, well, there's nothing at stake here, you know? when I watch escape from LA and snake Plissken is surfing alongside Peter Fonda and it's clearly a computer generated way. It was like, no one's risking their lives making this move. This isn't exciting. They're risking their careers. That is true. You know, credibility is the only thing risk. But yeah, like that. And then you see, you know, there's always pushback and then the same thing will happen with comedy.

34:09Someone told me that in the new Oppenheimer film that he didn't want to use the director, didn't want to use any CGI to create what we all know is the explosion of the first atomic bomb. So instead use like hundreds of thousands of sticks of dynamite. And you think, okay, I actually, it would have been, I mean, I haven't seen it yet. I don't know what it looks like, but there was a commitment to, no, this really has to look, this has to look real in some way. Although. By the way, I think 7 ,000 people were killed in making that movie. I'll go see that. Yeah. I'll see that. Sometimes now the cost of CGI at the level that movies like that want to do it at, it's actually prohibitive cost-wise and it's cheaper to do the real effect in tenant when that plane crashes into the airport that was going to be done cgi and it's all done with a real plane and real explosives because it was cheaper to shoot the real thing a cgi thing would have cost way too much money and it was quicker to do it that way because they're just we set up our cameras and we got to shoot this we we got to get this in this take whereas with cgi would have taken an extra six months and all this extra money and all these extra crew people and he's like, let's just shoot the thing.

35:16I love the image of the CGI guys going, well, here's what it's going to cost. And good luck. Wait, you did what? We just bought a 747 and we packed it with explosives and we hired a guy to kill himself and drive it into an airport. We set up a bunch of cameras and crossed our fingers. I mean, that's, by the way, I love, I do love watching old, I mean, I'm a big, I have the Criterion Channel and Turner Classic Movies because I'm a film geek and I also love watching old movies, especially old stunts, even like movies in the 70s where you're like, someone almost died. And stunt work back then was, okay, here we go.

35:57Hope no one dies. A car chase in Bullet is one of those things where you're watching it and you think, I think someone did lose their life in the making of that. But it's one thing to have a chase like that in Bullet, which was a major studio movie. I'm talking even the B-level drive-in movies. People were almost dying. There's a Joe Don Baker movie called Framed and there is a stunt where a train hits a car and a guy has to jump out of the car before the train hits it and it is, when you see it you'll know it, it's that dude almost died. Like he barely gets out of the car clearly something's going wrong and then as he's jumping the car explodes and the fireball kind of engulfs him for a second and then he gets out of it and they just left it on film and that was that was stunts back then well hope we don't die and before the stunt when the car makes a right in the background you can see the entire crew is all sitting on bleachers because they want to watch this like this guy's about to die this is gonna be great like they just shot this movie so yes for bullet you're like this is a major movie steven queen huge star of course but this is like Joe Don Baker, we're shooting this in two weeks down in North Carolina.

37:09So they told a guy, you're going to get stalled in front of a train. Your job is just to get out before the train hits. But really wait till the last second if you can. And we're just going to run a frigging train at this. Look up Joe Don Baker frame. And it says like the most dangerous stunt you've ever seen. And by also, even in comedy, you ever see used cars, Robert Zemeckis' used cars? There's a scene. there's a dude like walking across a road drunk and this car is zooming up and barely misses him and it's done as a joke because the actor is doing this just walking around drunk but he's just improving it if he had gone the wrong way the car would have killed him it's in the middle of a comedy you're like oh god that guy almost died do you remember there was a film with lee horsley called sword and the sorcerer and the bad guy god does a high fall off a cliff and he died but they left it in the film.

38:03They left it in? Yeah, and it's his death fall is in the movie. Because that's what he signed up for. And in that culture back then, it was like, that's how I want to go. Yeah. Leave that in. That's how I'd want to die. It's nuts. Maybe afterwards. Maybe. If they were alive for eight seconds, they were like, don't leave that in! Their teeth are coming through their chest cavity. Take that! Okay, watch out. This is fantastic. Okay, here we go. I love this. Visual bit on a podcast, but you can look this up. That's all right. Some of this is on video. Look it up, fuckers. Oh, I'm so happy right now.

38:39Showdown. Look at him. These guys both auditioned to be Duke boys.

38:46Oh, my God. What in the hell? He catches fire. His leg catches fire. Don't you get the sense that he also slows his roll so he can be a little closer? Yes. God, that was fantastic. I mean, and again, by the way, yeah, you can see at one point you can see the crew is all lined up in the background watching this. But like, oh, oh, he's fine. You know what that guy got? A hundred dollars. Yeah. He got a hundred dollars. Yeah. And maybe they comped his room. Wow. Yeah. But like you watch a lot of Australian action films from the 80s, especially like The Road Warrior. There are stunts in that movie that at the time they were saying, oh, no, it was all in the editing because they were trying to work in Hollywood.

39:32But then there's a documentary about the making of and there's people just getting racked up. And the Philippines, too. They're the Philippines stuff. Oh, my Lord. Where they would just do anything. Yeah. People would do anything. The biggest thing I notice is editing. Movies, particularly, and TV shows are edited so tightly. Yeah. That there's hardly any air. and I find it fascinating to go back and look at a show like a late 70s massive hit show, like say a Chips or something like that. And literally a guy will drive up, my job is to drive up in a car and meet with you in a parking lot. And so I drive up in a car and it's supposed to be a tense scene and I'm here to talk to Patton Oswalt and tell him to back off my territory or I'll kill him.

40:16I pull up and I get out of my car, I unhook the belt, get out of my car, shut the door and then start walking. And I parked like 15 feet, 20 feet from you. And they show me walking all the way over to you. All of it. And, you know, you look at how today the editing is so, take another frame out, take another frame out. And what we're seeing, everything is so hyper compressed that I know that when I watched Late Night with David Letterman shows that I had been watching and, you know, adoring in the 80s, when I went back and looked at them later on, I was like, huh, it's slower than I remember. Yep.

40:55And it's quieter than I remembered. And there's more like, it's not this explosion of fireworks. And I know that, okay, things, the pace ramped up. If you look at the arc on our show, I know the pace ramped up. But I bet you people are going to go back later and say, this feels slow to me, this slip nuts bit. You know? And I remember us thinking like, this is so much faster than what anyone used to do but i think we've hyper compressed everything we think that uh interesting equals spectacle whereas interesting can be two people just having this really cool conversation that doesn't necessarily pop it's got to pop pop pop pop pop no just let two people actually have this weird interesting conversation and but no one has time for that anymore because you can watch all of your you know all of youtube is 20 craziest moments It's like there's no lead up anymore.

41:47It's just all. Don't you want just the marshmallow things from Lucky Charms? You can have them all now. You don't need all the serial bit like we all. And so we've lost those moments of. Sometimes the reason that the best dub clips are such huge laughs. Is because they came after a long time of silence. And then there was that explosion. But all they want now is the explosion. Yeah. And it's like. I was doing punch up on a movie. I'm not going to say which one because it was terrible. but the director showed me and the punch-up writers they showed he showed me the last shot remember that scene from bringing up baby where she goes up and he's doing the dinosaur skeleton and then he catches her she slips and and instead of trying to save the skeleton he saves her but the whole skeleton collapses yeah and it's just beautiful it's amazing shot and it's really startling and he's like grant and kerry grant and uh katherine hepburn yeah and he's like i want every shot of my movie to have this boom boom boom boom and i was like well the reason that shot is so memorable and is so effective because it comes after just bantering and do these people hate each other?

42:48Do they not? But oh, he decides to save her. And yes, it's a great vision, but if you do every shot like that, it won't be special. And he was just like, no. Every shot. Bam, bam, bam, bam, bam. And the movie was horrible. It was comedy and it just didn't work because he wanted it to all be that scene. I was like, let's see a major Hollywood film comedy that didn't work. Wait. That really narrows it down. Yeah. you'll be able to put it together I think you'll be able to suss that one out was it Joe Don Baker in the frame? by the way speaking of stunts in the 70s I did Brooke Shields' podcast can I talk about another podcast on this one?

43:23yeah of course as long as it's not Brooke Shields she and I have major beef I'm the only one with major beef Conan was up for the role in Blue Lagoon oh no dude I'm sorry that's alright you got to do some of the really gnarly 70s movie making and in King of the Gypsies, you're in a car and the car crashes. And she goes, oh, my God, you remember that? Yeah, because it just if I'm not mistaken, it's just a dude is sitting in the backseat filming and you and Eric are in this car and it just gets T-bone. She goes, yeah, that's pretty much what it was. The director was in the backseat and our car gets T-bone.

43:59And I go, what kind of stunt rigging did they do? And she goes, oh, right before we shot it, the stunt man came over to me and said, you should put your seatbelt on. It's like three in the morning in Central Park. Yeah. She's a teenager. Oh, yeah. Put your seatbelt on. OK. And then goes back to his seat. I'm a professional stunt coordinator. I got to make sure everyone's OK. I got to make sure the 16 year old. Yeah. It's not going to die in the scene. Yeah. Unbelievable. Now, I'm not saying we have to go back to risking people's lives, but I think that people will always hunger for actual human emotion.

44:30Again, Succession just, you know, was the biggest show, had no marquee stars in it, but it was amazing acting, amazing writing. Word will get around about that. Yes. People will go, you can't believe this show. It starts off really slow, but my God, does it pay off. And also, I mean, yes, such great acting, but good Lord, that writing, the most masterful writing and so many lines, so many quotable, beautiful lines in succession. And so many real lines where you're like, yeah, that is the world right now. As painful as this is to listen to, that's the world now i i want to end up in this nice place which is to say something this work you've done minor threats which is in bookstores and it's it's it's available nationwide yeah like you have i know that you have these passions for for comics and you get to do that you get to be in that world you get to make this stuff that you used to stand in line hoping to meet someone like you well i used to i stood in line for three hours to meet neil gaiman back in 1993 in san francisco to get my season of mists hardcover signed and now i'm matthew the raven in the sandman show on netflix that's insane so that kind of i i always um i remember this quote from john john waters is a great person to pattern your life after because he's like i work hard at my stuff so that i don't have to work with people i don't want to work with yeah and i can just do the stuff that i like and And it also gives me, because a lot of the stuff that I like to do is not going to make me any money.

46:01It's not going to increase my fame, but it's really interesting. So doing Minor Threats, no, writing comics does not make you a lot of money, but it's a blast. It's so fun to do. You write the script, then you get the rough pencils, then you get the inks, and then you get the, I mean, the whole process to me, I could do it all day. and so I'm lucky enough that I worked hard enough as a stand-up and I go and do movies and I can go do comics and the comics that I put out now I go with companies like Dark Horse and where it's all creator owned I own it if something happens with it it's mine I'm not having to worry about well this company needs these things and these things and you know I have to do stuff I don't want to do a one for me one for them within a project I'm doing I'm okay doing a one for me, one for them overall.

46:50But to split up your own project doing that, that would drive me crazy. Yeah. Like, I have this great story to tell. Okay, but you've got to put, the Shazam movie's coming out, so you've got to put Shazam in there. Oh, it's a little bit. You know, so I never had to do that. Right. You don't have to compromise. I don't, also, I'm just happy. I'm not a car guy. I'm not a clothing guy. I don't care about, to me, a car, I don't see the outside of it. As long as it gets me where I'm going, I could care less what it is. So all that money, I don't put any money into that. I don't own a house. George Carlin says, I don't own a house that I use to scare people with.

47:28I love that phrase. Nice little house I can live in. There's no crazy nut. I just keep it very small and very simple. And then you get to just enjoy everything you like. It's all you got to do. I don't have to go hang out with people I don't want to hang out with. It's all people I love. occasionally you have to do like a like a podcast to like sell the comic and that's a slog but otherwise it's a hang out with two assholes you don't want to see you know what I'm saying hey Patton I could talk to you for 35 hours I could honestly talk to you way too long it is a just it's just a happening when you're here it means a lot to me we're so on remember you came I was I'm sorry that I'm saying this we were in the Soho house and you came up, you were bringing your wife and daughter to breakfast and I had brought my daughter there because they had a kid's activity day.

48:20But I was up at the bar at the Soho house and I was reading the second volume of the Lyndon Johnson biography. And you went, of course you're reading. You know, that's what celebrities do in their downtime. They go to a bar and read Robert Caro's lazy Sunday reading. He's just reading Master of the Senate. which basically you can't fire an A15 bullet through it. Exactly, yeah, it's that thick. Yeah, they actually, there are many tanks now in the military that are just covered in Robert Carroll books. All right, Patton, go with God. Yes, always. Thank you.

49:11Gourley I want to address something that I feel badly about which is your birthday you turned 50 recently yeah I thought of this idea for gift and went looking for it and found it and I uh threw my assistant David hopping and man that guy's a great assistant okay anyway He was trained by a really great assistant. So it makes sense. Oh, really? Yeah. Who did you get to do that? So the point is, ordered this set of something for you. Vintage. And I thought, this is really cool. And time goes by. And I think it's going to get there in time for your birthday. And then it doesn't. Then there seems to be some kind of issue.

49:51And then David Hopping tells me today that there's like a postal service investigation going on about this thing that I ordered for you. so I don't know if that means these things are gone if they were stolen or what's happening but the first thing David said to me today was there's a postal service investigation into trying to track this birthday gift down for you did you send me a bunch of severed hands again? yes how did you know? I don't need those anymore I'm good yeah Matt I got you a gift too and then there was also an investigation and it just disappeared this is what I wanted to talk about and I don't know what happened oh my god to talk about.

50:27My assistant got you a gift and I forgot. I don't know where it went. No. I love that you have an assistant. I know. Sona, this is why I'm bringing this up, is that this sounds... Where is David hopping? Isn't he here somewhere? See if you can find him. I want him to verify this. I don't buy this. If you can. This smacks of a lie. That's the problem. Lie from David or someone else? No, from me. Oh, yeah. It sounds like... Yeah, you're definitely lying. Well, no, I'm not, but it is him i mean first of all it's a stretch for someone of my stature to be getting you a gift so that's a stretch in the first place right who would think that would ever i would ever do that you know okay that's not something i would do okay david's on his way um so i don't know i i just worry that i worry that you don't believe me and then sona picks right up on that and says uh that it's a lie and that's why i need david to come in here i've just never heard of a post office investigation.

51:22It just sounds very cagey. And so, I mean, I think I could just say that I got him a gift and I got lost in the mail. Now you've blown that. Oopsie daisy. I know you didn't get me a gift. How do you know that he got you a gift? I don't. And I'm trying to figure out whether I believe him or not. Yeah. Then how do you know I didn't? Because now I'm starting, you know what? I'm starting to now doubt whether or not I got you. Oh my God. I'm thinking it over and I'm thinking that maybe I didn't get you a gift. Oh, no. But I've been covering up for it so long that I now believe the lie. That's now. Well, give me a hint.

51:55Now I've gone. What are these things? Give me a hint. You said they're plural. They're things. You know, maybe I should just tell you what I got you. I think I should tell you what I got you. I don't know. I'm going to tell you what I got. No, I'm going to tell you what I got you. I'm going to tell you what I got you. Come on. Step in, David. Can you get on mic, please? Yeah, that one. It also could be that David didn't order them. Or David kept them. So let me catch David because I don't know if he's been listening. I'm apologizing to Gorley that his birthday present never came. And then you this morning, tell me what the news you gave me this morning.

52:25So there's an investigation. An investigation by who? UPS. UPS. I got an email and a voicemail about it. Really? This is the next big true crime podcast. No, but listen, I think we should make this. People want to know about our lives. They're desperate to know more about us. Are they desperate? Oh, yeah. No, no. I think you're desperate to have them know more about you no no no i am like aristotle onassis and sona's jackie kennedy and um matt gurley's like hubert humphrey they just want to know more about us okay um they want to know our lives i'm going to tell matt what i ordered oh this is fun yeah got you get it i don't think you're ever getting these by the way but i found online with the help of david hopping we found online i think they're from the 1950s something like that and it's like and it's these really cool vintage cocktail glasses that have like a copper top that makes that looks like a like a palm tree like a tropical oh like a pineapple yeah yeah very cool looking and i thought oh this would be so neat for you to have in your house and then for summer s'mores we could drink out of them but these are classic like you want to show the picture and i'm bringing it up now because i don't know where these things are.

53:43I have no idea. If he's not lying, you better get your shit together and deliver them to me. What it might not have been UPS is, I don't want to blame UPS because first of all, that's a powerful big organization. They might advertise on this podcast, right? Do they? If they want to, they better get me my goddamn glasses. Is that why you don't want to criticize them? I'm a supplicant to all major businesses. They don't even advertise. I just show respect to any large company or corporation no matter what they do. I mean, they could be defense contractors. And I'm like, hey man, more power to you.

54:21Keep making those landmines. I don't care. If a company's making a lot of money, I will bow to them. Did David actually order the... David, you could be honest. Are you lying? It's okay if you are. I'm not lying. Here, I have... Everyone, hold on. Oh, wow. I've never seen David snap like that. I got this email. Hello, David. I hope you're having a nice day. I'm emailing in regards to your recent order of the mid-century pineapple cocktail jars. I'm sorry to hear that you have not received the piece. Our logistics team is currently working with the carrier to start an investigation to determine the whereabouts.

54:54This usually takes eight days to complete. Show me a picture. Hold on. I want to see a picture. I just want to hear your bullshit legally. That's not UPS, though. That's the person who sold it to you. The person who sold it to you is lying. They took your money and they're not giving it to you. And then they're going to blame UPS. Sona, that's a terrible - I would do that. The weird thing is that I got a thing that says - We know you would do anything. I mean, I think if we were talking about, yeah, I stole a car last night and I took it for parts and now I'm going to chop it up. You'd be like, I'd do that.

55:25I'd do that. You're a terrible, terrible person. Here, buy my pineapple glasses and then I'll ship these to you. Did you steal my pineapple glasses? Zoom in. Here, how do we get a good shot of these? How do we get a good shot of these? They're very cool looking. Whoa. Whoa. No, that's just all you can see is the top there. Here, why don't you get here? Let me get closer. There you go. Oh, wow. I mean, aren't those cool? And we got you four. Oh, yeah. That would be amazing because the drinks I'm going to make for Chill Chums are kind of tropical. Yes. I thought these would be perfect for you. And guess what?

56:02They're not cheap. This was a very nice gift. And I think an incredible gesture on my part. Right, David? Yep. Thank you. I appreciate you, but that's pending delivery. I'm going to say thank you with an asterisk until I'm sipping out of these boys. Yeah, you can't force Matt to thank you for a gift you haven't given him yet. I showed you a photograph of a gift that I intended to give you before it went missing. So I think I get a big thank you. I will say thank you. That is very nice of you. Don't thank him yet, Matt. You can't thank him yet. You don't have them. I've been told I have to rescind that.

56:40Thank you. Yeah, you don't have them yet. You can't force them to thank you for a gift that's lost. But listen, let me be clear about something. I'm going to do you a favor, Sona. Sona in no way was impugning the shipping company or the company that sold us. These are companies. And as I said, I love all companies, whether they make liquid nitrogen or plutonium, whether their job is to destroy the planet or not. if it's a company that makes money I'm all for them yay companies yay companies yay companies is the slogan of Conan O 'Brien I don't care what the body count is or the damage to the planet yay companies alright so there we have it this is now a true crime podcast we have our crime which is the missing for mid-century pineapple cocktail glasses.

57:36This is a real mystery. We don't know what's going to happen, and we'll keep you posted. And this is, I mean, I think a nation is gripped by this unsolved crime. Serial season 12. Did you get me a gift? Sona. Sorry. Pineapple. The gift of employment. He just got you a bunch of pineapples. Yeah. I got you real pineapples, and they're rotting fast. All right. We'll keep you posted. Conan O 'Brien Needs a Friend with Conan O 'Brien, Sonam of Sessian, and Matt Gourley. Produced by me, Matt Gourley. Executive produced by Adam Sachs, Nick D 'Leal, and Jeff Ross at Team Coco and Colin Anderson and Cody Fisher at Earwolf.

58:21Theme song by The White Stripes. Incidental music by Jimmy Vivino. Take it away, Jimmy. Our supervising producer is Aaron Blair and our associate talent producer is Jennifer Samples. Engineering by Eduardo Perez. Additional production support by Mars Melnick. Talent booking by Paula Davis, Gina Batista, and Britt Kahn. You can rate and review this show on Apple Podcasts, and you might find your review read on a future episode. Got a question for Conan? Call the Team Coco hotline at 323-451-2821 and leave a message. It too could be featured on a future episode. And if you haven't already, please subscribe to Conan O 'Brien Needs a Friend on Apple Podcasts, Stitcher, or wherever fine podcasts are downloaded.