(upbeat music) - A listener production. - Folks, welcome to the only on a podcast. My name's Broden, and I just wanted to say, this episode has got a lot of fun in Estella. Who's soup? Incredicosed, it's so much fun, but it's better to just enjoy the wild ride and go to onlynotaclump.py patreon.com, have fun there, get all the extra bonus stuff, enjoy the episode. (upbeat music) ♪ Friends, I wanna be more ♪ ♪ I wanna be more of their friends ♪ ♪ I wanna be, I wanna be ♪ - Welcome to the future. - Hi, welcome to the Auntie Donna podcast. Today, I'm gonna be talking to two members of Auntie Donna Prote and Kelly and Marc Manano. - What's up? - We should be here. - Thanks Abby. - So nice to be here. Thank you for having us. - I'm the host of the Auntie Donna podcast. My name is Zachary Rowane. Now, let's talk (laughing) - So a little context for everyone out there in radio world. Why, we just finished recording in the morning, quite possibly one of the worst podcasts we've ever done. In which we went in with the sort of pretty loose concept that we were gonna record last week. We didn't have time for it 'cause we did two land parties and we came into it fresh this time. It was pretty bad. It was the first one in the morning and we got into a thing about and wrote in Love's Pooh Soup. After that, Zach just said, let's roll straight into another one. I'm ready. - I'm ready. - I'm feeling this energy. I'm gonna lead us. And then we had what maybe? Less than a minute? - Yeah, less than a minute. - Less than a minute to sort of prepare for this podcast and he's taken us straight into Pooh Soup. Zach? (laughing) Go on. - No, you got nothing? Yeah, it's all you had? All right, proton, do you wanna steal this ship? - I've got what, okay, I got it, I got it. Welcome to the Auntie Donna podcast. My name is Mark. Your name is? - My name is Mark. - And your name is? - My name is Mark. - And we got three marks, Marky Mark Mark, and we're here and guess what we're talking about today? - What? - It's Pooh Soup. (laughing) It's Pooh Soup and we're talking about the kind of ways you can make Pooh Soup out of things that aren't Pooh. Things that aren't Pooh. - Time out. - No, I'm not. - Time out. - Yes, Zach? I don't want to talk about Pooh Soup, it's gross. - You brought it up, man. - Yeah, but then I was gonna move on to my actual idea for the podcast. - Which was? - Oh, let's go back out, back out, let's do it. - Let's get out, let's get out, let's get out of time out. Hit some fun music, Lindsay. - Oh, we'll hit some fun. - But take your time. - We've just thrown that at you, Lindsay. - We can't just throw it at you. - I want the audience to know that, when we say-- - Oh, that was fun. - That was pretty quick. - That was very quick. - Here we go. - All right, here. Now, you're probably gonna think that I didn't have an idea and I'm just making something up based on the vibe of this music, but it's just a coincidence. - Mm-hmm. - Welcome to my old-timey saloon at Sovereign Hill. I'm the barkeep here at this saloon here and I'm here and I'm serving beers and gruel for all the gold miners. - Mr. Prospector, Mr. Prospector. - Hey, cowboy. - I wasn't talking to you. - I get that, but do you want a beer before you talk to the prospector? - I'll have a whiskey. I'll get you a whiskey when whiskey's coming up. How much? - I'm trying to talk to my friend. - That'll be one cent, one cent. - Yeah, put on my tab. - All right, Mr. Prospector, Mr. Prospector. - Hi, I'm playing a prospector today, but I'm actually a drama student at the University of Ballarat, Arts Academy. - Mr. Prospector. - Yes, I'm a prospector working at Sovereign Hill. - I wanted to know what time is the pantomime on in here, in the Victoria Theatre, because my grandmother bought my grandmother here. And-- - Time out, time out. - Just cut that music. - Why should I said non-no to me more? - I just want to give you full context. Mark, you have worked at this open-air museum, Sovereign Hill, which is a set in 1954. 1854, '80s, '64, '80s, '64. - Yeah, it's kind of like between like early 1800s and 1860. - It's the main street of a gold rush era town in Ballarat. When Ballarat was as big as Melbourne, when Australia had one of the biggest economies in the world, Jude would have heaps of haven heaps of gold. - Lots of gold. - My question to you is, is there any things we should steer towards? It would be funny for a podcast where we're in Sovereign Hill. - And I also just want to say-- - No, no, I don't think so. - Well, that's awful here. - That's really awful to hear. - Nothing that comes to mind. - Mark. - In terms of stuff that's like funny, that like happens at Sovereign Hill or Hap-- - Please. - I'm real, I'm trying to think, most days I went there, it was just like, turn up at nine, make sure you're not late, clock in, do your work. - I said, is lighting fires in like a big steel drum funny? - Yeah, yeah. - Is it funny? - Yeah, I think that'll be good. I think we can guess that. - 'Cause I did a lot of the drums back then. - Zack, I can't tell you how furious I am for you demanding we start a new podcast. - What do you mean, did they have steel drums back then? - Well, I think this is ripe and it doesn't have to be Sovereign Hill. It can be any cowboy era, any country. We could do cowboys. - Was that cowboy? - We can't do Native American. - No, no, absolutely not. - Would never. - But we can do cowboys. We can do gold miners. We can't do the Chinese gold miners. - No, that would never. - But they were around. - They were around. - So that populates the world. We can talk of them, but our characters would be very racist. - English or Irish. I think it's better than just the-- - So the English are Irish or American. - There was one log. There was one Italian fellow running around. - Well, you could play him. - Yeah, maybe. What was his name? Fabian or something. - And I just wanna say-- - You wrote a book. - The Sovereign Hill, I think, has thrown you guys. I just said that off the top of my head. I meant more prospect than town. But we can go, in fact-- - Well, I said, "Hey, Mr. Prospector." - Lindsay, can we get some-- - And you said, "Do you wanna be a?" - Well, yeah, there's a servant ale at the tap house. - Yeah. Lindsay, I'm not mad at you. - Can I get some futuristic music lined up and take your time? But I think that the Sovereign Hill thing has thrown you, so we're gonna change to the location. We're gonna be in the future now. - What do you want me to do? - I've got it, I've got it, one of you. - Are we anything you want, Broder? - That's the beauty of the future. - Here's my question. Are we in the future from the Prospecting era, which would just be like now? - We are dropping-- - Or 2008, or 2008. - We are dropping the Prospecting future. - I have a funny idea. - 'Cause if it was 18-- - Just improv it out! - It's the future of an 1850s person, Prospecting, what they imagined 2008 would be like. - I feel that might be a little restrictive. - Well, I was gonna say even like 100 years in the future, in 1850, that's only 1950. And back then there was-- - Do you want to do that? - They were doing the jitterbug. And so-- - It's a little steampunk for me, and the nerds ruined that for me. I think there's-- - I love steampunk. - Look, the nerds ruined it. - In terms of this podcast, I think we could do the rest of the podcast about a prospector traveling in time to 100 years forward in the future to 1950. Seeing the jitterbug and being like, God damn, the future is crazy. - I thought the future would wind up. - Yeah, but 19, that'll still be-- - You could be a robot. You have always wanted to be a robot. - But it's their perception of a hundred years from now. - Yes, yes. - But they wouldn't have future music. Their perception of future music could be, I don't know, a piano that sounds different. Do you understand? - That's what that is. - No, but we're-- - Can I hear the music, please, Lindsay? - Oh, okay. - Let's judge it based on the music. See, oh, this is like interstellar. Let's do an interstellar one. We already have, but let's do it again. - What? - I got this. I got this, trust me. - Oh my God, all right, all right, all right. All right, all right, all right. Start again, Lindsay, start from the start. All right, when we're ready. - Okay, everyone, just take a deep breath. I've got your back, Mark. - Yep, yep, yep. I've got your back set. - And just checking, this podcast is gonna be like a premium one that we release during the wake, yeah? - Yeah. - Yeah, cool. - Yeah, thanks for trusting me on this, guys. - I've got your back, man. - Yeah, yeah, yeah, yeah, yeah. We are fully supporting you on this. - Can you not talk over the start? - I'm sorry, I did not know it started. - No, or is that? - I apologize. I'm going to give you whatever support you need here. - I love who's that. - What do you need from me? Can you tell me what you need? - I just need to set the world, and then we can-- - You are my brother. - You are my brother. I would take a fucking bullet for you. Just tell me what you need, and I'll get it to you and give it to you, give it to you, good. - I have full trust, full support. You have my unwavering love and allegiance. - Hey, just don't talk, let me set the world. Let me set the tone. Okay, I've got this. - I trust you. - Okay. - Lindsay. - Oh, oh, hello there. - Welcome to NASA. You know that the world is going to end because of the meteorite, but we actually have a plan. We need to send you and your friend, Mark and Broder, we need you to train the NASA astronauts how to do comedy because they're going to comedy the asteroid away, but I'm just a corn man. So you're just a corn-- you know what, you're right. All we got is corn on our farm. - It's easier to teach comedians, astronauts, than the other way around. So I'm going to send you through a wormhole. - Okay, to the asteroid, which is in the Kuiper belt. - I'm gonna get them again. - Well, it wasn't in the Kuiper belt. Ooh, ooh, ooh. And you're going to stop the-- - Oh, my gosh. - You're going to stop the-- - I trusted you. I tried-- can we cut the music instantly? I fucking-- I trusted you, man. - Oh, my God, I'm so sorry. - Oh, my God, I gave you unconditional love and support. - I-- I backed you to the hills. - I've met the things I've said to you. I've been said to my real life, brother. I've even said those things to my-- to my father. - Have you said them to my brother? - Yeah, I say them to Mitch Kelly all the time. I texted him that the other day, so I love you. I trust you, fucking do anything for you, take a bullet. - Yeah. - I've said those things to Broden's brother, but not even my own. And I've said them to Scott, my brother. - Sorry, can I just get some clarity? What's the issue here? - I've said them to Patrick. - Yeah, what's the issue here? - The issue? - What's the issue? - They seem really upset at me. You were just apologizing. - Yeah, well, man can change his mind. What's your problem with me right now? - Just that, well, we gave you our full undying trust. We said, we're willing to go to war with you. You're our captain. You're saying, we're going into no man's land. And it's going to be-- - In the improv comedy. - Yeah, the improv comedy, but no disrespect to any war veterans out there at all. - Comedians, we know that it's part of the war. - Yeah, we know it's out of the war. Unless you got Wonder Woman on your side, 'cause then when she gets that shield out. - Yeah, you're ruined. - And then in the bracelets as well, she can just, like, bounce bullets off. - Like in World War One. - Yeah, in World War One, but then Marvel, Captain America, those Nazis were fucked. - Yeah, they were fucked when Captain America. And he was just a skinny little shit, and then they pumped him full of blue, and he had muscles for days. - But the problem-- - So your issue was? - So the issue was, you know what? I can't even remember. - I'll remind you. - So you said, I've got something. Let's do this episode. Let's do it. And now we find ourselves. - And so you say to me that you think I haven't delivered when I've taken us to an old prospecting town. I've taken us to a world on the brink of apocalypse with only a crew of comedians to stop the-- - So do we have to teach? - I've taken you to a world of Auntie Donna people eating poo soup. Not one, but three wonderful, rich ideas. And you tell me that I have not delivered. Maybe you boys should look inwards and think maybe that it was Zack who delivered the most. - Great, keep going with that. - And that is why we're going back to the Armageddon Interstellar one. All right, Lindsay, play the music. - I trust you, man. - Get on the ship. - All right, we're here on the ship. - Oh, I forgot to mention if you go close to the black hole, time runs different and the little girl from the Nutcracker movie becomes the lady from the 30 and Bollies game. - Don't worry. We won't go near the black hole. - I'll go near the black hole. - Oh, well. - Oh, well. You gotta go down to the black hole now. - We're down, we're in the black hole. - And there you come back up. - We're back. - Oh, we're back. - It's been seven, 30 years. - It's been seven, 30 years, but it's okay. We're all right. - Yeah. - We're supporting you. - I've got some messages from Timothy Shamalay and the girl from the Nutcracker. - Watch them, we're sad, but we'll move on. - Well, sit in that for a little bit. Have a cry. - I regret, I slightly regret my decisions. I'm sad, I miss my son, I miss my daughter. - Now we go go to the wormhole. - We're in the wormhole. - And now we're at the end of the wormhole. - We're there. - We're in the bookcase. - No, that's interstellar. This is my story. - So now. - I'm sorry. - Keep going. - Now we're in the oat cloud. - Okay. - Okay. - And here's the asteroid that's going to destroy Earth. - We taught it comedy. - It's changed. - It's laughed. - It broke up. - Its trajectory has been changed. - There's the biggest chunk is still on its way to Earth. - We ate it. - But you couldn't eat it all. So you have to sacrifice yourselves. - Okay, we die. - The end. All right. Lindsey, let's start that music now. And now while they yell at me some more, can you please line up some upbeat orchestral music. Something like upbeat orchestral. - Just like upbeat and stuff. But you guys yell at me about how that was bad and so. - Okay. Will you want us to do that? - Yeah. - You got it. - Hi. - I fucking... - How dare you? - I'm just... - You did a bad job? - Yeah, that was awful. - Oh, wasn't it? - Was it? - It's podcast. - It was bad. - It had the... - It had the fun. - Don't work too hard on popping up people. - Yeah, don't worry too much. - That's whatever you get close enough. - That's hard. - Whatever you get close enough. But I want to say that that story had the fun and the action of Armageddon. But the pathos of Interstellar. That was a hit. In regards to a podcast or a movie. If it was a movie it would have been hit. It was great as an improvisational podcast. I loved the bit when you guys sacrificed yourselves. That was a really beautiful offer. You guys did that. - Well, we were just following your lead. - No, I think you guys did a pretty good job on that too. - Thank you. - Thank you. And if I think this podcast lives or dies, we were all in this together. You know, I wouldn't blame me for... 'Cause I did, admittedly, say you had this. That I had this and I had a good idea and I didn't. I just liked to this energy. You know, I just, I love... - You're a vibe man. - And I love riffing with you boys and I just thought we had a good energy. If I had known that we really only had five minutes of it left, would I have committed to a half-hour podcast? The answer is no. But Lindsey, do we have any kind of music? - Yeah. And you've got, you've been going for 15 minutes. - Right. Is this been going for 15 minutes? - Yeah. - Isn't that interesting how time... - Yeah. - How time... - That's 'cause we went to the black hole. - How time works. - Or slowed. - Or not really. - It works differently. 'Cause it has felt like a long time. - Yeah. - It's like Timothy Chamalay has become Ben Affleck's brother. - Do we need to go to an ad break? I don't know if we do that. - It doesn't feel right putting an ad on this. - Doesn't feel right profiting off of this. - We'll be right back. - Hi, welcome back. And welcome Lindsey to the music, to the 97th Academy Awards, where Interstellar Armageddon has been nominated for a record 43 awards. - 19th. Name the categories. - It's been nominated for... - How many did I say? - 43. - Oh, goodness. It's been nominated for Best Picture. - One. - Best Director. - Two. - Best Original Screenplay. - Three. - Best Adapted Screenplay. - Four. - Best Actor in a Leading Role for Broden Kelly. - Five. - Best Actor in a Supporting Role for Mark Benanna. - Six. - Best Actress in a Leading Role for Olivia Coleman. - Seven. - Best Actress in a Supporting Role for America Ferrera. - That's eight. - Best Actor Best Camp Best Original Song. - Nine. - Four. I Believe in the Wormhole by Lady Gaga. - Ten. - Best Original Score from Hans from Lindsey Picking Songs. - Eleven. - Best Documentary for the Making of Armageddon Interstellar. - Twelve. - Best Cinematography for Roger Deacons. - 13. - Best VFX from Animal Logic. - 14. - Best. - Best Heron Maker. - So you forget 15. - Yes. - Heron Maker to that Japanese dude for making Broden look like that chick from Fox News. - 16. - Best. - Stop counting. - Yeah, we don't, yeah, we don't. - But I get to 43. - I'm like, I don't want to. - Okay. - Give us more though. - Yeah. - Give us the last 20 or so. - Okay, best. - No, I'm out. - Best Boy. - Best Best Boy for Broden Kelly. - Short films. - But it's not a short film. - Oh my God. - Best feature length film. - Okay. - I was just trying to give you Moroski a reward with it. - Yeah, but I can't go, like. - No, there's no short film attached to it. I'm so sorry. - Oh, yeah, best short film for the first 10 minutes that they released a week. - Best beforehand. - Attached to Mission Impossible. - Yeah, attached to Mission Impossible. - Animation, best animation, I think. - Best director Zachary. - Ah, boy, he said best director. - Yeah. - Best, yeah, animation is a thing. Best animation, although it's going to lose to that Japanese one. - Well, gee, we'd better get ready. The Oscars are tonight. I'm wearing my best tuxedo and I got a top hat on too. Shine my shoes. Broden, do you need me to shine your shoes? - Please. - Wishy, wishy, wishy, wishy, wishy, wishy, wishy, wishy, wishy, wishy, wishy, wishy, wishy. And I'm shining your shoes. Wishy, wishy, wishy, wishy, wishy, wishy, wishy, wishy, wishy, wishy, wishy, wishy, wishy, wishy. And I'm shining your shoes. Okay, the limousine is here. Should we get in? - Oh, goodness me. I can hardly fit in my proud address. - What do you want me to do about that? - It's straight off the runway and it's made of metal and it's cutting off the circulation to my head. - Zach's going very avant-garde for the Oscars. He's making a prank. - My head is red. - I'm like, "Blop, blop." - Oh, no, no, he prolapsed. - Zach's head plopped off. - Oh, all right. That's a extreme prolapse in some ways. - Knock, knock, knock, knock, knock. - Hello? - Hello, I'm from LAPD. - Oh, God. Broden, quit. - Cut the music. - Get Zach's head. Hide it in the broom closet. Get Zach's body. Hide it in the broom closet as well. We've got to cover up this murder, so the LAPD. - Well, it's not a murder. - Well, I know, but they're going to think it was a murder because I've been in a... I've been having an affair with Zach's head. - Just their head. - So, and they know that usually it's the jealous lover that commits the crime they think it's the judge. - Come in, wait, wait, wait, wait. I'm, we're trying to, don't get them in yet. We're trying to sort out what we're waiting, wait, wait, wait, wait. - No worries. - We're just getting ready for the Oscars. So, that's why we don't have our pants on yet. - I want you to see our dick and balls. - Hide Zach's head in the broom closet and get Zach's body. - Okay, I did it. - And hide it in the broom closet. Now, let's get our story straight. - Okay. - We never met Zach. We've never met him, we've never heard of him, and he was not here. - Okay. - And you and I are best friends. - And we work at Sovereign Hill. - We work at Sovereign Hill together. And, and we, you know, and we, and you love Pooh Soup. All right, I love Pooh Soup. - Oh, me too. So, hey there. I'm here to... - We haven't done anything wrong. - I know, I'm... - We're going to the Oscars, would you like to come? - Well, of course, I'm the LAPD for your motorcade. - What? - You what? - I'm your motorcade, motorcade. - Oh, you don't, you, I'm going to get a screwdriver. - I'm going to ride the motor cycle in front of your car. - Hmm, something's off about this police officer. - Yeah. - That's right. It's me, Zach. - Oh my God. - My head didn't pop off from a too tight, prior to dress, straight off the runway. - Made out of steel. - Made out of metal. - Metal. - Yeah, like golf, I think. Like, I think, what's the, the rapper? Lil Nas X's look at the Met Gala, but a dress. - Hey, of course, Zach. - Zach, of course. - Yeah, yeah. - If you're not the police officer, then who's dead body is in that cupboard? (laughing) - It's just cool Zeke. - Oh, cool Zeke. - From a coffee cafe. - Zach's, alter, Zach's cool cousin. - Yeah. - Yeah, and he's got a removable head, so he's fine. - Oh. - Do you guys want to go to the Oscars? - Yes, I do. Let's go now. - Let's go now. - I've been your limousine, I'll drive in front on my motorcycle. - But who's going to drive the limousine? - Hi, how you going? - Oh, good. Are you a limo driver? - Yeah, hey. - Oh, guys, I just got a video from Rich Eisen. - Who's that? - I mean, Michael Eisner. - Oh, wow. - Wow. - And he's saying we have to get to the premiere as soon as possible, but avoid all this-- - The premiere. - The Oscars premiere. And we have to avoid all this-- - Do you just mean the Oscars? - And avoid all this damn paparazzi on the way. - Do you just mean the Oscars? - Yeah. - Okay. - What I'm trying to do is-- - I was trying to do the California Adventure ride Hollywood limo, which was a thing that Michael Eisner did when he made California Adventure Park in the 80s. - No, I understand. - I just think adding a premiere to the Oscars confuses it. - But that's what the ride was, but I'm trying to make it work with-- - To get to the premiere of the Oscars. - 'Cause as soon as you said that, I was like, wait, who distributed this film? And then, 'cause this doesn't sound like a Disney film. And then I remember Touchstone was their label for more adults. So it was a Touchstone film, and that's okay. That works, but the premiere part does kind of clash with the original story we planned. - But we're in the defunct California Adventure Park ride, Hollywood limo now. - Okay, okay, that's fine. Just say we're going to the Oscars. - But aren't we staying at that Spanish revival one that's just like a block away from the Oscars? - Yes. - Yeah. - So should we just-- - We're like half a block. The limo's more to roll in. It's not like we have to go through many streets or anything. - Avoid the paparazzi. - We go half a street, so we're staying at, what's it called, the new? I can't remember what it's called, but it's literally half a block up. We're going to go down the street and then just in. - Well, yeah, and unlike the paparazzi, you're all at the front. - No, we could walk, but it's more a perception. - If that doesn't, yeah. But what ride then should we be on then? - Could we be on the Matterhorn? - Or the Incredicoster? - Oh, Incredicoster is good. - But that's in, the problem is the Incredicoster's in Anaheim, which is like 45 minutes away. And we've got to get to the Oscars. - 45 won a very good day. - But also, Jack Jack has gone crazy. And we have to get him while his powers are going. Absolutely, Bazooka Joe. - That's the plot for the Incredicoster at Disneyland in California Adventure Park. - It's a rollercoaster thing to the Incredible. - Was California screaming? And then the narrative is that California screaming was gifted to the Incredic. - Yeah, 'cause they'd turn it into a Pixar pier that whole area of the season. - The Imagineers did their best. - With our hard task. - Oh yeah, the Imagineers went to work on rebranding a unsuccessful theme park, California Adventure and turning it more to the IP and assets of the Disney brand. - And if you want to see-- - Cartland. - If you're going to go and blame the Imagineers for California Adventure, which I think is now a great park, but if you really want to see why it's not the Imagineers fault, - You've got to head to Disney Sea because it's there that you see the Imagineers' visions untethered from executive-- - Yeah, Disney Sea. - I've not been there, so I have to step out of compensate. - No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no of engineering. The ride itself, not the theming, but the ride itself is used in a 20th out, no, a journey to the centre of the earth theme. Which is my favourite, probably better than cars or test track. It's probably the best execution. And one of the best animatronics you'll ever see. Oh, fantastic. I still love Guardians of the Galaxy. Oh yeah, that's still up there with mine. And I preferred the Guardians of the Galaxy breakout to Tower of Terror, but I agree. Controversial in the Disneyland theme park audience, just fan base. Just because it's a little more, the Guardians of the Galaxy one is a little more intense in terms of the velocity and the, and I thought the music was fine. Although the theming and one of the, in the Tokyo Disney Sea, the tekey torch, the tekey character, how did they make? So Mark said to me before I went to Japan, he said to me, he said there's an effect. And he was like, I want to know how they did it. And I thought he was talking about the ride. This effect happens in the line, in the line. This effect happened. And then I got onto the ride. And I did the ride and I'm like, Oh, Mark, the effect isn't that because he didn't tell me what the effect was. And I thought you were talking about the mirror effect with me. No, no, no, no, no. I'm quite aware. I'm very aware of how they did. And I thought Mark, that's so obvious how they did that, right? And I was a little embarrassed Mark, but then I thought to myself, but I must go back on the ride to see how they did the effect in the line. And it was only when I was on for the second time. I remember you telling me the story about getting back on the ride. Yeah. And I thought to myself, Oh, this is the effect you must have been talking about. And I do not know how they did it. I cannot figure it out. And I turned to an American father. American father was there. I had the same exchange. Did you really? And I was like, this is my second time. I don't know how they did that. He said, I don't know how they did it. I had it with a Japanese couple. And we exchanged similar platitudes, not with words, but with expression. And yeah, you understood. There was an understanding there. Yeah. Can I interject? Yeah. Oh, please. What should we call this episode? Well, this is our Disneyland chat. Disneyland chat. Because Disneyland break down. To be an Imagineer, which is it's a portmendo of Imagine and engineer, it's basically the title of anyone that works designing theme parks for Disneyland. You have to have a very in-depth, almost nerdy knowledge of architecture, of history, of literature. And then it's the executives that really push them away from that kind of thinking. Whereas Disney Sea is such a beautiful, interesting exploration of all of those things. It evokes the Chicago World's Fair. Am I right in assuming am I wrong? I believe Disney sees one of the few parks operated not by Disneyland. No, you're not wrong. I believe it's the Tokyo land corporation. The Oriental land company. Oh, is there something? Is there something to that? I do believe so. They are approaching it with that. There's a slower sense. They make decisions, I think, more slowly, more calmly. Yes. As is my understanding, the whole reason the park exists is that they opened Tokyo Disneyland in 1988. Desperate to get the contract. Yes, absolutely. And they were like, seven years, this will take to turn a profit. But it was so popular amongst Japanese locals that it turned. Six and a half. In four years it turned a profit. And they went, well, we want a second park. And they said, they said, we have one condition. Well, they would have said it in Japanese. They would have said it in Japanese. But there may have been a translator. And they translate it probably holding a little notebook. They said our only condition. Could have been in English. Could have been in English. You know, business. He said, our only condition is we want no budget. We just want to make the greatest theme park ever. And in my opinion, they did. You can actually go on the Oriental land company's website. You can actually go on the Oriental land company's website, which I did over a delicious Japanese curry and tofu. Oh, lovely. And they have a, it's very Japanese. They have a very detailed story of the execution. So they actually talk a little bit about, even though they did have no budget, there's a great ship in the American waterfront themed section. Let me ask you both a question. Oh, yes. I'll just, I'll just explain the ship. I thought you'd come to the end of your point. No, no. The ship they, the Imagineers wanted at the size of a real ship, the Oriental land company said, could we maybe make it a little smaller? And the Imagineers one out now, where are you going to see that in an American park? And that ship is stunning. It is gorgeous. And it is, it has this sort of air of, I thought it was a real ship. It has like an open, this is what, this was my opinion, my, my sort of thing, having, no. Oh, isn't it? Oh, I'm happy to stop. No, no, no. I've got more questions I want to ask and put to you as park lovers. Please. When I go to Disneyland Anaheim, which is the original in Anaheim. It's of course, definitely an overseeing the Magnum Opus of Walt Disney, the creator of Disney parks and films and series. But let's not dismiss Roy, oh Disney's, no Roy, as the financial overseer, but Roy and Walt together made truly something that as far as a work of art, his attention to detail can be seen everywhere in that park. And for me, it's a large portion of the magic of that land. One person's fully thought through connection to a place. And you do feel it in the, in the different lands, in future land, in Toontown, in Star Wars land, these places that Walt created. Sure, sure. Now, there's a few issues there with what you said, but I'm not going to, the magic of that is, for me, a large portion of going to that place. Is that it? Is that there when you go to these Shanghai Disney, Tokyo, Disney, Tokyo Disney? Definitely in Tokyo Disney. And do you think we'll get one at Avalon? I really hope they open a Disneyland. Yeah. So, so what you need to understand, so that you've asked two questions there. And I know what I did. I know. Definitely is a layer of a facasmail, fac smell, facsimile, on top of the Tom, come in, Tom, please come in, Tom, come in. There is definitely a layer in the other parks that this is being joined by Tom, who's come in to discuss the. And Tom's microphone might not be on, but. Oh, it is on. Oh, it is on. Great. Tom, check these headphones on. We're just, we're just getting to the end of an interesting chat. Really funny episode. Yeah. Yeah. Just you'll get the gist of it. So, yes, absolutely, in a lot of the parks, there is that issue of it, of it not having the original vision. But what I would say is, funnily enough, even though there are direct replicas in Magic Kingdom, Florida, in Hong Kong, the closest to the original park, as you said, Mark, is, is definitely Disney I believe so in that, in the spirit of creating something fully immersive. He he he he's dead and wouldn't know that. No, but I think what because I think he wouldn't have nothing to do with that. Mm hmm. We can't in our lionizing of Walt, we can't Tom, turn off your phone, mate, in our life. All right. In our lionizing of Walt, we can't dismiss the work of the early Imagineers. They came straight from the animation department. They brought their knowledge of film and they innovated in ways. There was a team looking there. Exactly. Thanks for your time. That's really great. I'm going to be honest. The phone going off has kind of killed my vibe. I, yeah. I don't know if I want to continue, even though this is the shame because we're on a really funny. I mean, this is fucking good. This is fucking good shit. And, and the phone going off. And truth be told, in my thirties, I know it's theme parks, but this quiet, nerdy talk is what I'd rather be doing. Yeah, no, like it's, I think it's fair. Like, let this, let this podcast go where we feel if we, if we want to start an episode talking about poo soup and then it becomes more of a look at the financial and creative aspects of Disney parks. And that's what it is. Maybe that's the name of the episode is poo soup slash Tokyo Disney sea thoughts. Yeah. I think just Tokyo Disney breakdown. Yeah, Tokyo Disney breakdown. Or into stellar Armageddon. Into stellar Armageddon Tokyo Disney sea and credit coast of poo soup. I think that's pretty good. That sums it up with no spaces in between the words. Tom. Yes. Thank you for joining. No worries. We'll see you next week on the Antidonna podcast. You've been listening to the Antidonna podcast. Thanks for joining us for another rip episode brought to you by Antidonna Club.com. See you next week. Listen up!
