The Always Sunny Podcast - The Gang Gets Racist

Episode Date: November 18, 2021

The podcast has begun and there is no structure, so the guys just talk about the pilot episode for a while and then it just sort of… ends.

If anybody's headphones are too loud, you can let me know and I'll drop the volume. Look at you. I like that we just go into this assuming you just know how to do this. She does. I'm very impressed. You got a whole mix board there.

Jesus. What is that when somebody says that somebody's on the ones and twos? I've never heard that before. Oh, really? Megan on the ones and twos? You've heard that, right? Yeah.

Isn't it like turntables or something? Yeah, I think it is. I'm not a fan of that country. Turntable one, turntable two. So this is the show. Are we doing it? It has begun. Oh, we started?

Yeah. Oh, okay, cool. And we have no structure to it. So I think we'll just talk. I think a structure will eventually emerge. Sort of like the show. Yeah, right. You're gonna have to sit through

quite a few episodes before it gets good. Just like the show. Just like the show, yeah. I was telling Rob earlier, just on a show related thing, that I had some queso cheese on Sunday, today's Wednesday. How'd that do you?

My stomach still hurts. And so very unlike my character, I just can't ever, I should never go anywhere near cheese. But okay, this is a conversation that we have had. This feels like- No, keep doing it. I keep doing it.

Yes, we've had this conversation for 14 years. For 14 years. No, early on, I didn't know it was the cheese that was messing me up. We knew it was something. Well, but you had an aversion to creamy things. You knew creamy things were related to- I had a hunch.

But anytime anything creamy came across your plate, you were like, this could be a problem for you. I had a hunch, but it was a lazy hunch. Like an alcoholic's like, I should probably stop drinking. You know what I mean? Like, but doesn't do anything. So I was just like eating cheese willy-nilly.

And then I stopped and started feeling better. And then every now and then I just, I'm like, well, I could probably do it now. It's probably fine now. My stomach has learned. As you get older, your stomach generally gets stronger, right? I'll tame my stomach with cheese and cream.

Yeah. Just like everything else, we had that conversation, then try to figure out a way to put it into the show, which is what we did by making your character obsessed with cheese. Also weirdly, just, it just seems like some things are just funny.

I didn't- Yeah, cheese is funny. Cheese is funny. I don't know why. Eggs are funny. Eggs are funny. I don't know why. You know what else is funny, guys?

Racism. By the way, I was thinking this because I guess part of the structure is we'll watch an episode and talk about it. So we just watched the first episode and now we're talking about it. We never had any intention of that being our first episode, right?

Like- Was that the second episode that was written? No, no, no. The second was Charlie once in abortion. Was it? Yes, yes. I thought that was the third one that was written. No.

Cancer, abortion. No. No. It was originally called the gang gets hit. That was originally the title for the gang gets hit. It wasn't the second one. It was worse. That title feels less appropriate.

But that was, FX was like, no, we should lead off. Well, they thought that the gang gets racist would be more accessible, which is unbelievable. Now, anybody that understands what we're trying to do with the show recognizes what we're trying to do with that particular episode. And I would venture to say that in a lot of ways we failed. It was-

Sure. But that's looking back on the lens of today as being 44 and being in 2021. And that was, I don't know, what year was that, 1983? The camera seemed to suggest it was. The camera suggests it was 1983. However, it was in fact, 2005.

2005, the aired. Yeah, yeah. I think our hearts were in the right places, but maybe there's a couple of things in there we'd probably adjust. Well, I think at that time, I think that we weren't as conscious of the fact. We knew we were making a show about bad people

doing bad things and satirizing bad people doing bad things. And we certainly, as people didn't endorse their behavior, but at the same time, I don't think we were quite as good at making it clear that the people who are creating the show were not also horrible people. I mean, maybe I'm wrong. I don't know. I mean, I can't see it the way, obviously,

the audience sees it. Well, so much of the show and so much of the characters is about ignorance. So much of the comedy is coming from their ignorance, which is a byproduct of their arrogance. And so it's kind of funny to see the collision of those two things, these super arrogant people who are like, oh, I have these strong beliefs

about why I'm right, mixed with this intense ignorance. And then you put that against the lens of race. It's extraordinarily uncomfortable, but that was the show we were making. We were like, well, let's look at the things that we are all getting wrong, but then it's tough. It's a moving target. Things have changed so much to be like,

well, even your way that you're trying to say this is wrong, it's wrong. And maybe that's fair. I don't know if that's fair. I don't know how to feel about it. I don't know. Please don't make me figure it all out. No, no, no.

I'm not smart enough. I'm not smart enough. I'm not, can we all acknowledge that? I think it's fair. You know, like. I think it's good to acknowledge that. Can I just say that? No, I'll never be in trouble like guys,

I'm not smart enough. I'm too dumb to know what I've done wrong. To know the answers of now and the answers of 15 years in the future. We can definitely admit that we were trying our best, right? Yeah, but we did want to make a show. No, no, listen, all joking. We were definitely trying our best

because we were relentless. Welcome to our sunny podcast apology tour. Yeah, yeah. We're like, okay, this one. Look, how do we broach this? No, there's a lot of great stuff that I absolutely stand by in that episode. Same.

I'd say Glenn's drunk acting. That was really scary for me. I remember being there on the day. Scary, what do you mean? Well, cause I was like, oh shit, this guy's good. And I'm like, just try to keep up with him. I remember everybody talking about it. And I was like, that was really good drunk acting

or whatever. And I was like, I'm very proud of myself or whatever. But that was like before Charlie had had a chance to do any like real drunk acting. And certainly Caitlin had. And I mean, now it's like, you guys' drunk acting blows mine out of the water. Or Danny on the plane

when he's trying to chug down those beers. The Boggs episode. Yeah, drunk acting is not that hard. It is for me. I find it quite difficult. Well, acting in general for you is a challenge. A challenge, but that's all the more impressive. We're busting your balls.

You're very good. You can see me just trying to keep up. Well, in that scene actually, I would argue- You're great in that scene. Actually, it's one of my favorite scenes of yours in the early seasons. I would also like to say for the record,

like I'm weirdly uncomfortable with my acting in the first two or three seasons of the show. Like especially the first season. Like I just don't think I'd found it yet. Like I was, like I think it was still like so concerned with everything feeling real that like wasn't willing yet to embrace the absurdity of what it could be at times.

A perfect example of that actually is something that I wanted to cut from the episode that has become like one of the most iconic moments from the first season where my character is concerned, at least in terms of comments I get, but is that the boys are out tonight, spin move that I do when I grab that dollar bill. I think I did that one take where I did that.

All the other, I didn't do that in any other take. I did that in one take just to make you guys laugh, just to do something outrageous, just to kind of mix things up. And then you guys wanted to put it in the show. And I was like, no, no, no, no, that wasn't meant to be in the show. That wasn't meant to make you guys laugh.

That's insane. That's so broad. That's so broad. We can't put that in the show. And you guys fought me on it, fought me on it. And finally I was like, all right. But it's because you were unguarded and free. Yeah.

And just throwing off instinct that it's funny. Yeah, when it took me a couple of years to learn that like, oh, don't know, that's actually the thing is like, that should actually be my intention at all times as an actor to try and make them laugh, to do something as outrageous and unexpected as possible so that I can make the people that I work with laugh. That's certainly what we all started to adopt.

And that's when the show got really fun. It was when we stopped necessarily caring about what other people might think we should be doing with the show and just trying to make each other laugh. Quick shout out to Malcolm Barrett. Yeah, he's amazing. In that first episode of Plays Terrell,

who was my buddy from the Louise Guzman short-lived sitcom that I think only three episodes aired. We should name it that show. Louie. Louie is Will Gluck Show. The original Louie. And Chris Miller and Phil Lord were writers on that. Or like staff writers on the show.

Yeah, I was like, these guys are funny, man. I remember I came to the recording of one of those episodes. The first time I'd ever seen a television show recorded live. And P.T. Anderson was there. What? Thomas Anderson was outside and I smoked a cigarette near him. Yeah, because he likes high art and we were making. I have something.

The highest art form. A related experience. When I was doing that 80s show, I got to share a cigarette with Booger from Revenge of the Nerds. Which is kind of on par with having a cigarette with Paul Thomas Anderson. Yeah, well, I, again, I just want to be clear.

I was near him while he was smoking. And I, too, was smoking. So we were sharing it. And it was on the slide. I was like, what are you guys supposed to be trying to say? What was he, fucking, 10 years old? Yeah, Rob was 10 years old. And that imagination of the scenario.

So season one, episode one. I mean, the show is so different without Danny. Yeah. Yeah, it's so different without him. It's like a completely. Well, certainly in this episode, for better or for worse, we are much closer to resembling actual human beings than what we quickly become in season three or four.

You mean in terms of our behavior? Yes, in terms of the character's behavior. Like we're presenting people who might actually exist. And even though that they are the most terrible person on earth, they were still presenting them as being somewhat real. Yeah, they were much more grounded in like the actual reality of the world as opposed to what it became, which

is kind of its own reality. Well, it's a real bar. And they wanted to do better business. And they hire this guy and then it becomes a gay bar. And they're uncomfortable with that. Or they're comfortable with that based on the profits. You're uncomfortable with it, even though you come out as gay later.

Yes, I'm clearly the most. My character is clearly the most homophobic in the story, which we then retroactively capitalized on seven seasons later when we realized, oh, wow. But if we did take a look through the behavior of the character over multiple seasons and thought, oh, this is pretty demonstrative of something. And then we lean into that.

Yeah. Yeah. It's all right, man. We're getting our sea legs. You know what I mean? It's all right, yeah. We've got to get our sea legs here. We should take some calls.

Let's take some calls. Who's on the line? Megan, yeah. Let's take the first caller, Megan. Who's on the line? Who we got? Brr, brr, brr, brr, brr, brr, brr, brr. Oh, yeah, I saw your first episode.

Yeah, what'd you think? That was pretty boring and it mostly sucked. Yeah, that sounds about right. Yeah, that sounds good. And I loved it and then I watched all of them for ten seasons. I wonder if is there anybody at one point? That was not a caller, by the way, that was Glenn. That was Glenn.

At one point, you guys looked over and Charlie, you said like, how could anybody watch this episode and be like, OK, great, I'm in. I'm gonna watch the next 14 years of the show because there are truly some repugnant lives. Nobody is tougher on the show than us, though, I think. Like, I think for, I have a hard time watching that first season.

Not even because I necessarily think it's bad. I think I just don't know. And my sensibilities have changed so much since we did that. I just, I look at everything and I go, oh, God, I would never do that now as an actor, as a writer, or any of it. I would never do any of that now. So it's hard for me to stand by it knowing

that I would never do that now. And yet somehow people keep watching it and I don't know why. I truly don't understand. Well, are there people out there do come across like fans who talk about like season one as being one of their favorite seasons? I don't know.

No, I don't think so. I think, I feel like people are like, oh, you're finding it. There's some great stuff in season one, some great moments, some great ideas about what the show is going to be. Wasn't this, yes, this was the season where we had Anheuser-Busch. They heard that we were making a show about a bar.

Oh my God. Yes, yes. And they were like, great, we're going to be the official beer of Patty's Bar. We're in, we're fully in. So we shot the whole first season with all this signage everywhere, with Anheuser-Busch and Bud Light signs everywhere.

And then we aired the first episode and the next day FX got a call. And they're like, we're fully out. We're fully out. And FX, because we already shot the entire season with all of the signage. And Anheuser-Busch was like, I'm sorry, we're out. Please blur it or we'll destroy it.

Yeah, we're out. And then our position was, fuck you. You guys had the scripts. You read the script. Then you should be fully in. And then FX was like, no, fuck you. But isn't it? We have a relationship with them, like Big Fox,

like News Corp had a big relationship with them for the Super Bowl and NFL football. And so we had to go in and digitally change them all to gobbledygook. Yeah, it was just like, yeah, beer. Isn't it weird though now to watch the show 15 years later and be like, Budweiser gets it. They were right.

They were right. They were right to get their asses out of there. They were like, no. When did Coors come on board? Because then they were like, Coors doesn't care. Coors came on board years later once audiences started to pick up on what we knew. So they were like, it's a better business plan.

It is, yeah. Let's wait until we know that people. Are people enjoying this? Yeah. Great, we'll advertise. Yeah, and I think our position was like, no, you guys don't understand, this is satire. And then they were like, I don't think you guys

know what satire is. And we were like, yeah, maybe not. We are too dumb. We'll show you then 15 years later. We did. Mr. Anderson, can you tell us what satire is? What is it? What even is it?

Get the fuck out of here, heck. I hear ya. So what else about this first episode that you guys remember? I remember I was extremely sick shooting all those Philly scenes that year. Well, you were always in a state of sick in terms of starving yourself, eating hot pepper.

Was that season two? That season two, because we do a whole lot of scenes. That's right. No, the first season, you hadn't lost your mind yet. Season one, we were all in the same trailer. And by trailer, I mean closet. One room, one teeny tiny little room. And yeah, we were all stuffed in there.

That was outrageous. That was outrageous. There's things that we didn't know we could ask for, like an office to write the show. Yeah, we didn't have an office. We didn't have an office. We were writing out of the house. We didn't have trailers.

We didn't have proper dressing rooms or trailers anywhere to go, just a room we shared. I didn't own a computer until the second season. So we would write on your computer, I would write my shit out on a yellow legal pad. You wrote a version of Charlie wants an abortion on a yellow legal pad. I did, didn't you?

I did at the Astrodiner. I still have that legal pad. Do you? I should turn it into an NFT. Oh my god, I actually have fungible. I actually have a whole notebook of all of our original notes and some shorthand episodes written and yeah, all kinds of shit.

Did we have an episode that we ended up scrapping? Yeah, I remember it was one of the first episodes that I was writing and it was an episode about Sweet D dating a Middle Eastern guy and us being convinced that he was a terrorist. Right. Just a typical, you know, sunny, you know, profiling episode. Yeah.

I don't remember why we ended up, maybe it just wasn't good enough. It probably just wasn't good enough. I didn't know what the fuck I was doing. I'd never written anything in my fucking life. It made no sense for me to be writing a television show. I still don't know why I'm allowed to do it.

Maybe that's why they didn't give us offices. Yeah. You guys know what they're doing and I'm going to get an office. I mean, I definitely didn't know what I was doing at all. It's crazy. Do you feel confident about writing an episode this year? Yeah.

Yeah, I do. I have a little bit of a better idea of how to do it, but still not totally sure. How about when we all got to know each other? Because people ask me this from time to time. They're like, when did you guys get to know each other? And I no longer know. I do.

I do. I remember meeting you, Rob, on a flight and we were both being flown out to test for a pilot. Mm-hmm. Glenn, I have no idea when I met you. I don't know. Talk Everlasting. Yeah, I do remember.

The Talk Everlasting audition. The Talk Everlasting audition was the first time I've met you. I thought that's when I might have met you. We were all there at the same time. They brought every guy that was living in New York City. I remember I walked back to NYU or somewhere with Chris Palaja after that audition.

Wait, then I walked with you. Because I remember walking to Subway. With Palaja? Yeah, with Palaja. And maybe you. You don't remember me? No, I kind of remember you, but that's such a vague. That's not a big.

Palaja was taller and much more striking. And then, true. But when did we hang again? Not until we were out. Well, so you and I both auditioned for that 80s show. Yes. Yes. And we came out to LA and we tested.

And what happened was we both tested for it. I was testing, though, for one character. And you were testing for my best friend. Yes, that's correct. And then you, this is actually funny, because I remember you were like, I got to get, you were going back to your hotel or something. You were like, I got to get back to my hotel

and I guess I'm going to call a cab. And I was like, oh, I'll drive you. And you were like, you have a car? And I was like, yeah, they gave me a rental car. And you were like, they did? Yeah. You were like surprised that they were like, oh, OK. You gave you a rental car.

The best friend character, the rental car. Yeah, exactly. I remember we were driving away from the Fox lot, which is so crazy. This is our car. Driving down Pico, I get a call from my agent, Stephanie Ritz, at the time, Endeavor. And you were also with Endeavor.

Stephanie calls me. She's like, you got it. You got the part. And I was like, oh my god, that's incredible. Holy shit. I just booked the lead in a half hour comedy. That's amazing. And I was like, actually, Charlie's right next to me.

You got any news for him? And there was like a little pause. And then she was like, yeah, put Charlie on. And then I just heard. And I handed you the phone. And I heard you like, uh-huh, uh-huh. Yeah, uh-huh. Yeah, no, that's cool.

I didn't fucking care. Yeah, yeah. You had tested for like 16 pilots. Yeah, by then I was like, this is what you do. You go, you read, they think you're weird. And then you lose. And then you lose. That's how it goes.

Rob, I have a distinct memory of you and I. So I used to record those IFC things. Oh, god. And coming up on IFC, it's Dario Erogentos, whatever. So being at a place called Buzzie's on Melrose, where I did all the things. And you met me. We had coffee across the street from Buzzie's.

And we had a conversation about like, we should just make our own fucking thing because we're sitting around waiting for. But was that after we had been hanging out at your apartment with you and Jimmy Simpson? And you guys showed us all those really super weird in-camera edited movies that you guys made in New York City. You and Jimmy Simpson and Nate Mooney and David Hornsby

and Logan Marshall Green made all these super weird, really fucking funny short movies. And I remember sitting there watching those with you, Rob. And both of us were like, oh my god, this shit is so fucking funny. You know, it's like, it was the 2000 equivalent of TikToks or like YouTube videos. Like there was no YouTube, so we just.

It was just for you guys, right? Just to show your friends. Yeah, yeah, just. But Jimmy did put a couple up on YouTube and I stand by them. I think they're super fine about this. Years and years later, yeah, I think so. But so that conversation, I don't remember

where in the timeline it happened. But it was very early. Before we were actually doing the show. Yes, before we were doing the show. And I was like writing screenplays and like trying to get. I remember that. I remember distinctly going over to Charlie and Jimmy's apartment with a bunch of actor friends of ours.

To do a reading of. Well-known, I'm sure, like, I mean, I know it was like a bunch of well-known people. Yeah. Pacino, yeah. Yeah, Pacino was there. Yeah, and De Niro was there. And then you knew Paul Thomas Anderson,

so you were by him. Yeah, he was there. Yeah, I had Booger there. No, but I remember like sitting around and doing it like a quote unquote table read, like just a round table read of. Billy Jean. Yeah, Billy Jean.

Yeah. Yeah. Did Lynn Collins play Billy Jean? Yes, yes. That's right. Yeah, Billy Jean is something I wrote with Bacchus. With Bacchus, yeah. And I remember it being pretty funny.

And I was like, oh, I think it was good. We can do this. But then it's so hard to get anything through to the machine. So you'd send it to somebody and they'd be like, oh, I'll read it. And then three weeks later, they'd just forget about it and that'd be the end of it. And so then you, you know, watching Charlie's home movies.

You'll just do it. You'll be like, what the fuck? We're waiting for somebody else. Let's just make it ourselves. Yeah. Also, the British office, the, like the running gun look of that, the cheap, the cheap look of it, to be like, oh, right.

And curb. And curb. And curb. Yeah. And the invention of that Panasonic DVX-100A. Like that camera looked like those shows. Yes. It was the first time that you could have

like a consumer grade camera that didn't look like a videotape like VHS. It looked like closer to what we understood as film. And so we thought, oh wow, we can fake this a little bit better. Yeah. So it was like the difference between like those home movies that I was doing with Jimmy,

he was doing those. We're shooting those on like a little tiny Sony digital thing that he'd gotten the money from the Amy Heckerling movie Loser. He had a big part in that. And he put like all his money into like renting an apartment that like the landlord was a crack at. It was above a grace papaya.

It smelled like hot dogs the whole time. And this video camera. But then the Panasonic, you shot something and you're like, but this looks like a TV show. Like a TV show. Yeah. Right. This looks professional.

Yes. Of course you look at it now and it looks like absolute trash. The shows always look terrible. At the time, it really felt like, wow, we can make something look good. And that look spilled over into the pilot that was shot with FX.

Yeah. And I remember us insisting, we came in, you know, guns blazing. We were like, this is how we want to shoot the show. And every director, everybody we talked to, were like, that's fucking great. You can't shoot it that way. That makes no sense.

And we were like, well, we can. Cause we just did. We did with nothing, with no resources. Yeah. No lights, no marks. No lights, no marks. And we even resisted in that whole first season, we did not allow our director of photography

to put marks down. And I think most people know what that is at this point probably. But it's a little piece of tape you put on the ground where the actor is supposed to stand. Cause the light is perfect for that. Yeah, the lights. Right.

You gotta be in focus. Or you're not gonna block the other actor in the shot. Right. Or you're not gonna catch the other camera if you got two cameras rolling or whatever. But I remember the main thing people took exception to is that we wanted to shoot three cameras at all times. We had one person shooting wide,

shooting a wide master. And then if it was a two person scene, we had somebody shooting, you know, say it was a scene between me and Rob. Maybe you're right. One camera on Rob, one camera on me, and one camera shooting the master. Even at the time, we were making our thing.

And then we would shoot, right? And then we would go and we'd look at it, cut together. And we'd be like, something's weird. They're just looking at each other. But it looks like one's looking in one direction, one's looking in the other. Oh, shit. But we had to figure out in real time.

Oh, we didn't know the line. That we didn't understand the line. Crossed the line? Yeah, like we just didn't know. We just started doing it. And now, and... I don't remember that. Yes.

I don't remember that either. In fact, if you look at the first one, there's some weird eye line things that don't make any sense. Or crossing the line. And we didn't know why because we had no fucking idea what we were doing. Yeah.

Also, we were not shooting it to sell it. I don't know where your head was at, but I know for me, I was like, oh, I just want to shoot a funny home movie like what Charlie and those guys did in New York and just to show people to make my friends laugh. And in my mind, it was like, we're shooting this little short film thing.

And then I remember we looked at it and we were like, it's weird. It feels like a TV show. Because that was not the original intention. No, no. It was to see something all the way through. Concerned we were with white balancing. Oh my God.

Yes, it was a lot of white balance. We got a white balance. We got a white balance. These cameras, man. This is everything. Otherwise, two shots don't look the same. Oh my God, that's right. At least we had the presence of mind.

At least we knew how to do that. We didn't know. We make it sound like we didn't know anything, but we knew some stuff. Oh, just the bare minimum. We had a boom. We knew enough to have a boom. No.

Well, we didn't have a real, we had a directional mic that we turned into a boom mic. That's a boom. We had a directional mic hanging from a broomstick. Yeah. It was a broom. We had a broom, I said. But did you hear?

Yeah. Yeah. What did you guys have for breakfast? This is what they, you know, want to hear about the show. They just want to hear this kind of shit. The rock would say what he had for breakfast. I had nothing. You didn't eat anything for breakfast?

No. What's the first? Are you intermittent fasting? You're wondering why you're having stomach problems. What time did you eat for the first time today? I ate for the first time today when we had lunch. Charlie. Did you have coffee?

I had a ton of coffee. Yeah. Yeah. But coffee doesn't really bother my stomach. Cheese. No, cheese, just cheese. We waited this clear. You can't drink.

Rob can't drink coffee. I don't drink coffee in the morning. I just sometimes I'll have breakfast, but today I didn't. I was running out the door. Okay. You know? What's, what kind of a woody bench? My bench has gone down significantly since COVID.

It got up. It got up there, but. I'd be, yeah. I have no idea. I have no idea what I can bench. No clue. Three chairs. I think it's okay for a 44 year old man not to know

what he can bench. I think it's best. Are you 45? I'm 45, yeah. Oh my God. I wasn't saying. So am I. Crazy.

So am I. Cut that. Cut that. Cut that. Cut that. 45. So weird. Hopefully I might.

Cut that. Cut that. Cut that. Yeah. How old were we when we started doing this check? 27 years old. I know I was 27 when we shot the original home movie. And then 28 when we shot the FX pilot.

Yeah. Right. So we like to think that we were like super young, but we really weren't. The Beatles had broken up by the time they were 26. Most people, most artists had done their best work. We're gonna start comparing ourselves to the Beatles.

We're gonna have a hard time here. No, we're gonna have a hard day as night. Oh. Yeah. Most artists, I would say, had probably done their best work by the time we started this show. They were like, well, past it. We were just warming up.

And that feels like a lifetime ago. You never wanna peak too soon, man. Cause it was. Yeah. Cause it was. Cause we're old. Well, we can't remember any of it, but that's the Pinot Grigio and the bourbon for me.

Pinot Grigio and bourbon. Well, I don't mix them together, but there was a period of my life, a good eight years why I drank Pinot Grigio. And I don't drink that anymore. I just drink bourbon now. Do you? You switched bourbon.

I switched to bourbon and I drink bourbon. I don't know you to be a bourbon. I wasn't a bourbon drinker until we all locked down for the global pandemic. Okay, we don't have to go into it on the podcast, but I wanna hear about the bourbons that you're into. Are you super into it? Are you drinking like-

I'm super into it, no. You are? Yeah, yeah, no. I've got a couple of recommendations for you. Okay, okay, maybe they'll be sponsors. Hey, yeah. You know what I really have been into is rye whiskey. I'll drink some rye.

I really like a, I don't know, it's something about rye. I don't like it when my liquors are too sweet. So like a lot of tequilas are too agave forward, if you will. I want a dry experience. I'd submit that some people do want to hear this, Charlie. No, no, no, I'm sure they do. I'm just trying to talk about something.

Yeah, yeah, I got it, I got it. 73 degrees out, how sunny. I was saying to us today the available Wi-Fi network is Fox and Friends. Just talking about your phone. Just talking about your phone. Just looking at your phone. Well guys, this has been fun.

I like talking about whiskey. Oh yeah, I thought that was cool. You ever had a Japanese whiskey? Yeah, yeah, yeah. Yeah, they're making some good ones these days. Yeah, I went to Japan, it was awesome. Oh, okay. Yeah.

Cool. You still have cats? Yeah, I got one. One of those cats is still alive? Yeah, being still alive, 19 years old. That's insane. She's old as shit. Yeah.

Yeah. Wow, I remember you getting those cats. Yeah, I'm surprised she hasn't had a heart attack from the dogs at this point, honestly. That's tough thing like 18 years into a cat's life, just bring in two dogs? Yeah, bring in a couple of dogs and yeah, they just want to gobble her up.

Cats like, what the fuck? What the fuck, man? What are you doing? Yeah, she, it's really funny. Every time she takes a shit, she's like, meow, meow. You might want to get that checked. You might want to get that.

Oh, there's no getting it checked at this point. It's like you're 19, everything's going to fucking her. But it like something, every time she takes a shit, she's like, meow, meow, meow. Sorry about your cat, man. Oh, no, have you talked to a vet? I'll take it in to get checked. Have you talked to a vet about this?

I mean, but is she in pain? I don't know what she's doing. She might be an ecstasy. Listen, guys, she might be, cut that, cut that, cut that, cut that, cut that, cut that. She might be an ecstasy, guys, she might be an ecstasy. So you're saying you can't tell the difference whether a female is in pain or an ecstasy.

Aren't they the same type? Cut that, cut that, cut that, cut that, cut that, cut that.