Another Pass at The Beatles Presents Magical Mystery Tour
Goo goo g'joob! Paul Kaminski joins Case and Sam to look at the wild Beatles movie “Magical Mystery Tour”! Can the Terrific Trio work wonders on the Fab Four’s fever dream of a film?
Are they the egg man?
Are they the walrus?
Paul is a part of the “Yesterday and Today” Beatles podcast, check it out here!
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Another Pass Full Episode Originally aired: June 9, 2022
Music by Vin Macri and Matt Brogan
Podcast Edited by Matt Storm
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⏱️ YouTube Chapters — Another Pass at The Beatles Presents Magical Mystery Tour
00:00 – “What the fuck is happening in this movie?”
00:41 – Intro & Guest Paul K Arrives
01:25 – Magical Mystery Tour as a “Drunk Movie”
02:35 – Growing Up in a Beatles Household
04:34 – Monty Python, British Weirdness & Beatles Influence
05:41 – George Harrison & Life of Brian
06:07 – Is There Actually a Plot?
08:22 – The Real Story Behind the Film’s Creation
10:51 – Art Film, Improv & Amateur Filmmaking
11:53 – Proto-Music Videos & Beatles Experimentation
13:08 – Why “I Am the Walrus” Rules
14:51 – George Harrison Looking Checked Out
16:23 – Beatles Burnout & Spiritualism
17:23 – Paul Is Dead Conspiracy Talk
19:01 – Comparing Beatles Movies & Richard Lester
20:17 – Why Creative Constraints Matter
21:35 – Ringo, Improv & The Chewing Scene From Hell
23:52 – Lennon’s Food Anxiety Dream Sequence
25:27 – Beatles as Wizards
26:00 – “To Your Left, Nothing Very Interesting…”
27:00 – The Movie’s Weird Relationship with Women
29:05 – Aunt Jessie & Ringo’s Dynamic
31:51 – Ringo’s Acting Career & Caveman
34:24 – The Movie’s Total Lack of Exposition
35:34 – The Drag Race Sequence Makes No Sense
38:36 – Ad Break
39:33 – How Would We Fix This Movie?
40:08 – Paul’s Pitch: They Needed an Editor
44:29 – Sam’s Pitch: Lean Into the Randomness
47:33 – The Entire Movie Happens Inside Paul’s Mind
49:13 – Case’s Pitch: MORE WIZARDS
52:21 – Is the Movie Better Because It’s Broken?
55:19 – Why Does the Movie End at a Strip Club?
57:53 – Give My Regards to Broad Street Comparison
59:59 – Beatles Legacy & Musical Influence
01:03:12 – The Beatles’ Arc as a Perfect Story
01:08:01 – Case Meets Paul McCartney
01:10:08 – Why Nostalgia Matters
01:11:40 – Final Thoughts on Magical Mystery Tour
01:11:51 – Paul’s Podcast Plugs
01:15:25 – Fandom, Friendship & the Internet
01:18:13 – Next Episode: Highlander 2: The Quickening
Transcript
00:00
Sam
I mean, other than it is a mystery tour and that is mysterious. And we are touring all the things that are a mystery to us, which is what the fuck is happening in this movie. It's kind of got like a Monty Python esque kind of rhythm to it too, with the way that the randomness comes in and comes out. And I don't want to say like it's inheritedly British, but it just, it has that feeling of like, where this is one wacky thing. And now here's a new wacky thing. You're welcome.
00:30
Paul
The Pythons were big Beatle fans. In fact, George Harrison said that the spirit of the Beatles was carried on into the 70s by not another band, but Python.
00:41
Case
Welcome to certain POV's Another Pass podcast with Case and Sam where we take another look at movies that we find fascinating but flawed.
00:50
Paul
Let's see how we could have fixed them.
00:55
Case
Hey everyone. Welcome back to another past podcast. I'm Case Aiken and as always, I am joined by my co host, Sam Alicea.
01:01
Sam
Hi, how are you?
01:02
Case
I am doing great. We are here to talk about a movie that I'm surprised I actually hadn't seen before. And now that I've seen it, I have no idea what we're doing here because this is going to be a weird conversation. We're talking about the Beatles Magical Mystery Tour. And for that we are joined by.
01:19
Paul
Paul K. Hi, how's it going? Glad to be here.
01:22
Sam
We're happy to have you, Paul, I hope that you understood what we watched.
01:25
Paul
Because, you know, I was happy that you decided to do this. And then as I was watching it last night and I became suddenly aware that I had inflicted this upon the both of you. And I tell you, it's one of my favorite drunk movies. Cause you can kind of turn off your brain and just enjoy the music and stuff.
01:47
Case
But I could see that.
01:48
Sam
Yeah, I can totally see that.
01:50
Paul
But it's. Yeah, it's a. I put movie in air quotes because it's really just kind of a series of things that happen at you. It's like, I don't know, Christopher Nolan without the Batman or something. It's just like things are happening at you.
02:02
Case
Yeah, it's a mumblecore movie, but without the benefit of being oppressively about the mundane. Yeah. And being shot on film. And though. So even though they shot 10 hours and they cut it down to 52 minutes, which is. I don't know what that actually means here because like I.
02:21
Paul
This.
02:21
Case
It's such A weird thing.
02:22
Paul
Yeah.
02:23
Case
I. I still feel that they were pressured into not having multiple takes of anything. Like, even though it was so much stuff, I think they were just doing, like, let's get something, and then we'll figure it out in post to the point of insanity.
02:35
Paul
Like, yeah, well, they're amateurs. I mean, I should give a bit of background here. Like, so I am. My dad is a famously obsessive Beatle fan, and I'm named Paul for a reason. I'm named after Paul McCartney. And my. My brother James is also named after Paul McCartney because his real name is James. And so we've.
02:53
Case
That's deep. Yeah.
02:56
Paul
So we've never known a household in our lives, my brother and I, without a Beetle Room in it. We have, you know, our bedrooms and things and this, and then there's the Beetle Room. And it's just, growing up, it was such a very normal thing that I find it abnormal now to say out loud to other human beings on planet Earth, because people look at me like you're looking at me right now. Which is. What the is that? Hey, can I swear on this?
03:22
Sam
Oh, absolutely.
03:24
Case
Right. I'm just wondering, did your dad have a cool Winnebago that he dressed up as the magical mystery tour bus and. Or yellow submarine?
03:31
Sam
Is that like every road trip? Because that would have been phenomenal. Just pick up random people and push you guys out to talk about military optics with cows. It'd be amazing.
03:41
Paul
That's a great scene, though. Victor Spinetti really sells that scene. But, yeah, so anyway, I come from this intense Beatle fandom, and, you know, were never for. It was never forced on us, but it was one of these things where we could. Or, you know, we could dabble to our, you know, mileage may vary kind of liking. And so I took to it. My brother took to it, too, but less. And. And so for me, I watch Magical Mystery Tour almost like a home movie. So they're like four weird uncles I never met, or, you know, something like that. And. And the music is just, you know, say what you will about the. The lack of a coherent anything in the film. The film itself. The music is pretty glorious in it. So, yeah, I don't know.
04:19
Paul
I'm able to kind of turn my brain off and just sort of, you know, wrap myself in it like a beadley blanket, as opposed to sort of watch it and study it and be involved in some sort of narrative. Because if you were to look for a narrative in this thing, you're not really gonna find one.
04:33
Case
No, not at all.
04:34
Sam
I mean, other than it is a mystery tour and that is mysterious and we are touring all the things that are a mystery to us, which is what the fuck is happening in this movie. It's kind of got like a Monty Python esque kind of rhythm to it too, with the way that the randomness comes in and comes out. I don't know, I don't want to say like it's inheritedly British, but it just, it has that feeling of like where this is one wacky thing. And now here's a new wacky thing. You're welcome.
05:04
Paul
The Pythons were big Beatle fans. In fact, George Harrison said that the spirit of the Beatles was carried on into the 70s by not another band but Python. And so it's interesting that you bring that up because they were. There is a, an interplay there. In fact, George, I'm not sure how, where you are his involvement in Python, but he bankrolled Life of Brian. If it wasn't for George Harrison, there'd be no life.
05:26
Case
Oh, no way.
05:27
Paul
He. He mortgaged his mansion to pay for it because EMI turned it down and George really wanted to see it and so he called it the most expensive movie ticket anyone has ever paid.
05:41
Case
I think we have a candidate for a fifth episode movie that we should talk about at some point in the future.
05:46
Sam
I agree. I love that movie. So I'm in.
05:49
Paul
He's in it too. He plays a wise man early in the film. It's a small cameo, like a blink and you'll miss it kind of cameo.
05:55
Case
Right. Also, George is just not the front man. He's not as distinct looking as Ringo. And John and Paul are just like we're the two faces of this D and D party.
06:06
Sam
Yeah, yeah.
06:07
Paul
So if you're looking for a narrative, there is kind of one in the sense of like Ringo and Aunt Jesse are sort of arguing and they're trying to sort out their own lives. And I guess by the end they make up drunkenly on the bus sort of.
06:22
Case
There, there is a scrupt, like there is like a basic thing that's going on here. The script is what McCartney called it, but a basic idea of a curb your enthusiasm style. Well, we know the beginning and the end. We have to like get to these moments kind of like beat structure, but that's it. And I, I think that's not by itself a bad thing. I think it is again, fighting an uphill battle because they're trying to be so goofy and weird that There isn't any sort of the. The tight structure you would want, you know, if you want, like, symbolism of this, like, supernatural thing or whatnot. But it's got amazing moments throughout and there is, like, theoretically a plot. And I think that was required because it was ultimately a TV movie that, like.
07:02
Case
And this is why I'm like, well, you can't just totally just check out or at least, like, say that the movie should just be allowed to check out. Because this is not the kind of movie where you can buy a ticket, take the ride kind of thing. Because you're not buying a ticket.
07:13
Sam
Right.
07:13
Case
It was being put out there on TV for people to be able to turn on and assume it wasn't just for ex, like, exclusively stoned Beatles fans. Yeah.
07:22
Paul
Aired in black and white on the.
07:24
Case
Right. I can't imagine seeing it in that version. Like, that's got to be the most, like. Yeah, like, downgraded version of a movie you could imagine.
07:31
Paul
Yeah. And they were pissed about it at the time. And they always bring up. By they. I mean the Beatles. They always brought up the fact that flying sequence just looks like a bunch of clouds if you're not watching it in color because they're tinting it and things.
07:44
Sam
Yeah.
07:45
Paul
Interestingly enough, that's B roll from Dr. Strangelove. That. And that this is true, that. That they're the movie producer that was sort of involved in their organization. Dennis o' Dell, liberated from whatever the studio they were at the time. I don't. I don't know if it was Twickenham, but it may have been. And so when you see all the clouds and shit, and even during the fool on the Hill scene, when you see the mountains and clouds, all that is Dr. Strange of B roll.
08:12
Case
Holy. I will say that as trepidations as I was at taking a stab at this movie, the fact that I knew that you were going to be our guest makes this work a lot better.
08:22
Paul
Sorry, I'm full of facts here, because, again, I lived and breathed this stuff, so I don't know how familiar you are with how Paul wrote the thing. I mean, it was basically McCartney's project. So, like, the Beatles stop touring, they start working on sergeant Pepper. They sort of take the Brian Wilson approach of, okay, we're just going to focus on the studio. And during the sergeant Pepper sessions, they start recording songs for this. And so Magical Mystery Tour was recorded during sergeant Pepper. And what happens is Paul goes on a trip, I think, actually to visit Brian Wilson in America. He was there with Mal Evans, their road manager, who appears in the film, he's the guy with the glasses and the bowler hat, the really tall guy.
09:00
Case
Yeah, I was really happy to see him every time he popped up because, like, they're like. It seems like a guy who's just like, I can't believe they're including me. This is great. Like, there's one shot of him on the tour bus where he just, like, kind of smiles when he catches the camera. And it's just like, oh, like, that means a lot for you, man.
09:18
Paul
Yeah. So he and Paul are sitting on this airplane, and Paul starts doodling this circle, and he is drawing lines on the circle. And all the lines are the scenes, and they go around the circle. And that's how the movie was. That's what the scrupt or what? That's what that was. It's just literally a circle. All right, this goes here, that goes there, that goes there. And that's all they had going into this. But they also have resources because they're the Beatles. So before. Before they started actually putting this project together, their manager, Brian Epstein, died. And suddenly they were in charge of their own business.
09:53
Paul
And so it was kind of a little like, Daddy had left or they, like, the kids were alone and, you know, they didn't really have any conception of doing anything other than to play music and beatles, I think was the quote. So Paul takes it upon himself to like, all right, boys, let's. Let's do it. You know, let's. You know, he tries to. Because he's the sort of leader, sort of one. And I mean, that. That traditionally fell to Lenin earlier in their career, but later on, you know, Paul really felt emboldened. Anyway, so this turned out to be kind of Paul's project. And when you look at it from that vantage point, you could look at it a number of ways. You could look at it as a vanity project, which I don't.
10:28
Paul
I sort of see it as kind of like a failed attempt at an art film that has enough merit where I don't care that it failed, and maybe even that means it succeeded or something, if that makes any sense. Because he's a big fan of, like, French films and all this and that, and you get that sense here. But then it's also like, but what is this? You know, they're just doing it to do it.
10:51
Case
Yeah. I feel like this would be more of a vanity project if it was a scripted thing where he hired a person to write it based on some like ideas he was throwing out there and like just paid people to put it together for him. And then, you know, like he would still put a lot of work into it, but like it would, you know, it wasn't this. Because I think like every conversation about like non scripted film is going to revolve around some sort of concept of like, how do we stitch together all these ideas that we have and all this footage that we're getting without necessarily having like it all planned out from the start. You know, like, there's a lot of stuff about documentary series, a lot of stuff about like city, Cape Cityscape series.
11:28
Case
And then when you get into this, which is, you know, still fictional, but it's like it's improv and they're trying to like stitch together all these things again, the way that it's now popular with stuff like curbed, but like that it, that's just earlier in the art form where people are trying to feel it out and like, you know, there's only so much available for people to see and sort of experience and like it feels cliche now, but this is the 60s. Who, who could just freely put this together and have a lot of people see it.
11:53
Sam
Yeah. And it's basically awesome music videos. I mean, this is like, you know, amazing music videos because it's like we're gonna take a stop on this tour and then we're gonna sing this song that we wrote for this movie and we're gonna give you some visuals along with it. And that's kind of incredible too because it's just like a smash up of all these things that eventually would become super popular later. Right. So Python and music videos on just their own.
12:22
Paul
Right? Yeah. And the Beatles pioneered a lot of that music video stuff even in advance of this a couple years earlier because they were being asked to appear on so many different TV series that they generated promotional films that they call promotional films that they would then send to the different places like Ed Sullivan or whoever. And so that was really the concept behind music videos anyway before they were a thing. And so this is an extension of that with just some weird shit in the middle.
12:51
Sam
Yeah, this is more of an extension experiment. It's like, well, we're already doing this. This whole thing could be a promotional video, like extravaganza. This is a tour. This is a tour of the album. We found the plot. We found the plot. This is the tour of the album. You're welcome.
13:08
Paul
And they're cool videos that, I mean, I Am the Walrus. I'm a. I'm a Paul guy. I'm a big Paul McCartney fan. But of my favorite Beatles, I think I Am the Walrus is my favorite Beatles song. Just because it's so big. Badass. It's. It's. On the surface, it's kind of wacky and goofy. But then like, when you really sit and listen to it's heavy. It's a heavy tune with this thick bass line and there's just something about. I'm just so endlessly captivated by that I Am the Walrus portion where it's. Again, it's just them playing, but there's a moment where Paul sort of throws his arm back and signals Ringo to come in. It's just so. I don't know, it's just the height of like cool to me.
13:46
Paul
It's just like those guys, those like four geniuses at the height of their powers, just looking cool and doing cool. Yeah. I don't know. Well, where do you.
13:57
Case
Yeah, I agree. I love that sequence. The only thing that I have about. Or only note I had about that specific sequence is that the circle that they sort of seem like framed in at the start of the video, I felt was supposed to be representative of a tire. And like, I kept on thinking like, because it just. It's a smash cut from them on the bus, it should have been cut to the exterior and then some kind of track. It doesn't even need to be like a close up, but like some kind of track or pan to one of the tires as it rolls and then cut to the circle like surrounding them. Yeah, like that. Like that's just the one thing that stuck out to me. But because I agree, I fucking love that scene. Like, I actually really.
14:34
Case
I think it's a great music video for its time. You know, like some stuff like George seems like so not into it when they're doing like the snapping bit right there.
14:45
Sam
Oh, yeah, there's definitely some.
14:47
Case
Like, you can see that there's like some cracks forming in the Beatles at this point in their career.
14:51
Sam
I mean, but it was like 10 hours edited. Who knows if they actually took like, you know, I mean, it's like, okay, already, I'm done with snapping. Are we good?
15:00
Case
I. I know. It's just we're all children of the 90s who grew up where like music videos were readily accessible before MTV stopped doing music videos altogether. And so we're like. It's just from a standpoint of like. Oh yeah, like the lexicon of. Of music video editing had gotten snappier and, like, the production values had increased by the time of, like, my awakening to them as a medium. And even if they're not really being made as much, although they're still. They're still being made just not with as much fanfare. Looking back at an older cut, you're like, oh, yeah, this is earlier. This is Middle English.
15:33
Paul
Yeah, yeah. Well, George looks largely checked out throughout the entire thing.
15:36
Case
And also true.
15:37
Paul
I don't think that is. I think that is representative of him during this particular project because his. His. At the time, his mind was sort of elsewhere. He had largely abandoned guitar at this point in. In his young life and was really studying sitar and writing songs on. On a. On a piano as our keyboard, as opposed to guitar, even. And so his mind just wasn't. He just wasn't there, really. And so that's not to say he still wasn't invested in being a beetle, but it was no longer, like, the priority in his life. He had, like. Even by that point, he had stopped taking acid and had shifted almost completely to spiritualism. So then to have, you know, Mr. Mr. Workaholic, Paul McCartney, thumbs up, like, okay, lads, we're going to get on a bus and we're going to fucking drive.
16:23
Paul
And then we're going to dress as wizards. And George is like, okay, you know, like, sure, fine. But then you see, like, Lenin. This is pre Yoko, although she was in the Orbit. They just weren't a thing yet. This is Lennon, also kind of checked out, not really understanding what he wants to do with his life, but still respecting his partner's ambition and trying to be supportive. There's a song on the White Album called Glass Onion, which in the White Album came out the following year. In that song, he says, here's another clue for you all. The walrus was Paul. And that's Lenin's way of saying Paul was the walrus there, in the sense that he was leading us during this particular time. So it's. It's just a strange time in their lives where they're.
17:12
Paul
They're becoming adults and they're getting to know what the rest of their whole existence is going to be. And you forget these, like, what, 26, 25.
17:21
Case
Right?
17:21
Sam
Yeah, yeah.
17:23
Paul
Babies.
17:23
Case
They're children. Yeah, yeah. The ones who are alive are definitely children. I. I want to drop the Paul is dead thing here, because I just, like, found it funny when I'm, like, watching it being like, wait, there's a black. Like, he has A black carnation at the end. Like, is that a Paul is dead thing? And like, quick Google check. I'm like, oh, yeah, people talk about that a lot. There's like. I read whole essays about, like, how you can dissect this movie for it. And it's just like. Like, I'm. I'm 100% on team. That's all just a weird fan theory that I don't know how the fuck that existed. But it is fascinating to me to see this thing from the 60s.
18:01
Paul
I know this weird aspect.
18:03
Case
Yeah.
18:04
Sam
Avril Lavigne is a clone.
18:05
Case
I mean, that's just too complicated.
18:09
Sam
It's. It's. It's gotta. It's gotta come back around again always.
18:13
Paul
But yeah, the carnation, that's definitely a thing. But it was. It was just because when Mal went to go buy the carnations, they had three red and one black. But also during that sequence, it's funny because Paul is really chewing the scenery and eating it up and he's doing a little dance and, oh, yeah, he gets the bouquet and all this right.
18:33
Case
At the very end, they all, like, strike a pose and then he doesn't keep it. He, like, starts making facial expressions, like, pump out the crowd. And I think that's just him kind of directing the scene, but, like, the way you would if you were on stage. But it is just really funny that's, like just a thing there. And I'm like, oh, yeah. There were these weird fan cultures in the 60s too. They just didn't have the Internet to make it even crazier.
18:58
Sam
That is fair. That is true. Absolutely.
19:01
Paul
Yeah. My wife, when. When I met my wife and were dating, she did a very patient, very wonderful gesture where she watched all of the Beatle films with him and Anthology, so she really went above and beyond. And so the first two are quite watchable. Hard Day's Night is a downright classic, I think, in a lot of sense. Richard Lester case. You appreciate Richard Lester.
19:23
Case
Yeah. No, when you first mentioned, I was like, oh, is this a Richard Lester movie? And then I was like, oh, it's not.
19:30
Paul
Help. Which is a little more slapstick, but which I love. And again, highly watchable. Another Richard Lester movie. Victor Spinetti in both of those, who's also in this film as the drill sergeant guy. And so, you know, she was getting accustomed to a certain kind of watching experience. And then we got to this one and. And my wife looked at. During the fool on the Hill thing, like, the joke became, Paul, look at me. How great I am. And I guess she watched this film and thought, oh, this is Paul McCartney's ego run wild. Which you can look at it from. From that vantage point. Again, I don't. But it's just funny to me that the contrast between the pre Epstein death and the post Epstein death was so noticeable, even to a somebody coming in completely fresh.
20:17
Case
Well, I think. I think we come back to. On this show so much is that it helps to have an editor, like, not necessarily like a film editor, but like someone who is like, providing creative feedback for you and. And also kind of putting their foot down sometimes. You know, A big part of the fifth movie episode or fifth episode movies that we do on the show started with Star wars where it's like, yeah, that first movie was recut because it was not in a place where people could watch it really when they did that first screening with all like, Lucas's UCLU fans or friends, like Brian De Palma was like, I have to rewrite your opening crawl, man. You know, all those like, film legends were like, we believe in you, George. We can see that you've got too much going on here.
21:02
Case
Like, you need to like, rein it in some spots. And that goes back even further because of budget and so forth. Like, a big thesis of the show is talking about how like, those constraints create better art. And that oftentimes the movies we talk about here were not constrained appropriately and that we tried. We try to provide those, like, little moments there to bottleneck some of the creativity so that it comes out a little bit at a more concentrated level than a little too broad. And that. That is this movie. There's just so much like no one's saying no, but no one's that invested.
21:35
Paul
No one's saying no. Well, Paul's invested. Paul is very invested, but he's.
21:39
Sam
Paul seems to be the only one invested. Is the thing is that like, everybody else is there. And I feel like out of the four, besides Paul, I feel like Ringo's in, but he's there to make terrible jokes. Like, he's just there to sit with. Not. And honestly, the old. The only thing I really hated about this movie was the chewing sounds.
21:58
Paul
Yeah.
22:00
Sam
And like, I hated it. Like, so I have a problem in general. I do not like to listen to people too. Like, I will put stuff. I will put a TV on or music on while I'm eating dinner because I do not want to hear the person next to me cheering. I have a. I have a problem with it. And so that was so difficult like, the slop of food, that didn't bother me as much as just hearing everyone chewing. And I was like, oh, my God, I'm gonna murder someone. Like, I, like, I was like, so.
22:30
Case
I gotta push back on you about that slop of food. Like that restaurant scene, man. Like, like rewatching it today. I was like. Because here's here. Here's why it's still a mystery. I have no idea what he was shoveling onto her table. Spaghetti. And like, it. Like. I know he keeps saying spaghetti, but it doesn't look like spaghetti.
22:47
Paul
Like, he's like, scaredy. Scaredy.
22:49
Case
Yeah. No, no, I caught what he was saying. I caught what they're pretending it's supposed to be, but there appears to be, like, pieces of paper in it. And it's just, like, really messing with me.
22:58
Sam
Yeah, it cut. It kind of looked more like a. Like a. Like a ground beef hash with, like, other objects you wouldn't want to eat or, like, dog food. It kind of like, had the consistency of that.
23:11
Case
There was a moment where I wondered if it was like, pureed lobster. Like, I was like, what the hell am I looking at here? And I realized that he's saying spaghetti. And, like, Occam's razor. It's probably just spaghetti. And that, like, the low quality, like, restoration that we have access to now is just, you know, it's just going to look weird.
23:27
Paul
I mean, it.
23:28
Sam
It sounds like. It sounds like wet pasta. Like, the sound of it. It sounds like wet pasta being slapped onto places. Again, I'm very sensitive to sound. So it sounds like wet pasta, but. And I guess that's maybe why, like, the chewing noises bothered me more, honestly. Just that entire scene. And. And Ringo looked like he was loving it. So good for him on selling it. But I hated it.
23:52
Paul
That was a dream John Lennon had, and they just wrote it into the movie. And it's interesting when you think about. He had eating issues. I don't know if they were ever diagnosed, but he went through periods of where he was very overweight and then very underweight. He was a yo. Like, I am, you know, and I'm always yoing up or yoing down. Speaking of curb. But so it's interesting that. That he was dreaming about an overabundance of food. So interest. Some interesting psychology there. But he, you know, he's really acting his heart out in this thing. Like, even though it's Paul's show, like when he plays the guy who sells Ringo the ticket at the beginning, and he's like, This, I don't know, he kind of sells it. He's a really good actor, John Lennon,.
24:39
Case
Well, particularly for the role he's playing here. I articulate Lennon in this as being, like, that guy who's in a D and D game and doesn't remember what happened in the last session, but, damn, is he going to commit to, like, his role in this session? Like. Like the guy who's there to have a good time and, like, yeah, hey, it's me, Adam Santer, on our. Our Discworld game. That's me. That's. That's by regard Shazam. Where every now and then you'll remember a crucial plot point and be, like, really invested in that moment and, like. Like, glom onto bits. And so, again, I'm just talking about me, but, like, that's Leonard in this movie. Yeah. Where he's like, you know, be really fucking weird if I just shovel spaghetti. Like. Like, you know, it'd be really funny.
25:17
Case
What if I'm the ticket taker and I'm, like, very, like. Like, flamboyantly, like, exercising my hands this whole time. Can we do my weird music video about eggs and walruses? I don't know.
25:26
Sam
Yes. Yes, we can.
25:27
Paul
He's. He's great as the. As the wizard, too, when he's wandering. I don't know if you. For some reason, he cracks me up when he's going around saying I couldn't find the sugar, but he tells everyone that he couldn't find the sugar. I tell you know, it's really funny.
25:41
Sam
The wizard moment was my favorite. If I'm gonna pick a fave, I'm pro Beatles dressed up like Wizard. I will. I support that kind of magic on this mystery tour.
25:53
Paul
Right. Where's the bulls?
25:55
Case
Yeah, no, I have a lot of thoughts about that one, which I'll get into in my pitch just as a spoiler for later.
26:00
Paul
Okay. Yeah.
26:02
Case
I will say my favorite scene, however, was just the very flat. Like, to your left, there's nothing very interesting, but to your right, and then smash cut to the flying bit. Honestly, I, like. I lost my shit every time I've seen this so far. I've watched this three times in preparation for this episode. Every single time, at least my shit at that moment. It's like the right type of delivery for the right type of weird. That's exactly why I'm here for this movie.
26:22
Paul
Yeah. So in the original TV broadcast that. That was included, but the. This. The love scene on the beach was cut.
26:29
Case
What?
26:30
Paul
Yes.
26:31
Case
Fuck that.
26:32
Paul
I know. Yeah. That was cut for some reason. I don't know why. It was for the TV broadcast. They. I don't know. They could trim it for time. Like, it's a short.
26:40
Case
She. She's not a skinny ingenue. We can't have her kiss someone.
26:43
Paul
I think that was probably it. And then, of course, bust the blood vessel. Who's hilarious as a character. He thinks he's the courier. It's very funny. But, yeah, I don't know why. Why the. I don't think they ever got an official explanation. But everyone assumes that was the reason, unfortunately.
27:00
Case
Can we talk about this movie's relationship with women? So the. The most egregious thing for me in this, outside. Outside of the fact that we're like. We have to have, like, some weird shots of Wendy Winters in a. Like in a bikini or in our underwear or whatnot. And have, like, weird lingering shots of that. Like, that's just the. The male gaze that's going on in this movie. But there's a dialogue choice that bugs me every time it happens where they keep on being like, it's, hi, may I? Or would you have an issue if I. And then they, like, try to, like. Like, talk to the woman sitting next to them. Even at times where it's not, like, talk over the person. Like, because the first time it's like. Like the photographer comes over to Paul and it's like, sure, like.
27:38
Case
Like, if you want to do something, you have to, like, talk past him or something. Like, maybe you could make a claim for that one, but Mr. Bloodvessel does it as well. And, like, there's just this element of being like, oh, everyone just thinks that's how you talk like that. Like, you ask permission for the man who may or may not have any connection with the person sitting next to them. If they can engage with that. And not only did all the actors, because they're all improving these lines, think that was the natural thing to say. All the production team filming it were like, oh, yeah. Like, that's the way you would handle that scene. That's fine. And, like, shot it and the editors left it in. So everyone fucking involved in this.
28:11
Case
And there's a lot of people involved were just like, that's the natural way that you talk to women. Or rather, don't talk to women. Talk to the men first to get permission to talk to the women. And, like, I don't like it.
28:21
Sam
Yeah, that was weird too. I think also with Ringo's aunt, the way that she's described is not very kind at all. And definitely some issues said about her weight and also her judgment in falling in love that was unneeded. I know. Like, it was like, oh, it's miss me funny. But I felt bad for her. I didn't. I didn't like. I'm not going to repeat it. You guys have to go watch the movie if you want to know what was said. But yeah, it was a little unkind to her weight and a little unkind to her ability to choose a mate. And. And the gentleman who she was like, kind of flirting with did not look very happy that she was flirting with him.
29:05
Paul
Yeah, the Aunt Jesse stuff. Yeah, through. Especially through. I was going to say a modern case, but that's not even. That's not even true. But like, yeah, the Jesse stuff is kind of problematic. I like that she's kind of at the center of it and they gave her a love story, you know, like that. I do. There's some. Some of her lines in exchange with Ringo are some of the funniest moments in the thing for me when they're talking on the bus and Ringo's like, you haven't been the same since Uncle Jack died. She's like, I know I haven't got Uncle Jack, have I? And that's pretty funny to me. And then he says at one point, and this is. This line is a little problematic. Problematic.
29:44
Case
But it's.
29:45
Paul
The joke is very funny where he's like, you should do a bit. A bit of knit and do you good. And she's like, who should I knit for? Should I knit for you? And Ringo just takes a beat and then turns to her and goes, no, don't knit for me. And then it's a smash cut away.
29:58
Case
And you're just. It's.
29:59
Paul
It was a very funny. They had, they had good chemistry.
30:02
Sam
Well, they do have, like. They seem to have a lot of fun together because even in, like, scenes afterwards, and even the fact. Even the back and forth about purchasing the ticket, you know, like, I bought the ticket. She's like, I paid for them. Like, they genuinely actually have a really good, like, improv back and forth between the two of them. So, yeah, I at least. I at least believe that they had a good time, even if mean things were said about her.
30:27
Paul
Yeah, yeah.
30:28
Case
And I feel like that's a strength of the actress because, like, Ringo is having a good time here, but I'm not convinced that he's quite working with the best possible script in his head. Like I just don't think he's the best improv person by himself. Like, the scene where he, like, blows up at her is like. It feels like. Like, for one thing, the cut starts a little too soon and ends a little too late. Like, they needed to cut into them in the middle of the argument, as opposed to him being like, all right, now I'm going to be mad. Now I'm going to be mad. And then.
30:57
Paul
Yeah. But he cracks up in the middle of it.
30:59
Case
Right,.
31:02
Paul
Right.
31:03
Case
Like, I. I like Ringo a lot. Like, I. I think he's, like, the butt of too many jokes. And I think that he is actually a strong drummer in. In the way that he is, like. But, yeah, I. I just don't think that this was, like, they got together his. His scenes appropriately, and the fact that they work so well is because he's riffing with a good partner.
31:25
Sam
Yes, absolutely. I. I agree with you. I mean, even in the example that was just given, he broke the first rule of improv. He said, no. Who should I knit for? It's yes and Ringo. Yes and no. Not for me. No. Who.
31:40
Paul
Who?
31:40
Sam
You have to supply someone. Ringo, you just killed it. That's why that was cut off, because there's no other place for it to go. Because he killed it. He broke that first rule.
31:51
Paul
You're breaking the rules.
31:52
Sam
Ringo, he's a rebel.
31:54
Paul
You know what's funny, though, is he was the one who went on to have kind of a fairly successful movie career. He's in a couple really good movies. Candy, he's in. He's also in the Magic Christian. That was a Peter Sellers film.
32:11
Case
Like, I think Ringo has good charisma in general, and I think, like, that does help some of the scenes. I just don't think he's, like, a good improv.
32:18
Paul
Yeah, yeah.
32:18
Case
I think if you. If you give him your lines or if it's. If it's not a script, like, not a, you know, not the pressure kind of scenario. Like, I think those are also good moments for him, you know, because, like, he's good on an interview also. But I think just here it's just, like, it's a little too much pressure to like, try to get, like. Like getting to the end point, but not knowing how he's getting there, particularly because they're not giving them lots of takes.
32:38
Paul
Right.
32:39
Case
Like, they're, again, still shooting this on film.
32:41
Paul
They're winging it. They're completely winging it. He is very good in caveman. If you've never seen Opposite his wife. Barbara Bach, a young Shelley Long and. Oh, fuck, what's the guy then? The Jaws three. The lead in Jaws three. The guy. Anyway, it doesn't matter. He's really funny in that. Of course, that entire movie is in I.
33:06
Case
Wait, Dennis Quaid.
33:06
Paul
Dennis Quaid. That's it. Thank you. There we go. I love that I got to Dennis Quaid from Jaws 3. But, yeah, so he is good.
33:13
Case
That's quite the pivot.
33:15
Paul
He's got his moments. Ringo does, but. But, yeah, Paul was actually famously the. The worst actor of the bunch, to the point where Richard Lester cut his solo scene in A Hard Day's Night. All of them get solo scenes, including Paul. But for some reason, Paul couldn't sell it and they wound up cutting it from the film.
33:33
Case
Yeah, but that was actually Paul.
33:34
Paul
Yeah, great.
33:35
Case
Sure.
33:40
Paul
I think I was talking about Ringo's acting. You know, he's quite good at it, the Ringo. I think it's just because he's got that natural charisma, you know. They all do.
33:50
Case
Yeah, but. Yeah, they all do, but in different ways, you know.
33:53
Sam
Yeah, he's very comfortable in front of a camera, too. Like, it's. It's very apparent that he's very comfortable with what he's doing. He's just, you know, his improv skills were not 100 there. And honestly, the scenes work. They're still, like, lovely. They're still engaging. He's still like. But. But his partner.
34:09
Case
Actual scenes, like, compared to, like, anything with Paul, where he's either, like, kind of quiet or just looking kind of smug at a lot of the. The spots.
34:16
Sam
Like, it's his brainchild in his brainchild. He is fantastic. Leave him alone.
34:24
Case
I don't know. I mean, like, just looking at this movie, like, I. I love all these vignettes. I think there's a lot of, like, fun to be had in it all. There's a lot of, like, good, surreal moments in it. But you had four ways to convey exposition in this movie. That was a, like, a televised event that was supposed to try, like, in theory, bring additional audience members to the Beatles. Like, the goal is to expand your audience with these kind of things. And they didn't do any of the following. They didn't have characters in scene actually conveying exposition with their dialogue. They didn't have a narrator that effectively did these things, or they did. They could have used more signs and set elements and so forth, and they could have used wizards. All four of these were in the movie.
35:03
Case
They just don't sufficiently set up an actual Plot.
35:07
Paul
It's.
35:07
Sam
That's fair.
35:09
Paul
Yeah. There is, like. Like the narration, I guess you could reason, like Lennon kind of narrative.
35:15
Case
Yeah. Yeah. It doesn't tie it all together.
35:18
Paul
It just happens.
35:19
Case
Yeah. Likewise, they. There. There is dialogue.
35:23
Paul
Yes.
35:23
Case
And every now and then you'll find out a specific character beat, but you won't get like, a larger, like, why are they on this bus moment ever throughout it all. Like, none of those are there.
35:32
Sam
They're just there for the tour.
35:34
Paul
That's right. Yeah. It was based on this thing, I guess, that you would do in Britain at the time. It was like very. Almost like an in joke where you would take these day trips and. And the. And couriers would drive people around on buses. And. And so it was. Looking at it now without any of that context is. You're especially lost. But I think they were banking on audiences in Britain because it wasn't even broadcast in America right away. It took years for it to get broadcast in America. They were. They were banking on audiences having that understanding of what a. Of it. What this tour was, and then putting the magic and the mystery in front of it was their way of explaining what it was.
36:17
Paul
I. I'm not saying any of this makes sense or was good, but what I'm saying is that's what they were doing.
36:23
Case
Like, I. And I get that. That it is that kind of a tour experience. Like, the, you know, like, I think that context clues are sufficient to explain that part of it all. It's just, you know, kind of weird. And that there isn't, like, an arc to anything happening here. And then there's like, the me in 2020 looking back and being like, God, like, times were so much boring back in the day. Like, I. I was thinking while I was watching this the third time, where it's like, is that why car culture got so big? Because it was a way that you could have a radio, like, you could go from point A to B and hear something that. At a time where you just couldn't do that because, like, the Walkman wasn't invented until the 80s.
37:01
Case
Like, just couldn't walk with music very comfortably. Yes.
37:04
Paul
I mean, George was very into car culture and all that stuff. I mean, it was bigger in America, obviously, but that Mini. That Mini Cooper he's racing in that random race sequence, which doesn't make any.
37:15
Case
Sense either, that no narrator conveys that no dialogue explains that no wizard does anything for. And that, unfortunately, there is, like, a sign, but it doesn't really mean anything.
37:26
Sam
I'm sorry. You have Never just shown up to a random town, realized that you, to get into a drag race, jumped in a car randomly or a tractor, and then just tried to beat the person in front of you. Because I have all of the time and I don't even have a license because I'm a native New Yorker.
37:42
Paul
Well then there's like the priests who are like booing the winners and it's.
37:46
Sam
Just, it's so, I mean, honestly, I, I was like headcanon. They were betting on that race and that's not who they had their money on.
37:55
Paul
It's a wacky sequence.
37:56
Case
I mean, this whole movie's wacky. I, I think that we're, we're gonna just like spin in circles. Being like, this is so weird, but also charming. Like, I like. My end result is I'm going to say, yeah, you should check out this movie if you like the Beatles. But if you don't like the Beatles, don't like. This isn't going to be the thing that like, sways you away from, like, into that category. Like, that's going to be like my summation of this all. Especially if you like to listen to the Beatles the way they intended at the later portion of their careers. That I think is a good way to appreciate this movie. But we should take a break where we shout out probably your show, but maybe some of the other shows on the network. We'll figure out which ad is running here.
38:36
Case
But we should talk about a podcast because there's so many things to listen to while you're driving or not while you're driving. Because we all have phones that can beam these into our brains now.
38:46
Sam
Wizards run those exactly with magic.
38:50
Case
I mean, like, have you seen how thin these tablets get? They like, they're doing 4K video on a thing that is almost as thin as paper. Who can like, I couldn't believe that in 2021.
39:00
Sam
No. Another pass brought to you everywhere. Wizards work your electronic devices.
39:06
Case
And when we come back, we'll have some pitches.
39:08
Paul
Hi, I'm Matt, aka Stormageddon, and I'm.
39:10
Case
The host of CPOV autographs@ certainpov.com it.
39:14
Paul
Is a bi weekly interview series where I interview folks from all over the arts, from writers to comedians to magicians to musicians, even actors, historians, podcasters, pretty much anyone who's willing to chat with me for a little bit. If you like interesting conversations with even more interesting people, go to certainpov.com or.
39:33
Case
Wherever you get your podcasts. And remember, music is life and life is good. And we're back. All right, so as we said, this is a movie that objectively, if you're a fan of the Beatles, is fine for, because it's a good thing to enjoy and whatnot. But as a piece of media that they're putting out there into the world, was not super coherent and is not really the thing that's going to draw people into Beatles fandom. So I am not allowed to go first. Paul, as our guest, would you like to go first in terms of spitballing suggestions for what could have been done to make it better? Or would you prefer Sam to go first?
40:08
Paul
I mean, I can go. I just, I don't like, I think, like what were saying, there was a lot of, well, the Beatles are brilliant, so this is probably going to be brilliant too. So let's just let them do what they're doing because they're. We know they're brilliant. So I'm sure anything they do will be equally as brilliant. And like were saying, like, that is not true. Like, you need an editor, you need somebody to bounce things off of. It's why Lennon McCartney works so well as a songwriting team. They were able to bounce things off of each other even when they were writing separately. They were writing understanding the other one was going to be hearing it. Therefore, they held themselves to a higher standard.
40:48
Paul
And Even in the 70s, when Lenin was still alive, that was true because Paul knew if he was putting out a record, Lenin was going to have ears on it and vice versa. And that healthy back and forth. That healthy. I don't know if it makes you self conscious or not. That's probably the wrong way to phrase it, but it's just a sounding border. And even if it's. Or a different perspective, none of that is here. And so what you have is an insulated incubator of ideas that has no. That has no ability to even understand what it is because the people who are making are complete amateurs at it. Like, even when the Beals were in the studio, they weren't doing it by themselves. They were there with George Martin, who's a seasoned producer.
41:34
Paul
So I guess the thing that they probably should have done is like bring in a Lester or bring in somebody's, some of these other folks that they knew and were friendly with at the time. And they were the Beatles, the most famous people on planet Earth. They knew everyone. They had all of these resources. Why wouldn't you bring in somebody to help with something like that? So that would probably be like, I Don't know. That's literally the only thing I could. I can say about it, because this isn't a movie in the traditional sense. It's more like. It acts as kind of like a home movie where the bloopers are baked into the thing. Thing they actively.
42:07
Case
Or a series of TikToks, even during.
42:10
Paul
I Am the Walrus, which I think, for me personally, I think is objectively a beautiful piece of film. But they keep like, the car. There's like a moment where a car goes by in the background and they keep all that stuff in and so it's. It reads like a fam. Like a home movie. And if you look at it from that vantage point, then don't touch it. It's just a home movie. It's a snapshot of these four guys at. That particular moment in their lives.
42:35
Case
But that makes more sense to keep the tick tocker thing going if they're influencers. Like, if you're invested in who they are and their existence beyond the. Beyond this specific creative work, but them as personalities. Like, it makes more sense as a movie actually now than it did then. And. But now it, like, it doesn't have the language to really, like, keep up with where we're at. Like, it's. A lot of spots are slow where it doesn't need to be. It's, you know, it's. It's 52 minutes and honestly could be 30 or less if you just want to get to the nuts and bolts of all of the scenes and like, all the effective points about it, which if you were making that today, you wouldn't have as one solid movie.
43:13
Case
You'd have it broken up into small things on TikTok or Instagram or whatever new app kids are into because you're a pop star and like that. And one who's like, really creative and does sketches in addition to the music bits that you're putting out there. But it's. Yeah, but it's not drawing audiences in at the time is again, the point I was making. Like, it's. It's for. If you're already invested in them.
43:32
Paul
Yeah. And. And at the time, the press used it as an example to say, aha. See, they're not perfect, you know, and they. And everyone jumped on it and really made a stink about how. How poorly received it was in. And, you know, it's important to remember, like, yeah, there. Even though their records are fairly immaculate, they were not infallible, like, obviously. And so it's just people love to tear celebrities down as much as build them up. And this was an excuse the press had to. To do that at the time.
44:03
Case
Yeah, I think that's really fair. Like, I, you know, like, clearly we just don't look back at it as fondly as most of the other Beatles material, so it's not going to be seen as a success, even if it's doing its job well enough. It just wasn't critically received well enough anyway. Yeah, so it was not super commercially viable, so it can't be seen a success, at least in that lens. So, yeah, it's weird to think about. Sam, what are your thoughts?
44:29
Sam
You know, I actually. Even though this movie is in many ways a confusing mass of randomness, I enjoyed it. But I also grew up on Monty Python, so I feel like, you know, the. The clear influence of. Of this film and projects like this on the brains of the crew that would become Monty Python. It's clearly stamped there. So, you know, I liked all the random things. I think there's just, like, things that needed to be cleaned up in terms of. I think that they should have used the narrator to kind of introduce some of the. I think what they needed was. Sorry, I'm. I'm as bad as this movie right now.
45:14
Sam
What they needed was they needed someone on set that understood improv and comedy so that they could have someone go, okay, like, this is the proper way that you lead into the next random thing, right? Because that's kind of what Monty Python does so well, is that they'll do callbacks all of a sudden. Like, it's one random thing that's happening, but someone will run in and they're from the other scene.
45:37
Case
This needs to be a herald, right? And it's not a herald.
45:39
Sam
This. This needs to, like, have someone come in. You know, like, no one expects the Spanish Inquisition. And so I think, like, had they had someone on set that was there with insight into, like, those beats and just connecting the songs and the vignettes together, whether it be via narration or through pop up of characters from the last scene or the new scene, because I think that there's a lot of really good things. There's a lot of, like, really good small ideas in this film. And so I think, like, had they just had someone who was good at that portion on set to kind of help polish the structure, the script, then I think that would have been much better also. Absolutely. For me, no chewing. No chewing at all. I cut it. No, I. They can have the spedy. They can.
46:32
Sam
You can have them say it. But. But I think it would almost be creepier to not have the chewing sounds and take that to another level and don't bother people like me who have a really hard time hearing it, who have earphones on while they're watching this and automatically feel disgusted. No chewing sounds, guys. None. Thank you. All right. That's how I'd fix it.
46:53
Paul
You know, I do worry, though, that if you started polishing this, you would start to see the com. All the holes, so much clearer, you know, like, because part. Part of me is like, yeah, like, yeah, let's use characters to transition from cg. And then I'm starting to think to myself, like, I don't know if they had it in them to do, to.
47:14
Sam
Flesh it out, you know, I. I wouldn't want that kind of polish. I want, like, the. Like, I want polish in the way that, like, it still feels random. So, like, you know, like in Monty Python, when, like, the giant porcupine shoots up and says something strange, like, that's a story for another day.
47:33
Case
I have that goddamn note. God damn it.
47:36
Sam
And then, sorry, Case. And then, like, just have them, like, jump in cars. Like, that's fine. But I just. You just need something to tell the audience that, like, we've turned the page. Like, the page has been turned, and this is just another. Because I'm in for the journey. I'm in for the. The tour. This is the tour. The tour is. The tour is a tour of Paul's mind. And it is weird and it is crazy, and. And actually, maybe the end should have been a musical. And you know what? Let's go full vanity with this. You know what, guys? This is on the spot. This. This is how I fix it. Same ending. Big. Everybody dancing. Paul's making his faces. Camera zooms in, and it zooms all the way in, and then you realize it zooms into his forehead.
48:28
Sam
The soundstage is in his head. You've been in Paul's head the whole time. That's why it made no sense. I fix this movie.
48:35
Paul
That is fucking awesome. I love that, because at that point, just go whole hog. I. Yeah. I am so into what you're saying.
48:45
Sam
He is the walrus. Embrace it. Embrace it. Do it. It is inception. It is Paul's inception. It is a show within the show of brains of Paul's mind. That's it. We're done.
48:58
Paul
You have given me, a lifelong Beatles fan, an all new headcanon about this. Like, I'm just gonna fill that blank in. Like, whenever I watch it again, Sam, my hat is off to you. That is fantastic.
49:11
Sam
Thank you.
49:13
Case
God damn it. All right, so we are on very similar beats here.
49:19
Sam
Case is now going to institute that I can no longer go before him.
49:23
Case
It's okay. It's okay. Because like. But here's my literal note where. Because I. I cite that there should be more voiceovers and some transitions and I say and some transitions like. And they had all kinds of adventures, but that's a story for a different day. And now in their travels, they came across etc, just as ways of the voiceover leading into the. The various scenes. But the main point, the main thesis of my. My pitch for how we could fix this movie is more wizards.
49:51
Paul
Well, hey now, that's great too.
49:53
Case
Yeah, so. And I don't think that these are mutually exclusive because they. Because the lead wizard can just be Paul, so we can still zoom into his head. But I think that we need some like, they. They show up 30 minutes into this movie. It's 52 minutes and they show up like three times. They are very big for how late they are introduced into the Saul. And I think that if you open the movie with some kind of framing device, either the wizards create the bus and they're like, now let's go see what like, and then track it because they're tracking its progress as it goes. So either that or you set up more of sort of a. A fantasy fables type by the beans for the giant beanstalk kind of scene with the magical mystery tour bus.
50:31
Case
Like, make it seem a little bit more magical. Like they walk into a shop and when they walk out and they turn around, it's gone. Like kind of moments. There's to like really sell that this is a magical thing and make like, make the courier and make Wendy Winters like a little bit more like fae in kind of nature. Like as if they're like these magical constructs that are like leading these people in this transformative magical experience. I think that the most of the bits work fine if you have a wizard being like the voiceover. Like, they have John being this voiceover and he doesn't do enough to sort of explain. Like, all right, and now we move on to this next moment. And they don't need to be big, deep explanations. I don't need all the facts. Like, I don't need like.
51:08
Case
But it can be a bridge for like, well, now they're going to like, someone proposed a test of strength or, you know, something like that for like, why we have this like, marathon game where it's like. And A race was suggested, you know, like, keep it like kind of fairy tale and so forth. So I think that's, that's a big part of it because then you can create a structure to the whole thing. Just like what Sam's saying. Like, we're like. I was coming from it, from being magicians. Sam's coming from it, from being like the Beatles literally making this in the studio. But yeah, but I think either way,.
51:34
Sam
This is a daydream. It's Paul's daydream. It's his fever dream daydream. Like you can even have them. Like, as it zooms out and zooms back in, you could have someone be like, Paul, Paul and end it on that. And then you boost the Paul is dead thing.
51:52
Case
I know. God, please come back to me, Paul.
51:57
Sam
The conspiracy lives on.
52:01
Paul
I love that you two made actual, real, tangible suggestions for this film. Whereas my suggestion was if you touch this at all, it is going to fall down. Like, my approach to this film is like it is a house of cards. The instant you touch it's done. It's dust in the wind. But you. I love both of these suggestions.
52:21
Case
See, I, I see where you're coming from. Paul K. As opposed to Paul McCartney. Like that the grittiness, like the sort of low production values are part of the appeal of the whole thing. Like the fact that it feels such like rogue filmmaking, like, is part of why it's like kind of cool. But I don't think that precludes you from doing post production things that could tie it all together. The fact that we have sketches and the fact that we have voiceovers means you could have, you know, put these through lines between it all to kind of get there. I have one other suggestion for how this should be structured, which is that I think that there's too many happy scenes of them on the bus at the beginning.
52:55
Case
And I think that one of the through lines should be that the experience of being on the bus is transformative and brings them joy and makes them appreciate their life. Because they have lots of like, somber shots of them just like kind of sitting there bored. Like they're like looking off and it's like nothing that interesting. Especially you could have those shots of when they're first leaving, like conventional space. But we know that there is that footage at least because, like, we see several shots of it and lead with those. And then where they start singing and like playing games and like, there's lots of like, fun, like little, like snippets. Of life moments in there. Those should happen like halfway. And then as we go further between destinations, they should come together as a community on this bus.
53:34
Case
Like there should be this like freeing, like I said, transformative aspect. You know, like earlier in the movie, it should be more they're sitting there bored and we zoom into their head and then we go into music video moments. Like those are the. When they're daydreaming and then the later stuff is like, as they're actually experiencing the magic of this mystery tour, that they are starting to come together as this group experiencing this like preternatural experience.
53:57
Sam
Yeah. Once you hit the drag race, everything should be wacky.
54:00
Paul
Yeah. I love that. I think they took baby steps in that direction. Like, Ringo and Aunt Jessie's relationship is kind of what you're describing, but it's so half hearted and not the point of it, you know?
54:14
Case
Right. It's all there. I just don't think that they ordered the scene, like because they had so much footage that they were trying to fit together. They like put a few too many happy scenes early.
54:21
Paul
Yeah, yeah.
54:22
Case
And they should have saved them for later. Like had it be an awkward bus ride at the beginning and have them get more into it. Like the reverse is have them be happy and then haggard at the end. But like, I don't think that's the vibe this movie is going for. Like, but like the bus ride is transformative. Like they are not the same people at the end in theory.
54:41
Sam
Yeah. And. And also Ringo and his aunt are the only people really expressing that journey even though the bus is full. So I think like, we need to have it from like a few more people on the bus, you know, kind of, if not fully, but like in facial expression as Keis described.
54:58
Paul
Yeah. And they don't. Again, I think there are baby steps. Like you get to the point where they're all drunk and singing and they're all actually drunk and singing in at the end there. And that's sort of like what you're describing a little bit. It's like they're sort of calm and then they sort of scooch in that direction. But again, like, again, what you. I think what case you said something about the scenes are kind of out of order.
55:19
Case
Yeah.
55:19
Paul
The fact that this thing kind of ends on the strip club thing is sort of baffling because it's like, what, why? What was that fun fact about that scene? That is the Bonzo Dog Doo Dah band playing a song called Death Cab.
55:36
Case
For Cutie for Cutie. Yeah.
55:37
Paul
Which is where Death Cab for Cutie got their name. So it's a subtle Beatle reference, which I always, in my head scream like, oh, my God, they know that song from that film that I feel like only I know, but. But it's so weird and random. And then they never show where the women go, like, they. They divide the men and the women. The men go to watch the strip club scene where. I don't know, but I think it's John, or maybe it's Bust a blood vessel, is furiously cleaning his glasses in a motion that looks an awful lot like he's.
56:07
Case
Oh, shit.
56:08
Sam
Yeah.
56:09
Case
I was just so shocked to have, like, the censored bar pop up. I was like, oh. Because I didn't think that they would, like, even have her, like, come at angle where, like, they would need it. I figured it was always going to be like, oh, she's, like, turned away. Or like some, you know, like someone else, like, obstructing a thing. Someone's head's in the way. Oh, no, that's the censored bar. I'm like, what the fuck?
56:27
Paul
But again, that's why it's smacks of, like, a student film or a home movie where it's just like, none of it. It's almost like people pretending they're making a film almost, in a way. Or they think that's what they need to do or something. It's not being thought of in the kinds of terms that you're thinking about it in. Which, again, I think are very helpful suggestions, but ones that would have fallen on deaf ears to the. The people making it at the time.
56:54
Case
You see, I think from the. Like, especially when we're talking about the edit standpoint, I think that one you could make work because I think, you know, sure, asking them to shoot additional scenes as wizards to try to set it up is, like, only going to have so much. Like, they have to agree to do it.
57:08
Paul
But.
57:08
Case
But at least, like, we know that there's a lot of footage. We know that they spent a lot of time on this bus. There's probably a lot of shots that are just not that interesting, even if it is. L. Just like before they call cut or like after they start rolling, but before they actually call action. Like, you have shots of people looking bored. Like that just is going to exist because every film has shots of someone looking bored on set. That's just the way it works. And it's not always. George. So, like. So you could, like, arrange those and then put the more animated ones. Like I think that's where an editor talking to them would actually have a chance of being like, hey, when this creates this cool through line for your Magical Mystery Tour.
57:45
Case
And that one I think might actually be received well, I don't know how much more effort they would put into it, but like, at least you could get that one in there and like have an arc.
57:53
Paul
Now if you want to see this movie with more of a structure like what you're describing, I don't recommend you watch this. But if you were feeling particularly self flagellating, you could watch Give My Regards to Broad street, which was Paul McCartney's 1984 motion picture Full length motion picture release, which again he wrote, didn't direct to this time, but wrote it. And it is equally not fondly looked at or commercially successful. But there is more structure in the traditional sense like what you're describing. And funnily enough, in the end, going back to what Sam said about her suggestion for Magical Mystery Tours, ending with it where it's Paul's in Paul's head. That's what they do there. It's a dream. And so they go in and they pull out and it's him dreaming this in traffic. Spoiler alert.
58:52
Paul
Sorry everybody, but so if you were interested in seeing what Magical Mystery Tour looks like with a bit more structure, it does exist. It was made in the 1980s and while I love it, people do not generally.
59:04
Case
Yeah. But that also is not the height of Paul McCartney's like stardom there. So probably lots of factors working from people appreciating it as much. I'm curious now. I'm gonna probably check it out.
59:16
Paul
I mean, look, I love, I. It was. Now believe it or not, he was still charting into the 80s because he was working with Michael Jackson at that time. But that was.
59:23
Case
Oh sure, they're all charting but like, but it's not Beetle Mania.
59:27
Sam
This is. There's probably definitely more voices or slightly more voices of possible dissenter, you know, healthy feedback.
59:35
Paul
Yeah, Lynn, his wife Linda was there like honey, maybe let somebody, maybe let somebody help you on this.
59:43
Case
Yeah. I mean no matter what, everyone's going to compare with like whatever their output of the 80s is to the Beatles. And yeah, like it's. Oh it's good, but it's not as good as like when you're at your prime. Okay. Like, oh, but it's a good step, guys.
59:59
Paul
I tell you, when I was a kid though, I Was very into Beatles as a kid. Nobody wanted to talk about Beatles, but I was very happy that there was Michael Jackson connection, because Michael Jackson was the coolest guy on the planet at the time when I was very little. And so I was just clinging to that. Like, look, see, my guy likes that guy. And in retrospect, it all looks terrible.
01:00:21
Case
Well, I mean, like, the nice thing about history or the passage of time is that history is cumulative. So we have the ability to access these things in a way that we didn't before. Like, you can just look it up on Spotify or any other, like, streaming platform and have access to it. Like, there have been a lot of things that have brought Beatles interest back. You know, like, I. I like my weird surge. This is such a fucking weird way. I got really into them because I saw the Cirque du Soleil show Love, which is great. And I was like, this is fucking dope. And I got the album and I was like, this is dope. And then I started reading up about how they, like, remixed and did, like, all this cool stuff with it. I'm like, that's incredible.
01:00:56
Case
And the fact that they had the parts, like, really interested me, and that, like, got me really into the Beatles for, like, really. Like, Paul, when I met you was like that. I was like, in the height of that, because, like, 2008, 2009, I was like, yeah, into the Beatles. But then there's, like, things like the. The Beatles Rock Band game that was, like, a big hit for a stretch there recently. We've had get back. Like, I feel like the Beatles have, like, had lots of moments to sort of, like, remind people, like, oh, yeah, this is a very foundational part of rock and roll and pop culture stardom in general. Like, the. The music scene of the world is so defined by what these four men did. Even the weird projects like these movies are things that we talk about still.
01:01:34
Case
Like, we talked about Spice World on this show, and we're comparing it to the Beatles movies of yesteryear. You know, like, there's a lot of comparisons to be made, and people are still making stuff with attractive musical performers in narrative roles as a way of promoting the vehicles that they're working on. That just keeps happening.
01:01:53
Paul
Yeah, the. Well, I. I just to speak to the broader legacy stuff you're talking about here, that's one thing I would say for this movie is, like, even though the move, the. The film itself feels a little dated, a lot dated, because it is very of its time it's very. It's like, quintessentially, like I was saying earlier, it's like a snapshot, a whole movie of 1967 for me. And again, I don't have all the objective vantage point on this, but when I hear Beatle music, especially as compared to other music, which I love from that era, like, say, the Monkees, there is something about Beatle music that feels timeless or relevant, I should say. Whereas some of the other music from that era has more of the dated quality of the. Of the broader sort of.
01:02:42
Paul
It's more of a snapshot of that particular time frame. So, yeah.
01:02:47
Case
Yeah, I can see that. Like, even things like I want to hold your hand, which is like the quintessential, like, TV pop song of, like, the early 60s, like, I think holds up better as. As being just, like, an independent piece of music than anything from, like, the early catalog of the Beach Boys.
01:03:01
Paul
Sure. Like, yeah.
01:03:03
Case
And, like, I love the Beach Boys. Like, but. But there's just an element of these songs where, like. Oh, yeah, I could still listen to that, and I could still have that on a playlist, and it wouldn't have to be, like, explicitly retro.
01:03:12
Paul
Yes. And. And the. Their career has such an arc. It has the arc you're describing that doesn't exist in this film. But their. Their arc starts, you know, very sort of naive. And then it. It has a. A moment in the middle period which this film takes place in, of self discovery. What are. What am I? Who am I? What are my tastes? Things get weird because experimentation is going on. And then by the end, when they split, they print the blueprint or they create the blueprint of modern music. Abbey Road, when you listen to that album, is very much a. Okay, and then here's what you go do with this. You know, they basically hand it to the world and say, all right, you want to continue. Continue to make pop music and rock music? Here's how you do it.
01:03:55
Paul
Because from Abbey Road, you get really, the birth of, like, Prague. And you also get some of the heavier moments and the rock operas of your sticks and later things. So it is. And then. And then they do. And then they go away. Then they disappear, and they fade into history. And it's. And they do it at a smart time where it's. If you were gonna write a movie about that band, you'd have them stop. They never had the moment where they overstay their welcome.
01:04:23
Paul
There's a beginning, a middle and an end to their story, which is, I think, why I find it so endlessly interesting and why I sit around listening to Beetle podcasts and producing Beetle podcasts and talking about it and communicating with it and sharing it with my daughter and all this and inflicting magical Mystery tour upon you nice people. It's.
01:04:42
Case
There's just something I want to emphasize I really enjoy. I have at several points in my notes I say I don't know what I'm watching, but that doesn't mean I didn't enjoy it.
01:04:53
Sam
Yeah, I liked everything except for the chewing.
01:04:57
Paul
I mean, I'm a little self conscious of it because I'm aware it is not objectively like a good movie. But I, I, I, I find it to be good in the this is good sense as opposed to this is like a good film. I don't know. It's just something positive about it.
01:05:12
Case
Yeah, the Beatles broken up in 69.
01:05:15
Paul
They formally disbanded in 70, but in 70 it was the fall of 69 when Lenin left but didn't announce it and then they sort of split and then McCartney wound up announcing it in the following spring and was vilified as the antagonist in the breakup.
01:05:32
Case
Yeah, you know, it's such a tight story of a band and they all had interesting stuff that they were doing after it. But like, you know, it's such a narrow window, like to think that they were. Because they made mainstream consciousness in what, like 58? Something like that.
01:05:45
Paul
Like 63 was Beatlemania in Britain. Their first records were released in 62.
01:05:52
Case
Oh, it was even that late. Like I was thinking that they at least had started like to have like a cult following.
01:05:56
Paul
Yeah, they met in 50. I think it was 58 that they met. But no, their cult following started in like sort of 1960. Yeah, you know, when they were.
01:06:04
Case
So that's just such a tight window. That's the point though. Like, like think about all the at like the musical acts that are still going from like the 80s now or like the other night, my wife, we're recording this during south by Southwest. My wife is there and she was packing for it and she was like on a 90s kick. So we like started putting on like different like poppy punk things from the mid-90s. And we switched to the Offspring. And I like made a joke about Pretty Fly for a White Guy, where I was thinking it was fairly early in their catalog and I was like, oh no wait, they started in 1984. What the fuck?
01:06:37
Case
They've been going for a long ass time before they did Pretty Fly for a White guy and I was like, no, but like, there's so many albums after and like, also true because they just, they've been going forever.
01:06:47
Paul
Like now we would like read it. Now we know why he was frosting those tips. They were great.
01:06:52
Case
Yeah, but you know, like the, like, there are so many acts that can just keep going decade after decade. But the Beatles all were in this like tight 10 year window of like being a thing and they have had such an impact on pop culture. It's incredible.
01:07:07
Paul
Yeah. And the fact that I, you know, they're still appealing to kids, you know, when you go to these shows and stuff, McCartney still tours, Ringo still tours. But when you go to these shows you do see a pretty wide range of people. And I met some really good friends in my life, my age and younger that were big Beatle fans. And it's kind of impressive, you know, I mean, I'm a fan of the solo stuff. I really, I kind of take it all as one piece. But. But yeah, it's really remarkable what they were able to do and I find it inspiring.
01:07:40
Case
I think that's a holistic take as opposed to trying to like gauge who had the best like post Beatles career. Just being like, this is what these four men were working on for that first decade and this is where they like branched off into. But it's all part of that world because I love me some George post Beetle stuff. Like, that's some great stuff. But, you know, there's a time and place for wings.
01:07:59
Paul
Big, big wings. Guys love Wings.
01:08:01
Case
Yeah. I met Paul McCartney once and I lost my shit. Like I had to.
01:08:05
Paul
I.
01:08:05
Case
He came to the show at New World Stages and I like showed him to his seat and I was like, this is so cool.
01:08:10
Paul
Are you shitting me? Really? Yeah.
01:08:13
Case
I forget what show it was. I want to say it was in Stage four, but I can't remember for sure.
01:08:16
Paul
So I've never had a close encounter with him. I, I've seen him many, many times and sometimes close, but I've never had that kind of an encounter. My dad did. My dad met him and got his autograph outside the Ed Sullivan Theater in New York after his MTV unplugged performance in 93 or 2, something like that. And then he actually met George outside of his house. George was out with his wife Olivia and the gardener working on the garden. And my dad and my mom were on their pilgrimage to England to see all the Beetle stuff. And they just saw him gardening and struck up a conversation. And this is in a world post, Lenin being murdered. And so the guard was up a little bit, but no, they got a photo together and the whole bit.
01:09:10
Paul
So my dad has had those experiences, which are great, but I've never. I'm jealous. That sounds very cool.
01:09:15
Case
I. I mean, like, it was like literally just being like, oh, no, you. It's four seats down still, you know. Yeah, it was him and George Takei. Those. Those were my two big ones from that particular job, stretch of my life. Also, Screech. Dustin diamond was around a lot.
01:09:32
Paul
Yeah, yeah. I did meet Decay. I mean, we're off on a big tangent, but yeah, I did. I was able to meet Decay once. I never met Screech.
01:09:38
Case
Theater fan, would show up for a bunch of stuff.
01:09:41
Paul
Mark Paul Gosler I met. I was. I saw him in a play and I waited for him after. It was me and a. Just a lot of ladies. And then the old PE man got a picture of the whole nine. I worshiped Zach Morris when I was a kid. Yeah, I shouldn't have. Terrible.
01:09:58
Case
He was so cool. And then, like, now there's like, series like, Zack Morris is trash, which if you're a Saved by the Bell fan and you want to have both your heart broken, but you'll laugh a lot, like, look it up on YouTube. Zack Morris is trash.
01:10:08
Paul
It is.
01:10:09
Case
And he is very funny. Yeah. Nostalgia. Nostalgia for all this stuff. And it's nice that we. All of our nostalgia isn't baked automatically into being specifically when were kids. You know, like, there's a lot of, like, 80s nostalgia for the people who are like, in the late 30s, early 40s, but there's like, plenty of nostalgia, 90s nostalgia, but there's also 60s nostalgia. And like, the fact that we can hold on to those moments that were important to people in the now and. And take it with us into the future shows at least that we're respecting the.
01:10:38
Paul
That.
01:10:39
Case
That culmination of history and. And that art and the. The pursuit of art and how things change and how, like, if you're around with a camera, like in the 60s, you're gonna make this, like, weird movie, and nowadays you'll make weird Instagram influencer. But, like, it's all still interesting stuff. And like, sure, we might want to be dismissive of it at the time because it's not as like, of specifically what the taste was in the 60s when this came out on TV or like, for us in our, like, adulthood, for like, what the kids are listening to or whatever. But, like, you know, it's gonna matter to people at some point and it matters to people now. And in the long run, we should be able to look back and be like, these mattered to those people and are important for that reason.
01:11:18
Case
So I'm glad to look at this movie. Like, I. I've really been meaning to go into the Beatles back catalog and look at all the stuff, and this is definitely. This definitely fits the MO of our show. Yeah, I'm really awesome. It truly is awesome. Like, there's so many just like, truly awesome moments and also like, kind of like awful connections of things, but. So, Paul, thank you for bringing this.
01:11:40
Sam
Yeah, thank you.
01:11:41
Paul
Yeah, this was wonderful. Thank you so much for having me.
01:11:43
Case
Paul, Give. Give all your plugs.
01:11:45
Paul
Go.
01:11:45
Case
Go into as much detail as you want, what you feel like. You can say you're an awesome guy doing cool stuff.
01:11:51
Paul
Thanks. Well, yeah, my day job's in comics. I work at dc and so I will endlessly plug DC Comics, of course, because myself and my colleagues, I think, are doing some pretty interesting work. But the main thing is I have a lot of podcasting. I have a lot of podcasts I work on. If you're interested in learning more about the Beatles and would like a sort of Ken Burnsy style look at their, you know, Beatle period and beyond. Right now we're in the middle of 1980. That is a podcast called the Yesterday and Today podcast. It's something that my dad put together using his collection over the PAT that he's accrued over the last few 50 years and has been building this project for over 30.
01:12:34
Paul
And I have sort of taken it and put it into podcast form, but it comes from my dad actually assembling the whole thing. So it goes through their entire lives, their entire careers, and it's. It's very detailed. So if you're interested in learning more, and I mean more, the Yesterday and Today podcast is the place to do that. And then I host a Third Man Records Jack White podcast called the Third Men with my brother James. And we've been at that, like, selling case earlier for about six years now, and we've gotten a lot of cool, exclusive interviews and things. If you're at all interested in, you know, Detroit music or just sort of modern rock, that's a great show. Check it out.
01:13:17
Paul
I also have a music program called Now Hear this, which is an album exchange podcast which I was doing with my friend Ryan, who's unfortunately no longer with us, but I have Carried on since. Since he passed. And not to make that particular part sad, it's quite a joyous podcast. But he and I met through Beatle circles, and. And so that was one friendship that just was really beautiful to me. And it came from Beatles. And so they do. You know, fandom is like that, right? It brings people. People together in some really fun and beautiful ways. So, anyway, that's those shows. And then I also produce a podcast called the Lucy and Annabelle show, which is hosted by Lucy Walsh, the daughter of Joe Walsh from the Eagles, and Annabel Jones, who's the daughter, Davy Jones from the Monkees.
01:14:06
Paul
And they talk about life as celebrity kids, and it's a really interesting look at what that life is like. And when your dad goes on tour or maybe has substance abuse issues or, you know, you're trying to start your own career and forging your own path, it's. It's a really fascinating program. The ladies are very candid in their opinions. And so anyway, yeah, that's the. Those are the main shows that I work on right now. And I'm also starting up a George Harrison podcast with the founder of Take It Away, which is a. One of the more successful, wonderful Paul McCartney podcasts out there. So I've got a lot of podcasting happening, and that was a lot.
01:14:47
Sam
I feel like I read that there.
01:14:49
Case
I. I feel like you would get along very well with Matt, our editor, who is the producer of so many podcasts, hosts a lot of podcasts himself, edits a bunch of stuff like, is just a very. A pod master.
01:15:05
Sam
And he does love.
01:15:06
Case
Many of those are music shows. Is the other part about that. I'm sure, like, he's probably yelling at us so much, being like, no, you don't understand the Beatles, especially me. He's, like, yelling at me like, Matt. Matt is yelling at me right now as he's editing this episode.
01:15:19
Sam
And I just want to say, as a person that always supports Matt, I'm sure all the yelling is justified.
01:15:25
Case
Absolutely. I don't know.
01:15:31
Paul
But.
01:15:31
Case
But Paul, you said one thing that I did think was, like, really a really good moment about where we are, just generally speaking, which is that how, like, fandom can bring people together. Like, we met because you were working at Archie Comics with a friend of mine, and then we just connected on social media. And because we have similar tastes, we would often just, like each other's posts a lot over, like, a decade. And like, we haven't, you know, like, we didn't know each other that well. And we haven't really, like, we're not, like, close, but, like, we've stayed, like, connected and, like, it's cool to chat with you about your interests in this, and I'm. I'm glad to. To get you on here.
01:16:03
Case
And it's, like, cool that social media, for all of its faults, is as close as we've gotten to us as humanity developing telepathy and, like, the ability to connect to people across the planet and, like, actually, like, have a meaningful interaction with. With people outside of just, like, your limited town. And that's really cool. I'm. I'm glad that you got a chance to plug here, Sam. What plugs do you have? Sorry, that transition was awful.
01:16:28
Sam
It was so bad. I. You can find me here despite, you know, cases, terrible plugs, and nowhere else, because I am a wizard living inside of Paul McCartney's head, and that's how I like it. But if you have any complaints about anything that was said today, especially anything that Case said that was incorrect about the Beatles, go listen to one of Paul's podcasts. But also you can find Case at.
01:16:52
Case
So you can find me on Twitter at Case Aiken. You can find the show at another pass. You can find more episodes of this show@ certainpow.com where you can also find a link to our Discord server. Come interact. Happy to chat with people. We're happy to interact. And I am happy to receive harsh criticism for my lack of musical awareness. I swear to God, I only got into music because I had a car and I was like, oh, I need to listen to something. And, like, talk radio wasn't cool at the time.
01:17:19
Sam
That is the saddest thing you have ever said on this podcast.
01:17:22
Case
I know before that it was just like the goofy movie soundtrack.
01:17:25
Sam
My heart is broken for you.
01:17:28
Case
But that is how I got into all rock and then eventually into other music in general. So, yeah, come yell at me, because I. I don't know that much about music. I would be happy to hear about it on our Discord server. There's a link in the description for this episode. There is going to be a link on our website, certainpov.com come at me, guys.
01:17:46
Paul
I think. I think I'm going to, because, and this is true, I am a white male in his 30s, so I have a lot to say on the Internet. When I'm not storming the Capitol, I'm complaining and being pedantic somewhere.
01:17:59
Case
Well, I. I am welcoming your pedantry. Come at me@ certainpov.com's Discord server. I welcome it. While you're there, you can find sneak peeks for this show. Sam, what are we talking about next time?
01:18:13
Sam
Next time we'll be talking about Highlander 2 the Quickening. But until then, if you enjoyed it, pass it on.
01:18:26
Case
Thanks for listening to Certain Point of.
01:18:28
Paul
View's Another Pass podcast. Don't miss an episode. Just subscribe and review the show on itunes. Just go to certainpov.com.
01:18:40
Sam
Another pass is a certain POV production. Our hosts are Sam, Alice and Case Aiken. The show is edited by Matt Storm. Our logo and episode art is by Case Aiken. Our intro theme is by Vin Mak Mockery, and our outro theme is by Matt Brogan.
01:18:55
Case
No, we've all been in worse spots in our lives.
01:18:57
Paul
It's.
01:18:57
Case
It's weird as we are technically adults, which is just so strange that we're like, oh, I pay my bills.
01:19:05
Sam
I'm an adult.
01:19:06
Case
Right, Exactly. We did. We have defined being an adult as paying bills.
01:19:09
Paul
Yeah, no, I could see that. I could see that. Yeah.
01:19:12
Sam
Because I don't. I don't fit the bill any other way.
01:19:14
Case
Right. But you pay the bill.
01:19:15
Sam
I do. And then I go out and buy a lightsaber.
01:19:21
Paul
Cpov.
01:19:23
Case
Certainpov. Com.