What Is From 'Cast? A Podcast About "From" on MGM+
MGM+ series From, is trippy, terrifying, and mysterious, with great characters and a Lost-meets-horror vibe to it. Come inside before it gets dark and listen along with Lizzie and Alex as we try to figure out what the hell is going on in From!
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What Is From 'Cast? A Podcast About "From" on MGM+
68 FROM MGM+ : "Becoming The Man with the Yellow Suit" w/ guest Douglas E. Hughes
#FROMily Send us a text today!
Douglas Hughes, affectionately known as the "Man in the Yellow Suit" from "From," joins Alex & Lizzie to What is FROM'Cast to share his whirlwind journey from theater school to the new role in FROM. With tales of last-minute casting calls and the adrenaline rush of preparing for a character in a short time frame, Douglas provides an insider's perspective on navigating the unpredictable world of television casting. We also reflect on our shared passion for the show's twists and turns, offering our own theories and insights into its mysterious plot.
The second season of "From" has sparked countless fan theories, and we dive into some of the most intriguing ones. We'll discuss the enigmatic "yellow man" and the painstaking process of dissecting each episode down to its costume and makeup details. Amidst the speculation, we reminisce about a serendipitous encounter with a real-life "yellow man" during a memorable cross-country bike trip, sharing how such experiences enrich our storytelling. As the series continues to captivate with its suspense and drama, we explore character arcs and potential plot twists that keep viewers on the edge of their seats.
Douglas Hughes isn’t just an actor; he's an accomplished playwright and a voiceover artist navigating the shifting landscape of modern media. From his theater days at the Shaw Festival to unexpected fame through '80s commercials, Douglas’s career is as multifaceted as it is inspiring. We discuss the changing face of television production, highlighting how streaming services have transformed narrative storytelling and elevated the medium. Wrapping up, we chat about the joys of writing and acting, the perks of global travel, and Doug's balance between screen and stage, offering thanks for his engaging insights and looking forward to his future creative endeavors.
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hmm, ah huh.
Speaker 2:Lizzie, what are you doing?
Speaker 3:I'm putting magnets on the fridge. What do you think I'm doing?
Speaker 2:Welcome to the show. My name is Alex. Say that again, I'm my name is Kate.
Speaker 3:I'm so sorry.
Speaker 2:I'm lizzie, why am I muted? And today we have the man of the hour when it comes to from the one and only douglas hughes, aka the man in the Yellow Suit. Welcome to the podcast and thank you so much for taking the time to talk to us.
Speaker 4:Thanks for having me. It's a pleasure to be here.
Speaker 2:Well, we got a lot to talk about young man and we have a lot to answer for I just want to thank everybody for an awesome season and, if you haven't already, if you want to go on to our website. We've got our poster, we've got some new From Miss for Christmas shirts and stickers and the time of this podcast. We're doing it over the holiday weekend. You can get a couple of bucks off and if you haven't already, you can always subscribe to the podcast. So that, all being said, now that we got all the particulars out of the way, welcome to the fromily, and we have heard so much about you. Now I just want you to understand. We didn't know about you until that, until we got to that, because we are week to week hearing about the man in the yellow jacket. So could you just take us through First off, how did you get the part and what led up to what happened?
Speaker 3:Wait a minute. Wait a minute. I want to add Were you the original voice that Jim heard?
Speaker 4:No.
Speaker 3:Okay.
Speaker 4:But I will get to that. I actually auditioned for the series before the first season and read for a couple of different characters and got called back for both of them and then didn't book anything. So I thought, oh well, that's that. And at the time I didn't have any streaming services at all, so I never got to see the series, which was a shame, because after reading these, these scenes for the audition, it was like, oh my God, this stuff is brilliant. I would love to do this, but I never, never did.
Speaker 4:And then this spring I got a call from my agent one day. She wanted to do a, an availability check from the middle of March to the middle of April. She said do you have anything going on? I'm like, no, I've got nothing going on. She said, okay, well, you know, just for the next four weeks, keep it open. And about three weeks went by and I didn't hear a word. So I thought, well, whatever it was, they must have cast it by now. And then I got offered a day's work on something. So I called my agent and she said yes, you're still being considered, don't do anything. I was like, okay, fine, and originally we weren't told what it was. I didn't know it was for From. It was just a random availability check and we were told that they were going to be casting from audition reels. So my agent sent my audition reel in and that was that.
Speaker 4:But then shortly after telling me, hang on, you're still being considered she called me back and she said OK, they actually want to do a Zoom audition this Saturday. This was late in the week, like Thursday, friday, and I said OK, and I said what's it for? And she said it's a series called From and I was like, oh my God. So you know, the tension just went like to here. I thought, okay, pressure's on. Of course it's a very short scene. I hooked up with them on Saturday afternoon.
Speaker 4:I think it was Jack. I'm pretty sure it was Jack. I can't remember, I couldn't see him. I could only see me on the computer, so who knows? Anyway, he had me do it a couple of times and that was it. I was in and out of there in about five minutes.
Speaker 4:About two hours later, my agent called and she said all right, you're on hold, which is normally the kiss of death. I mean, I can't tell you how many times I've been on hold. In fact, this happened to me last week. I was on hold for something and it went to somebody else, right. So I thought, great, thanks, thanks for ruining my day. And then, about 1030 that night, she called me and she said and then, about 10 30 that night, she called me and she said okay, you're booked, and it's just. It was like someone just said, yeah, that lottery ticket, yeah, you, you just matched all the numbers.
Speaker 4:And this was late saturday night and first thing monday morning I was on a flight to uh, to halifax. So I spent sunday frantically packing and signing up for Paramount Plus so that I could watch a couple of episodes and I thought, okay, I don't have a lot of time, so I was just going to watch the tops and tails of the first two seasons, which was all I had access to. So I watched the pilot and the finale of season one, and then the pilot, and then the first episode and the finale of season two, and that was it. And then I was there and suddenly on set and it was like somebody pinched me.
Speaker 3:Yes, oh my gosh, we are waiting for that call. We want to go so bad. But, yeah, I love the little stories behind getting the part, because it's just, it's just so magical you never know where it's going to lead. Um, and this show definitely needed, like that, one thing to focus on. That's the big bad, you know, um, um it. You know, like Alex said, we watch week to week and we podcasted at 10 PM on Sunday nights. We'd finish, you know, most times just before midnight and then the first thing that we would do is go watch the next week's episode, right, just because it's so fresh. You know, yeah, and both of us after that episode, that ending came out of nowhere, like I'm thinking it's going to end kind of happy a little bit. Oops, you killed off my gym. I did.
Speaker 4:And I have to say, when I got the script and I read the scene, I went it may be short, but it's pretty sweet. I mean people are going to freak when they see this.
Speaker 2:Yes, I'm going to tell you right now, doug and we're speaking with Doug Hughes, the man in yellow suit you know there's a couple of scenes in this, in this series this one, the scene with Jasmine, the other, one of the other monsters, and the scene with Smiley when he looks over the banister. And I gotta say it has really shaped all the monsters in the scariest way. And you know I'm not a horror fan, I admit it.
Speaker 4:Me neither.
Speaker 2:Neither one of us are. Let me just say I don't like it. We actually we became friends through the Walking Dead. With another horror show. Which is another, you know, drama that I kind of equate with horror. Yeah, and I think, whether it was a dream, whether it was real, whether it was whatever it was, jack and John know how to write a cliffhanger.
Speaker 4:Well, they know how to write, period. I mean, it was interesting. I was watching an interview with Scott earlier today talking about when he auditioned for Victor and uh, and he had his experience sounded almost identical to mine because, of course, they just send you the sides, they don't send the whole script, so you have no context to put this stuff in right. And uh, he said. I mean, I could have said the exact same thing myself. He said, you know, he got the script and looked at it and just from the brief scene that he was reading, without any context at all about the series, what it was about, anything, he said he was able to get a very strong sense of the tone of the piece, the emotional content, just a general, intuitive sense of what it was all about. And that's exactly what happened to me when I read it. And for a writer to be able to do that in a short scene like that, that just takes tremendous skill, tremendous skill. So my hat's off to John Griffin.
Speaker 4:In fact, when I was there on the day, I was so happy I got to meet him in person because I just went up to him and I said you're my freaking hero because I'm a writer myself and you know, I just I just marvel at the craft, you know, yeah, and Scott said another thing that I that is exactly the same as how I feel about it, and that is that the horror thing kind of takes a backseat to the relationships and the people. I mean, that's the thing that, really, that I focus on when I'm watching it. I mean, you know all that other stuff's going to happen, but it's all about the people and how they deal with this unbelievable trauma. And it's just such excellent writing. That's all I can say.
Speaker 3:And that's what pulled Alex and I into the Walking Dead. And when I started watching From, it was like just me alone in the world, because, you know, the first season was nothing and I mean nobody knew about it. You know, mean and I mean nobody knew about it, you know, and all I knew after watching it was that someone had to podcast about this. And that's how alex and I came to podcast about this show and I write as well, I have a zombie apocalypse series, despite the fact that I hate horror, but it's all about the relationships it's. It's like that. Stuff's just the background.
Speaker 3:That's the challenge at times, you know but, it's the focus of what do these people do in the face of all of that? And then so and that's what always gets me and that's a big reason why I really liked the show so much. It was so rich and so complex. And surprising, because I think Alex and you can confirm, but both of us watched the ending of your episode more than once that night and both of us had to be up early the next morning.
Speaker 2:It was definitely. It was definitely a WTF on the text, and then she didn't. I was ahead of her, but before we, because I do want to talk about some of the other projects that you did, because you've been in some pretty big franchises. Maybe it's one or two episodes, but you've been in some pretty big franchises that we love. Um, what information other than just slashing the slashing poor jim did you get about your character? Or, I know, jim, I know they're pretty close to the vest in terms of characters.
Speaker 4:Yeah, no, I had virtually nothing. What is in the scene is basically what I knew and again, because of John's writing, you can infer a great deal even from that very short scene, and again, my hat off to him for being able to do that, you know. So I didn't feel ill prepared or anything like that at all. I had a very good sense of. I mean, you know, you'd have to be an idiot not to figure out what's going on. So it was, it was pretty clear. I mean, I got a little direction from Jack in the audition, of course, but that was was pretty minimal, but so so to that point, um, have you had a chance to watch the whole season?
Speaker 2:I mean all the yes I've.
Speaker 4:As soon as, as soon as I booked this thing, I signed up for paramount. I mean, I know you were like they kind of get it.
Speaker 2:So you know, we asked the, we asked a bunch of the listeners. You know we have questions and most of them you can't answer, just because they're just, it's just no time. But in the first episode of the second season, when, when Harold Boyd is talking to Martin, he talks about this greater entity. Ok, do you believe, as a viewer, that the yellow man is that greater entity? The yellow man is that greater entity?
Speaker 4:Well, I have to admit, I'm not anywhere near as good at making the connections that everybody online seems to be when it comes to this series. No, I don't. Neither am I. Yeah, it's. I am amazed at what people have managed to put together and know that would never have crossed my mind. My only sense of this guy from reading the scene was okay, I don't know exactly where this guy fits in, but clearly he's upper management. Whoever he is, you know he's up there somewhere. I don't know if he's the number one guy or the number two or whatever, but yeah, I mean the mere fact that he can walk in here casually in the light of day says a lot you know, so yeah.
Speaker 4:I'll be very interested to see where it goes. Scott said another thing that really resonated with me, because it's exactly how I feel he was talking about. How you know, the members of the cast don't get a lot of advanced information of what's going on. They sort of find out when they get the script. And he said, you know it's one of the things I really love about the series is that the audience is finding out all of this stuff in the same, at the same time as the characters. Like it's all happening in real time, and sometimes as a viewer, you're a little ahead of what's going on or a little behind, but for the most part your experience is almost identical to what the people on screen are going through at the exact same time, and there's something about the immediacy of that that I think is really seductive, you know.
Speaker 3:Yeah, yeah, I mean, we just we just marvel like it. It's hard to not well, cause I do. I take it apart almost sometimes second by second, when I'm writing my notes. Like you know, I don't know if you've seen any of my videos I don't think that you're sitting there like, oh, what is Lucy doing? But the notes for each episode. It takes me all day. Sunday this is the first Sunday I've sort of had off. I've sort of had off and you know, I sit right where I'm sitting here and I sit there with the iPad and I'm like almost sometimes frame by frame or you know, line segment by line segment, because all of it is so finely nuanced and there is something like even in the inflection that you can pick up that is meaningful. I just can't get as deeply into the theories as all the fans do.
Speaker 3:I know it is shocking, but the way I end up doing it is I'll focus on something and I'll fit it in and it's like all right, there you go, I just send it off down the river. You know, sometimes I forget about it, sometimes I don't, but I'm not.
Speaker 2:Doug, if you step the wrong way, it means something. If you pick up to her, to me I could care less, and that's why I am so much like you. I have to go online and find some of these, these crazy theories, but I do want to go to that scene just in terms of how many days did it take? Or was it just a one off, or did you guys get in the first try, or you know? And how were the fx?
Speaker 4:we, we shot it in an afternoon really, um, yeah so two days.
Speaker 4:Well, I was there for two days because the first day I had to go and get all the makeup and and they had to work the costume and stuff and of course all that stuff had to get approval from jack. So that took a very long time and there was more of that. Actually, on the day, the morning of the the shoot, and I had to have a fight rehearsal with the fight director to work out what ian and I were going to be doing.
Speaker 3:So you know, all right, so that that, yeah, that's what I was thinking, because I mean, I work on set, so, like I've, you know, I see characters come in, come out, whatever, and know what they all go through, or some of them anyway but I thought that the fact that they picked this yellow um suit for you, um, it allows you to have an iconic man, uh name. Like back in Massachusetts, where I'm from, there's a yellow man and he wears yellow all the time and he's, you know, some older guy that just walks around all the time, but there, is a yellow man.
Speaker 2:It's your character. Maybe it's the same guy.
Speaker 4:You just reminded me of something. I don't know why I haven't made this connection before. Many years ago I did a bike trip across the United States and went from LA to St Augustine, Florida, and I was in New Orleans for Christmas and taking pictures around town and there was a guy dressed this tall, slim black guy with this beautiful yellow suit on and matching hat, just kind of posing and I thought, oh, I got to get a picture of this. I should, really I should post that.
Speaker 2:Yeah, yeah, nobody believe it. Nobody believe it.
Speaker 3:There's probably people that just stand out like that.
Speaker 2:That trip's probably a podcast unto itself, oh yeah. That, that, that must've been an interesting thing.
Speaker 4:This was seven weeks after 9-11. So, yeah, it was a very interesting trip.
Speaker 2:We, yeah, we, we, that's all. Like I said, that's a whole nother podcast. But in terms of, you know you've seen the show, I know, like you said, you're not as detailed. You said that you know the yellow suit. It was new when you got it and they really wanted to kind of do some different things with it, to kind of make it a little bit more rustic, if you want to call it oh.
Speaker 4:I knew they were going to break it down. I just found it ironic because of course they didn't get. I mean, I literally sent them my measurements, I think on Sunday, so they had like Monday to start putting this thing together, Tuesday to fit it on me, and then Wednesday we were shooting. So I mean, the clock was really ticking and this thing was, I had just had a made-to-measure suit, made last year, so I was able to send them an incredibly detailed list of measurements.
Speaker 4:So this beautiful women's suit that's absolutely made to measure, and the whole time they're fitting it on me I'm just thinking. You know, the irony of this is, as soon as they're done, they're going to take it and go throw it in the garbage for a little too much.
Speaker 2:Yeah, what did? What was the reaction of the cast um, the cast that was either on there that day or just in general behind the scenes, like oh my God, like what is going on?
Speaker 4:The only other people that I saw that day were Hannah and and Ian. Ok, yeah.
Speaker 4:I crossed paths with the boy in white as he was on his way to do something, but I don't even think we got a chance to introduce ourselves to one another. Yeah, that was it. And that's one of the strange things for me now, because watching all of this stuff online, you know I mean they call them the Frumily for a reason. It's clearly a really tight knit group and I still feel like an outsider because, you know, the only two people I've met are Hannah and Ian. So it's kind of a weird place to be Like the first. When we go back in in the new year, it's going to take that's going to be a bit of an adjustment, I think, you know sort of fitting into this really tight knit group.
Speaker 3:Well, but the thing was they we've had other actors from the show on and they've said the same thing that they've been on for a season and have just met, so-and-so. You know, and more than once. So I mean you know how these things go Like you could work forever, you could be the star of the show and still never work with one particular person. That everyone is talking about? Yeah, the suit like. The suit seems somewhat modern, considering the what the possible settlement time is for.
Speaker 4:I'm not entirely sure about that. Actually it's very loose fitting. I mean, it's a suit that you could plunk it into certain parts of the 20s, the 50s, maybe even the 30s, and it would still fit in, you know.
Speaker 3:That's what I'm thinking.
Speaker 4:Even the 90s, yeah it would still fit in.
Speaker 3:You know, that's what I'm thinking. It's like even the 90s, yeah, and but what I meant is that we've got the settlement over there. That is clearly like early colonial and, um, we think that you know it was those people we think we don't know it was those people that you know that did the sacrifice of the children.
Speaker 3:Right so it makes me wonder if your character updates his wardrobe. I kind of think he's the devil. You know like he almost like looked like Fred Sanford coming down that hill. You know from Sanford and son. You know, with the dirty suit and the dirty undershirt. You know, other than that you look pretty sharp.
Speaker 2:You look like you knew too much, and and I and I think I've said this from the beginning you guys are playing chess and the other end, the survivors are playing checkers. I mean, they're there're? You definitely have the hand, uh, the upper hand and everything. Um, you know, a lot happened in that in not in that episode we got so many answers and and one of the biggest problems that the fan base has had has been oh, we're not getting answers, we're just getting more questions. Well, if you didn't get enough answers on this one, then you're not watching the show. I mean, we had a character come back in Smiley, we had a rebirth, we had Fatima finally delivering, we had Sarah, you know, going to town, I mean, and then you show up and, yeah, I mean, what is your take on the whole world? Like, why do you think that, as an actor, slash, just regular person, what do you think they? Why are they there? Do you think they're going to get out?
Speaker 4:well, if they get out, that's the end of the show no, I understand, yeah, but I?
Speaker 4:I honestly don't know. I was making a joke on the day when I was there because I think there was a threat of an IATSE strike or something going on at the time, and I've got the perfect ending for the series. You have this big climactic scene with everybody that's still left in the town together and all of a sudden this convoy of transport trucks come in and it's all the IATSE guys saying it's OK, we settled, we can get you out of here, come on, get in the truck.
Speaker 2:That's perfect. That's perfect.
Speaker 3:Oh my God, yeah, those strikes. I mean work is still slow here, yeah, like slow. So we'll see what happens.
Speaker 2:Yeah, I mean Halifax in the winter just sounds like a, just sounds like a joy. So I mean you didn't have to, you didn't have to bear all that. Literally, you weren't at the table readings, you weren't on any of that stuff. So you know, a lot of the other actors were saying it was definitely a harsh season for them. I mean, going back to even Scott, scott wasn't even supposed to be in it, he was supposed to die in the first season. Really, oh yeah, no, I didn't know if you knew that. No, no idea, thank God he didn't, I know.
Speaker 4:I mean, he basically acted himself into a, into a permanent role and you know you couldn't think of the show without him. It's the most complicated, interesting, fully developed, challenging, mesmerizing role of them all. I take my hat off to him. I marvel at what he does with that role, because playing that kind of character, someone with that kind of depth, is such a challenge.
Speaker 2:So yeah, he, it's just yeah he's the best oh my god, it's hard because you it's amazing you talk to him in real life and he's just so like articulate and he's the exact opposite, uh, in the show. So, um, yeah, he's been very good to us, he's given us a lot of interviews and, yeah, we just love him to death.
Speaker 4:And I can't wait to meet him, because he just seems like a lovely guy, you know. Yeah he is.
Speaker 3:He really is. Just you know he's gotten some really complex scenes that he's had to play. You know beyond just you know what we normally see, and I'm wondering what's going to happen with you in that regard. I mean, are you just going to be a straight on bad guy?
Speaker 4:Who knows, who knows? You know, I have no idea and I probably won't until I get a script in my hands. Yeah, which is fine with me. I mean it's interesting. I said in another interview that I'd like to meet John and get some idea of you know what the character's future is going to be. But actually I'm not so much interested in that, I'm much more interested in his past. Yes, I would like to know everything I could get from John about where this character came from and, you know, doing a little research on my own in the meantime. But, yeah, I would be fascinated to hear what his idea of this guy is, because at this point, now that I know that he's going to be on, you know, fairly regularly, particularly, it was easy to fly blind with that one short scene.
Speaker 2:Right right.
Speaker 4:It may have been, but carrying a character through a whole season is a different thing.
Speaker 2:My prediction is that your character is the one that made the deal with the monsters that seems to be a popular thing.
Speaker 4:Yeah, I know I'm going out on a limb.
Speaker 2:I'm going a huge limb there. You know breaking news here. Alex says yeah, and you know it's just, it's so breaking. But but yeah, like I said back in back in season one episode, season two, episode one they they had really set it up and what up. And what really drives me nuts about this show in a good way is we probably have the answers in the opening thing. We just don't know what they mean yet, because that picture of the yellow man was sitting in front of us every week for three years now and we just had no idea what it means now, that's interesting.
Speaker 4:You should say that, because the only time I saw it was in episode two of this last season.
Speaker 2:Oh, was it. I have to re-look. I could be wrong.
Speaker 3:I think it's in the opening credits.
Speaker 4:I've looked as soon as we started. Okay, you have not seen it.
Speaker 2:You know what, After a while it all kind of blends in.
Speaker 4:Well, I'm not surprised. There's a lot of it, but no, I, there's a lot of it, but no, I think the only time.
Speaker 3:because, like you could have slapped me or you could have. You could have knocked me over with a feather. Oh my gosh, wait a minute. Yeah, because yeah, I don't think victor has seen the yellow man, and this was just what miranda was drawing. It was now. That makes sense, yeah yeah, you're, yeah.
Speaker 4:Now I'll tell you a little story about that image. After we finished shooting the scene, jack came up to me and he said I want to show you something. And he had that image of the man in yellow on his phone. And that's when he told me that he actually does a lot of those images himself. He drew them and I looked at it and I said well, you got the ears right at it and I said well, you got the ears right.
Speaker 3:Well, you know, people are pointing out that it looks like Randall.
Speaker 4:I don't, I don't see that myself. I mean, yeah, we both got sort of prominent ears, but trust me, if you put the two of us side by side, we don't look like each other at all.
Speaker 2:I know if you take off your shirt, you have washboard abs, just like he does. You don't have to. You can be modest. I mean you don't have to be that modest.
Speaker 4:I'll tell you, when I did have washboard abs, when I did that trip across the states, I lost about 15 pounds. I was eating about 5,000, 6,000 calories a day and I lost 15 pounds. I mean, I was a stick, and that was the first time in my life where it's like, hey, look at me, I got a six pack, there you go but that was 23 years ago.
Speaker 2:So well, it hasn't been that. Oh gosh, I didn't want to think about that. But, uh, but yeah, no, I mean, it's, it's, it's been, it's been great to figure out. You know, as, as lizzie likes to say, a puzzle show, and I just love the fact that they can always bring a new character on and change the story but at the same time keep it in the direction that they've been going, which I find really fascinating.
Speaker 4:Well, this harkens back to something you were saying earlier about some of the viewers being disappointed with this season because they weren't getting enough answers. And I mean, yes, that's an inherent some of the viewers being disappointed with this season because they weren't getting enough answers. And I mean, yes, that's an inherent part of the series. You know, unraveling the mystery, but for me, I'm not particularly concerned about that because I'm far more interested in the relationships and how they're developing. So, you know, even if a particular episode doesn't have a lot of reveals in it, I don't care. I'm much more interested in, you know, how boyd and donna are getting along and stuff like that, you know yes, that has been a fascinating watch.
Speaker 3:They go from fighting like they have an established grudge against each other and now she's crying in his arms. But even just her like like being so tough and now she's beyond vulnerable. It's scary.
Speaker 4:And I think that that that being underneath the tough exterior has been there kind of all along, and I think that's one of the great things about Liz and her portrayal of the of the character is that that's been apparent to me at least from from the get-go. It's like, you know, she's like a really old oak, very strong looking on the outside, but you know like there's a lot of damage involved.
Speaker 2:I mean that in the most respectful way. Now have you worked with it seems like the Canadian actor community is pretty, I mean tight in a sense of have you worked with any of the other actors in the cast, even though you didn't work with them during From, but have you worked with them before?
Speaker 4:I actually I actually spent a year with Cliff Saunders at Stratford. We worked together for a year and we were there and I'm trying to remember I may have actually been introduced to Liz, like at a party or something like that, you know, but this was 15 years ago, so I don't know. Yeah, but yeah, I know Cliff quite well. He's a great guy. I've never worked with Deb Grover, but we've known each other for quite some time. I've seen her and stuff and she's seen me and stuff, but we've never actually worked together. But that's it. Everybody else is is new, you know work together, but that's it.
Speaker 3:Everybody else is. Uh is new, you know, wow, wow, that's interesting.
Speaker 2:I mean cliff's death was pretty interesting. Oh wow, um yeah, yeah, you were not nice to cliff damn it, you were not nice to him.
Speaker 4:Yeah, I sent him a note after I saw that. I said just saw episode five. Cliff, you rock. Yeah.
Speaker 3:The greatest thing I think to come out of this show is exposing all these extremely talented Canadian actors.
Speaker 4:I can't say enough about the stable of actors in this show. I mean, for me this show kind of fires on all cylinders from a writing point of view, a direction point of view, an art direction point of view, and the cast. I just I'm thrilled to be a part of such a great stable of actors, you know.
Speaker 2:Yeah, lizzie, you know it's going to be interesting five, 10, 15 years down the road to see some of these actors who, for a lot of them, this is where they're getting their start for a bunch of them, and to see them become these bigger actors and you can say, oh, we knew them when, um, and it's just, it's. I mean obviously, the heralds and the, you know, the, the ians, I mean they're already established stars. But but you have someone like Hannah who is just, I mean she was a, she is, she was a child actor. Now she's transitioning. I mean she was, this was a big season for her.
Speaker 2:I mean they had a lot of. And I have to say, I think one of the biggest problems with this season I know I use that word is this was a hard season to watch in terms of there was not a lot of, not a lot of happiness. No, indeed, I mean it was. It was like okay, can we just get beat over the head again this week?
Speaker 3:um, I was there for it. I was like, let's go yeah, well, I, I just.
Speaker 2:I mean, I think coming out of the gate Killing a beloved character didn't help, and then it just went from worse to whatever it. I mean, the most satisfying thing was you showing up, because at least we have some kind of answer, even though it's not an answer yet. Yeah, yeah, because I think we've only been in fromville for like a month.
Speaker 3:Yeah, it's. I've got to get on that and figure it out.
Speaker 2:It's not been very long that we've like the time span that that from the matthews being there to where we are today, is not that long really, because it, my sense of it is, is considerably longer than that, but who knows you? Know, yeah, it seems like it has.
Speaker 3:But yeah I've gone through and counted days as I do rewatches at the end of season one. We're only up to day nine and then, um, when the trio is knocked out with the cicadas, like that is a four day thing, that's like the biggest time jump in. That whole in the whole series is four days.
Speaker 4:Yeah, you know, seeing the seasons change um, which of course they don't have any control over it, does sort of give you a sense that you know maybe more time has gone, gone on than that, of give you a sense that you know maybe more time has gone on than that. But again, who knows?
Speaker 2:you know, I think the best thing that happened and the worst thing that happened was the strike for the show In the sense of it turned. It flipped the script because you didn't want to. Who wants to film in Nova Scotia in the winter? But it really created a whole new angle to this show that, um, I think has been absolutely awesome. Um, yeah, I mean, I think they've done a great job with with, with the elements and and making making winter its own character, so to speak yeah, although I suspect they're probably going to wait till the weather gets a little better next year before they start but I don't know again, I have no idea.
Speaker 2:And that's why they said 2026 and, and you know, as they usually, they usually release in the february area. So that gives them from spring to some, or spring to fall to to to. You know, do their, do what they need to do, do all the editing to drop it. So I think they just want to get back to that, um, as a and again as a person on the outside looking in, because you know I'm, I'm breaking news left and right here, you know it's all this stuff so well.
Speaker 4:I keep seeing online all these people going oh my god, I can't wait two years. Well, it's not going to be two years, it's going to be. You know, it's almost 2025 and it's going to come out in early 2026, so it's a little more than a year and I mean we got to shoot the damn thing, you know.
Speaker 2:So yeah how dare you? How dare you? You know it's not like it just happens like that, but that actually is an interesting point. You know, we're all a little bit more seasoned people and we're used to actually having seasons and we're also used to breaks, and you know, nowadays with streaming services, everything gets dropped all at once. I mean, what Jack and John have done is they've really created an old-time, you know network show. The only problem is we're not dealing with 20 episodes, we're only dealing with 10, which is something that I have a problem with. But you know, that's just the way of, that's just the way of the shows these days, because of the budgets and everything else, but exactly.
Speaker 4:It's. The whole streaming thing has really had a profound effect on how stuff is produced these days it absolutely has.
Speaker 3:I like the. I don't like the shorter seasons, in that I always want more, more, more. But what I do like is that the quality of shows have has just increased. Like it used to be shameful and embarrassing to say that you watch television. You know, when we were just dealing with the, the three networks, and those three networks just don't seem to have um, gone beyond. You know that model.
Speaker 3:But when all of this cable stuff started and stories became like 3d, and intense and like so worth the investment and I'm I'm glad of it like there's so much good television now. You know like I was always a television person always well, I don't know.
Speaker 4:I don't know if this has anything to do with it or not, and I don't really know what the situation is as far as the network is concerned, but I get the impression that John and Jack and the other writers who contribute have a tremendous amount of control over the scripts.
Speaker 4:And it reminds me of something my writing partner told me about years ago. She went to a conference out in Banff, alberta. It was some TV and film industry conference and there was a woman there from the BBC who was a guest speaker and she gave this speech and then she was taking questions afterwards and one of the people in the audience, most of whom were from Hollywood, said what is it about the way you people create the audience? Most of whom were from Hollywood said what is it about the way you people create stuff that you know the quality is always so excellent, like what is it that you're doing differently? And she said oh, I can answer that very easily.
Speaker 4:She said the scripts that we get from the screenwriters. That's what we shoot. And everybody out in the audience from Hollywood was going you know what about those 20 pairs of hands that all the scripts have to go through? No, no, we don't do that Now. I understand it's not necessarily the case anymore in the UK, but this is 20 years ago maybe, but but I just found that really interesting when she told me that story.
Speaker 3:Yeah, I mean it's true, like at least now the gloves are off, the fences are down and we can actually fully explore things, and it's not in an effort to be graphic in any way, but it's just the quality and the intensity. That's like I just the scene that you came in on, I just don't like that would have been so tame in comparison in the old days and you know I watched it, the show this year.
Speaker 2:I mean we've had some. The monsters are crazy. This year we've had more like attacks with the monsters and like that scene with. You know, patrick is the, the fx guy.
Speaker 4:I mean he went nuts this year compared to the last two seasons I have to say that scene where boyd was handcuffed to the pole and had to watch them, you know tearing apart Mrs Blue. Oh God, it just my heart was in my.
Speaker 2:It's your fault by the way Sorry, you're responsible for that. I want you to know we're holding you personally.
Speaker 4:I know it's all my fault, all of that.
Speaker 2:I hope you're, I hope you're happy with yourself, funny though it's. Funny because we saw the trailer. Then they had a second trailer and it drives me nuts because we watch these trailers and then there's all the explainer videos, right, that are explaining the trailer, and we both say this all the time it's purposely making us go into a direction that we we shouldn't go in, because that's what the trailer does, and and then we find out what it actually was and all the scenes and how they were flip-flopped and everything else, and and turned around and you're like, oh and, and that's why I, I, yes, I love talking about the show, but sometimes you just got to, you know, have your drink of choice and just like wait to see what happens. You know, betty Savio said it the best it's going to be a bumpy ride. You know it's there you go.
Speaker 4:Well, and it's funny, you should use that phrase because I used it myself in context too. Well, actually I was talking to a friend who hadn't seen this episode yet and, uh, I was quoting. It was from one of the harry potter uh movies, the one where he takes the night bus. Yes, there's this little jamaican shrunken head at the top. It's gonna be a bumpy ride. I was passing that on to my friend, saying yeah now.
Speaker 2:Now, doug, I'm so glad that you brought up harry potter, because I usually weave it in to every single podcast. I'm just such a not a huge harry potter fan, but it's a, it's a big part of our life. At my life, I should say, um, and I just love the fact that you brought that up, but I do. Before we get into any more about from, I do want to talk about a couple of your other projects that you've done in the past. You've been involved with a couple of franchises that are pretty close to our listeners hearts, and you know one of in one episode. But can you kind of just give us a little experience of what your experience was on Umbrella Academy?
Speaker 4:That was a really interesting one. I've never seen the show myself Again. Until From came along, I literally had no streaming services. I got Disney Plus for a while so I could watch only murders in the building primarily, but the whole streaming world is like completely beyond me. So I went into that absolutely blind. I had no idea what the series was about. I mean, what we were shooting. It was the teaser at the top of an episode and it was essentially a commercial. But there was so much tech involved. As brief as it is, it took us, I think, about three days to shoot all of that. It was really really complicated technically, but the director was a great guy and and and it was a fun experience. But you know, I really kind of had no idea what what it was all about, right, right right, no.
Speaker 2:And again, like I said, I mean I've seen you in Lock and Key, which are we? Not we, but the podcast network that we're part of. They, uh, they podcast on it and um, I'm just looking through it and it just seems like you know you've done a lot of different things in terms of characters. What type of character do you enjoy the most? I know it's the last one, it's well, yeah, yeah, this one.
Speaker 4:Uh, you know, well, I know it's the last one, it's well, yeah, yeah, this one. Well, I mean, it's really too early to say with this one, because I mean it's a minute and a half, for God's sake. So, yeah, I mean, don't get me wrong, this is. I see this as manna from heaven. You know this thing, but but it's really too early to comment on this one.
Speaker 2:Yeah, of course there have been lots of things.
Speaker 4:I mean, I was just thinking about this earlier today. You know that right from the get-go, even when I was in theater school, it was like I was getting told all right, kid, you're a character actor, Get over it. Right now, that's what you're going to be. The problem with being a character actor is nobody writes a lot of character roles for 20 year olds. So when I got out of school, there wasn't a lot of work to be had because, you know, it's just wasn't. Those kinds of roles just didn't exist, you know. So it took a while and I always knew this was going to be the case.
Speaker 4:I never had any illusions about becoming an overnight sensation. I thought my career is going to be a very slow, gradual, incrementally building kind of thing, and if I get to the point where I'm working regularly, I'll be happy. You know, yeah, and and and. That's kind of how things have borne out. And I was at the Shaw Festival for 13 years and, for those who don't know, the Shaw Festival is a repertory theater company in Southern Ontario. It is the second largest repertory theater company in North America, the largest being the Stratford Festival, which is also in southern Ontario.
Speaker 4:But, the time there at Shaw was amazing because I got to do such an incredible variety of not just roles but genres, periods, accents, you name it. Then they started throwing me in the musicals just to keep me on my toes, you name it, you know. Then they started throwing me in the musicals, you know, just to keep me on my toes, and I just loved the fact that I got to do such a broad variety of things.
Speaker 2:Um, and so you really like, you really like having that audience right in front of you, don't you?
Speaker 4:well, I mean, for most of my career I was primarily both as a writer and an actor. It was primarily for live theater. You know, I did a little bit of TV along the way when I was younger, the odd episodic and stuff like that. There was a period in the 80s where suddenly I started landing a whole bunch of TV commercials which kind of came out of nowhere. That was a weird experience. I guess the one benefit of that was that it was a quick way to get comfortable in front of a camera. So it was helpful in that sense. Right.
Speaker 4:But it was a very strange period because, like, my face was on TV all the time but nobody knew who I was. They didn't know my name. I wasn't a character in a series or anything like that. So it was this weird sort of minor key version of celebrity where people would constantly be staring at me on the street. Or I remember this one day I was walking to the subway and this guy's on the other side of the street and all of a sudden he goes hey, you're the guy on tv, you know, stuff like that would happen.
Speaker 4:Um, so I was on another podcast and I was joking. It was kind of like you know all the unfortunate sides of celebrity without any of the good stuff, and so that was a strange thing to go through. But that was kind of a blip on the screen because after that it was mostly, and even during that period, most of my work was doing theater. And then COVID came along and that did it both as an actor and a writer. Everything got put on hold. So I quickly built this thing beside me which is a recording studio, and started doing a lot more voiceover work and and gravitating more towards film and TV.
Speaker 2:Well, it's funny because a lot of the other actors that we've talked to from from have had that not not similar experience, but they're they're just working actors. I mean, you know, I actually didn't even realize I was looking at your, your list of things. I mean I've listened to your voice. You know, my daughter is nine, so she, she listened to the cat in the hat that we talked to, liz, she was Mrs Turtle for all those years and and it's just funny how you don't recognize who you're listening to until you actually get to meet them. But, as my wife says, she doesn't like the cat because the cat's always getting those kids in trouble. So you're always getting people in trouble with everything you do. Doug, I swear it's like give me a break, but anyway, we're talking to Doug Hughes. He's the man in the yellow uh suit. Everybody wants to know if you have. One of the biggest questions, as a joke, is do you have a curious charge just waiting to be around you?
Speaker 4:and uh, those are some of the questions you know I saw a few references like that on on some of the stuff online, I was like what the hell is?
Speaker 3:that oh yeah, yeah, yeah yeah, yeah, yeah what has all that been like since last sunday? What has that been like for you?
Speaker 4:unlike anything I have ever experienced in my life, I have to say. Now the funny thing is, um, most of it's gone past me. It's not like you know, suddenly I have 500 000 followers on instagram or anything like that. It hasn't been like that at all. Um, so I just sort of feel like I'm on the fringe of this thing. But just just seeing, you know, going online to check out the response to the show, I had no, I guess I should have had an idea that, that it had such a huge ecosystem online, but just finding that out was a bit of a shock, you know, to find out how incredibly popular and I mean in a worldwide sense that this series is and how invested people are in it.
Speaker 2:Well, the one thing about this series, it's like the show that you know they keep plugging. You know that first season, not that many people knew about it. The second season, people are still starting to get used to it. And now this third season, I mean, we've been like I said we were, we're like we were, whatever, everybody is podcasting and everybody is talking about it. So you know, and I have to say, the actors are very, very supportive of each other in terms of projects, in terms of everything that's going on.
Speaker 4:And, that being said, I know you're a writer and you have something coming up, I believe, or Well, actually, my writing partner and I are working on a new play right now, which we just finished, the first draft of last week. It's a little three-hander about identity theft, so you know, a cheery little drawing room comedy. But our most recent play is the one that I thought might be worth mentioning, just because it kind of has a sort of general thematic similarity to From. I mean, if you put the Venn diagram of these two stories has a fair amount of overlap. It's about two writers, two playwrights, who find themselves trapped inside the mystery, the murder mystery that they're writing.
Speaker 4:Oh, wow. So they find themselves transported to this place that they can't get out of, where people are dying, and it's all about how the hell do we get home? So, like I said, a certain amount of overlap, yeah, and it had its premiere just over two years ago November of 2022, at the Human Race Theatre Company in Dayton, ohio. It was published earlier this year by Broadway Licensing. So if you're curious to get a copy, just go to BroadwayLicensingcom and look up Deadline and you'll find it. So, yeah, we've been trying to get a second production, which is always the hardest part with a play. I have to tell you we're still working on that.
Speaker 2:Well, you know who knows Next thing, you know it'll be on Broadway From your lips to God's ears. Well, as a Broadway goer, I got to tell you it really is one of the most amazing places to be. But, like you said, covid has made it even crazier to try to get in there because the prices are unbelievable. But there really is nothing like live action stuff. I mean, you know, when you get to see that and you seem like and it seems like and Lizzie correct me if I'm wrong Most of the most of the actors in this, with the exception of the two or three big stars, I mean you guys are just plugging along working actors and you just love the process and this is what you guys do. I mean I know that sounds kind of silly, but you're just all great working actors and it's just fun to see good people getting good success.
Speaker 4:Well, you, but you know you're saying. That puts me in mind of something I was thinking about earlier today. Um, I I've written a couple of novels, actually, uh, which have not been published, but they came about because this is something about being a working actor in canada that I've thought about for years, and that is the central irony of what I do is that I've spent my entire adult life working in this extremely public medium and doing it in absolute, utter obscurity. And I was doing the dishes one night listening to the evening news and some story came on about some celebrity having been behaving badly. I can't remember what it was, and I found myself reflecting on this again, about how I've been working in this business my whole life and nobody knows who the hell I am.
Speaker 4:And suddenly I had a new thought. I thought, you know, when you think about it, we would make the perfect spy. I mean, yeah, look at actors. They're comfortable with improvising. You know they can take on different roles, they can. They can they get access to places that a lot of the general public often doesn't get access to? And, let's face it, who would look at a theater actor and suspect them of being a spy?
Speaker 2:I mean, it just wouldn't happen it's funny you should mention that during during the civil war oh, I know they did hire actors and um and even and during world war ii, there were film actors like yes, what's her name?
Speaker 4:it's gone right out of my head now, but yeah I'm sorry marlena dietrich no, um well are you talking about the?
Speaker 3:woman matahari yes, matahari um, oh my, why can't I think of his name? There were a few others. Yeah, yeah, like Clark.
Speaker 4:Gable, yes, clark Gable, but these are film actors we're talking about, yeah, and actors. You know that just doesn't come up. So, anyway, that's where the idea for the book came from.
Speaker 1:Books, I should say that's awesome, yeah, books, I should say they're awesome.
Speaker 3:That looks like good stories. Is it like a comedy thriller? Yeah, I wish I could write comedy. I just can't do it. I can't do it. I am really really funny, but I cannot write comedy.
Speaker 4:that's most of what my writing partner and I have written. We've written seven plays now. This most recent one is not a comedy at all. It's quite a departure for us, but two of our plays so far have been murder mysteries, but they both have a fair degree of comedy in them. The other four have been straight up comedies.
Speaker 2:So that's kind of home base for me. You know, that's that. I mean geez, that's again. It's so fascinating because we've talked to pretty much everybody in the cast. Uh huh.
Speaker 2:And everybody from the, the one off characters or I should say he's really not a one-off character Bob Mann, who was on a couple of episodes in the beginning, to the established ones like Liz. Everybody has got their reason for being there and they've got everything that they do. And it's just really fascinating because, again, I'm not part of this world, Lizzie's more part of it than I am, and I get these emails oh, I'm again, I'm not part of this world, lizzie's more part of it than I am, and I get these emails oh, I'm on set or this on stuff, because she's down in atlanta doing her thing. Um, but it sounds like you know is, is it more toronto or ontario? That is just a big cultural hub for, for theater, or is that? Is that fair to say, or is it more? Yeah?
Speaker 4:Toronto. Toronto is kind of like New York New York city in the sense that you know you may not work there, but if you want to get work, it's where you have to be, because there are lots and lots of regional theaters that that will come to Toronto to do their auditions and stuff like that, and, of course, a big theater scene in Toronto. Although, I have to tell you, my writing partner and I have a number of plays that have been produced in Poland and I've now been over there three times to see a number of productions in Warsaw, and the difference between the two cultures when it comes to live theater is unbelievable. I mean, everybody goes to the theater. Wow, and it's everywhere.
Speaker 4:We have one of our uh places doing a national tour of Poland right now, which started in the fall of 2022. And they're booked up until the middle of next year. Uh, and it's an open-ended thing. They'll keep doing it, I guess, as long as they're still making money. And you look at the size of the country and you think how can they support this? You know it's a relatively small country, a relatively small population, but everybody goes to the theater. It's much more a part of the average person's life than it is in North America.
Speaker 2:As a writer, oh yeah, no, we try to go twice a year. We save up our little pennies and go twice a year, but as a writer, how much, like you said it's going to be in Poland and you have. Do you have much, I want to say, control, or do you let them kind of, you know, loosen the reins? Or how does it all work? Because I have no idea.
Speaker 4:Excellent question. There's actually a clause in the contract that every theater signs when they agree to do one of our published plays that says that they will not make any changes to the script without prior written permission from the authors, which just about never happens, right, in fact, I can only think of one incident where a company was doing our second play, which is a murder mystery, and we wrote it back in the 90s, but they were doing it, you know, almost 30 years later, and they wanted to know if it would be OK to change the dates. And our publishers, samuel French, sent them a very stern letter saying, no, you can't do that. And then they somehow got our email addresses and they wrote us and we're like, yeah sure, no problem, you know, but, um, but that's the only time I can think where somebody actually asked for permission.
Speaker 4:This national tour in poland that I'm talking about, my writing partner and I went over to see it last november. They had a big gala performance in warsaw last, uh, last year, and it was quite possibly the worst production of that play I've ever seen. The audience was loving it, the audience was lapping it up.
Speaker 2:Was it because? Was it a language? Was it trying to? Was it because of the language translation, or it's just?
Speaker 4:bad actors. Well, I wouldn't be able to tell you because I don't speak enough Polish to answer that Really.
Speaker 2:That's a good thing then.
Speaker 4:But our translator was sitting right beside us and she was just as horrified as we were. No, I wouldn't even say bad actors. Most of these actors were very well-known actors, and in Poland it's different. If you go to see a play in Poland it's kind of like Broadway, it doesn't matter where you are. But it's kind of like Broadway in the sense that, well, if you're in the big cities anyway, that the people you're going to be seeing are well-known TV and film actors as well as.
Speaker 4:So all of the people that were in our show were, quite you know, household names in Poland, and although they do a lot of TV and film, they also have a lot of experience in theater. I think the problem with this production had to do with the director experience in theater. I think the problem with this production had to do with the director. Yeah, it's a farce. It's a straight up farce. It's a farce about two women that have a lingerie business and the English title is who's Under when.
Speaker 3:I loved that. I saw that title and I was like, oh clever.
Speaker 4:Well, we can't. Neither of us can take responsibility for the title, because we didn't come up with it. It was a friend of Marcia's, my writing partner, marcia Cash. It was a friend of hers that came up with the title and we just went. Thank you. In Polish it's called Damski Biznes. Oh there you go, that sounds even better so yeah, I've seen a few productions around and, yeah, almost always you're you're gonna see people taking liberties with the script and that's just the way it is.
Speaker 2:I guess you know yeah well plus, you know, actors interpreted a certain way too you know, yeah, and that's fine.
Speaker 4:I mean, I have no problem with that, that's. You know, that's my job a lot of the time. Um, but yeah, it's just. You know when, as a writer, everything you do you do for a very specific reason, and I think a lot of people don't realize when they make those changes, that it's the way it is, because we went to a lot of trouble to get it right and if you don't do it, it actually changes the story, you know.
Speaker 3:Right, oh God, and it's frustrating. I wasn't. I'm wondering, though well, you've attributed it to the director, but I was wondering, even like the like the personality that Poland would have would imprint on any productions that you've written, that it would come across differently oh, I'm sure that's true and you know, we've had productions now, I think, in 16 different countries and that's always going to happen.
Speaker 4:we actually went to China about six years ago to see two productions of our our second murder, our first murder mystery in Shanghai and Shenzhen, which is right across from Hong Kong. And yes, I mean the culture is so different there that, yeah, that's going to have a profound effect on the play and that's fine. I mean, you know, there's nothing you can do about that and it actually it opens up a lot of interesting possibilities too. You know, and it was fascinating to see because you know, here in North America you go to see a murder mystery and the crowd is basically always going to be a blue rinse crowd. You know, in China they're all 20 years old. It was amazing, it was like North American plays, to begin with, are all the rage, but murder mysteries they've just it's like this recent discovery in China and they just go crazy for this stuff.
Speaker 2:It's so funny. The lot, the best podcasts I mean the number one podcast right now are like those cold case type podcasts. Oh God, true crime, crime is like the biggest thing. There's your, there's your next thing. But I didn't want to give you this. You know, being a working actor for so many years and being a writer, I don't want you to pick which is better, but what?
Speaker 4:do you like about both either? Or you know, oh, that's an interesting question. I think Marcia was also an actress when we started writing together, shortly after well, I guess before we even finished our second play, she was already moving into directing and she's basically been a theater director for the last most of the last 30 years. Her husband's a theater director as well, but when we started we were both actors and I think both of us for the longest time thought of ourselves as either actor or director first and playwright second. But since COVID we've spent you know, there was nothing else to do, so we started working on all kinds of projects together and we've spent so much time writing that the two things have kind of become equal and they both have.
Speaker 4:It's hard to say which is the better or which is the one that I prefer. I guess I feel most at home with acting just because that's what I started with. I was a professional actor for 11 years before we started writing, but today I I guess I feel equally comfortable with both and they have different, uh, benefits, I guess different things about them that I I like, but they're kind of apples and oranges, so it's hard to, it's to say.
Speaker 2:When you get to travel the world because you're writing, that's pretty good. I'm sorry.
Speaker 4:Yes yes, absolutely, and that's been an unexpected fringe benefit of that, you know we had no idea when we started that that was even on the table. We just wanted to see if we could write a play, you know.
Speaker 3:Yeah, the challenge. The challenge is what gets it all going, just knowing if you can.
Speaker 2:Yeah Well, doug, I want to. We're at, we're at an hour and I don't want to keep you. I want to thank you so much for taking the time and introducing yourself to the Frumily and to us and you. You have more probably interesting stories than we could probably shake a stick at, which is amazing, because that's what this is all about and I think that's what really, in the five seconds or whatever it was that you were on screen, it really makes people intrigued on what this person is and what you bring to it and huge impact. I mean, you know you took out and it's funny because when it comes to Jim, there's the love hate relationship with him. Right now, there's people that love him and not so much love him because of what he did this season.
Speaker 2:So you actually, for some people, you were a blessing, not to me so but, like I said, we want to thank you and you know, anytime you have anything you know, please let us know, because we'd love to you know, be able to help you out and promote it. Not that you really need us, since you're going all over the world. My Polish is a little off these days. I think my Mandarin is a little off too. She movies po polsku.
Speaker 3:Yeah.
Speaker 2:I did that yesterday. Like I said, thank you so much for your time and folks, like we always say, if you want to get our posters or you want to support the podcast, our stickers, all that good stuff is on our what Is From site, our what Is From Shop site and we have our Season 1 tribute poster. We've got our stickers. This is our new.
Speaker 4:I saw that, I saw that online and I wanted to say, just seeing the opening today for the first time, seeing all that art, I love that art. It's awesome.
Speaker 2:Yeah, A lot of it is. Most of it is the studio photos and stuff like that. We just kind of cartoonize it and all that kind of stuff. No, I love the aesthetic. It's great. We gave you a little nineties look with the, with the, with the, the triple look of you, but you just came in like a house of fire. So, um, because I thought it was a little war holly, yeah, a little war holly.
Speaker 4:Yeah, I would love to get a copy of that.
Speaker 2:Oh, absolutely yes don't worry we'll talk to you after, but you know, because you had to do what you did. Um, we have a special treat just for you. We always end the podcast this way, don't? It's not just for you, but um, but we always end with your favorite kill victim and we'll see you guys later. The bell's ringing. Get your home, let's go, come on. Get in your house, let's go, come on.
