The Butthole Story (Or: A Thoughtful Conversation with Sue Bird and Ezra Edelman)

Summary

Pablo Torre Finds Out – The Butthole Story (Or: A Thoughtful Conversation with Sue Bird and Ezra Edelman)

Podcast: Pablo Torre Finds Out
Host: Pablo Torre
Guests: Sue Bird (WNBA legend, podcaster, entrepreneur), Ezra Edelman (Oscar-winning documentarian)
Date: December 17, 2024

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Overview

In this "talkumentary" episode, Pablo Torre hosts an open, witty, and reflective conversation with women's basketball legend Sue Bird and acclaimed filmmaker Ezra Edelman. The discussion weaves through what it means to build identity and success after elite careers, evolving definitions of professionalism, the boom in women’s sports and documentaries, honesty in media, and yes, the origin of “The Butthole Story.” Layered with sharp humor, sports culture insight, and self-deprecating asides, the trio explores shifting landscapes — from redefining careers post-retirement to how we judge the authenticity of storytelling and journalism itself.

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Major Discussion Points & Insights

1. Life After Sports and Achievement: Sue Bird’s New Phase

• Sue's Current Identity and Success Metrics (04:49-07:16)
  • Sue reflects on moving beyond her playing career, sharing how her current "success" is less about fame or income, and more about not feeling “the grind.”
  • “It does not feel like a grind. So that’s success.” – Sue Bird [07:06]
• Adjusting to a New Pace
  • The adjustment to weekly podcasting and public life is discussed, comparing it to the rigorous demands of being a professional athlete.
  • Sue owns that nothing post-basketball quite matches the purpose and high of playing:
    • "It’s still not playing basketball...it would have been wonderful to be able to capitalize on all this as a player, just because that’s what I was born to do. That’s why I don’t think I want to let go of it." – Sue Bird [16:46]
• Identity After Retirement
  • Despite branching into entrepreneurship, broadcasting, and team ownership, Sue admits she still introduces herself as a “retired WNBA player” [14:02].

2. Pablo’s Struggle with Labels and the "Elevator Pitch" Dilemma

• Pablo’s Professional Self-Definition (08:13-09:34)
  • Pablo walks through his discomfort with the term “podcaster,” preferring “journalist,” and highlights the weirdness of naming and explaining his show.
  • “It will never feel cool to say I podcast… it’s even weirder for me to have to say, I host a show called Pablo Torre Finds Out. That’s me.” – Pablo Torre [09:34]
• Meaning of the Show
  • Pablo clarifies that the heart of the show is authentic curiosity, using sports stories to touch wider cultural topics and create inclusive, engaging narratives, even for people outside sports fandoms [10:53-12:04].

3. Changing Media Landscapes: Women’s Sports and Documentaries

• Women’s Sports Enter the Mainstream
  • Discussion shifts to the surge in popularity and investment in women’s basketball and sports, with Bird noting both pride and frustration about not reaping these rewards during her career [16:24-18:13].
  • “It is not a guilt trip… there’s just real money in this, and that must be profoundly fun…” – Pablo Torre [15:44]
• Documentaries: Authenticity vs. Entertainment
  • Edelman provides a nuanced critique of current documentary trends [19:07-22:01]:
    • He distinguishes between artful, journalistic docs and those that edge towards “branded content” or become “collaborations” with celebrity subjects, often losing impartiality and depth.
    • “This sort of idea of documentary filmmaking as journalism is being sort of pushed by the wayside… what gets made, what we value, because it’s still a commercial exercise. We are, after all, a capitalist society.” – Ezra Edelman [21:21]
  • Debate ensues over where to draw the line for “true” documentaries and how much creative control subjects should have [22:59-24:13].

4. Anecdotes: Inside Basketball, Referees, and the Queen of Courtside

• Life Courtside as a Retired Star (25:02–27:36)
  • Bird describes the odd feeling of “royalty” she gets sitting courtside (especially as part owner in Seattle), yet admits she remains poker-faced during regular season games—playoffs are different.
• Referee Relationships
  • Bird illustrates how her long-term consistency with referees fostered mutual respect, leading some refs to later acknowledge mistakes—a dynamic unique to a small, close-knit WNBA [28:16-30:46].
  • “I think I was consistent and I think what that brought was like a little bit of good faith and trust. And so if I did have a really big reaction to something, I think referees understood that I wasn’t doing that just to be like, demonstrative and because I was pissed.” – Sue Bird [28:54]
• Unfiltered Game Analysis
  • Sue’s bluntness about playoff “messiness,” fatigue, and refereeing is both expert and unsentimental, showing her high standard for the game [26:07-27:29].

5. The Infamous “Butthole Story” and Interview Nerves

• Origin of the "Butthole" Motif (31:43–33:52)
  • Bird recounts Coach Geno Auriemma’s locker room gesture to illustrate nervous, “tight” play—waggling three clenched fingers at his players: “This is all your buttholes right now.” [33:37]
  • The concept becomes a running joke for moments of peak tension or nerves.
• Tightest Interview Moments
  • Edelman admits to having his “tightest butthole” interviewing Larry Bird, who was “so intimidating because he’s not gonna sit there and smile and make you feel comfortable.” [35:06]
  • Pablo confesses a similar experience interviewing LeBron James, feeling starstruck and overwhelmed [37:25].

6. Ethics of Journalism and Friendship in Interview Contexts

• Trust, Friendship, and 'Ickiness' in Finding Stories (40:06–41:54)
  • Bird is honest about the ethical dilemma of pressing friends/former colleagues for personal or controversial stories—something that feels “icky” to her as a recent subject-turned-interviewer [41:54].
  • Pablo and Ezra admit they’re less hesitant, seeing the “earned” trust and the obligation to tell stories as part of journalism.
• Impact of Preparation
  • Edelman emphasizes that demonstrating genuine preparation and respect makes even the toughest interviews possible: “That tends to be the skeleton key that unlocks so many people.” – Pablo Torre [36:40]
• The Power of Emotional Moments
  • Bird shares how, on her own pod, she witnessed Mia Hamm get emotional over genuine reconnection with the current U.S. women’s soccer team—an unplanned, serendipitous moment only close peers may have accessed [43:06-44:21].
  • Pablo and Ezra discuss the tension between capturing such moments for "clip-worthiness" and the actual intention behind the show [45:16–46:13].

7. Reflecting on Fame and Personal Psychology

• Navigating Newfound Prominence
  • The group ponders the awkwardness and self-consciousness that arise from being both interviewer and subject, questioning how much to share (and how much audiences really care) [46:27-47:36].
• In-Jokes and Podcast Easter Eggs: “Butter Me”
  • Sue, clearly a regular listener, teases Pablo about his “Butter Me” saga—having a sculpture of himself made from butter—underscoring the show’s blend of the profound and the absurd [47:38-48:29].

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Notable Quotes & Memorable Moments

• Sue Bird on Success Post-Retirement:
  “It does not feel like a grind. So that’s success.” [07:06]

• Pablo on Media Self-Perception:
  “It will never feel cool to say I podcast… the point being that I end up talking about how I use my curiosity to solve mysteries.” [09:34]

• Ezra Edelman on Docs-as-Journalism:
  “This sort of idea of documentary filmmaking as journalism is being sort of pushed by the wayside… because it’s still a commercial exercise. We are, after all, a capitalist society.” [21:21]

• Sue Bird’s “Butthole” Anecdote:
  “He comes in and he just looks around, makes eye contact and he goes: Do you know what this is? This is all your buttholes right now.” [33:37]

• Ezra on Interviewing Larry Bird:
  “He's so intimidating because he’s not gonna sit there and smile and make you feel comfortable.” [35:06]

• Pablo on Emotional Interview Moments:
  “With the craven enthusiasm of someone who's like, that's gonna be a good clip.” [45:11]

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Timestamps for Important Segments

• Sue Bird’s Podcasting Life and Success [04:49–07:16]
• Pablo’s Elevator Pitch Challenge [08:13–09:34]
• Women’s Sports Entering the Mainstream [15:44–16:46]
• Documentary Filmmaking Debate [19:07–22:01]
• WNBA Playoff Mess and Refereeing [26:07–30:46]
• The Origin of the Butthole Story [31:43–33:52]
• Handling Tough Interviews (Larry Bird, LeBron James) [34:10–37:25]
• Ethics of Friendship and Journalism [40:06–41:54]
• Mia Hamm's Emotional Interview [43:06–44:21]
• Podcast In-Jokes—Butter Me [47:38–48:29]

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Tone & Style Notes

• The episode is marked by casual familiarity: inside jokes, self-deprecation, and generous honesty abound.
• The conversation is equal parts light-hearted, nostalgic, and intellectually rigorous.
• All three participants maintain a tone that's enthusiastic about curiosity and learning, even when critiquing their own industries.

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Summary Takeaway

This episode is both a meta-podcast about podcasting and an intimate window into the post-peak lives of elite professionals. It trains a curious and critical lens on sports, media, and the ways we tell and live our stories. With humor and gravitas, the trio examines the fraught but fruitful ties between subject and interviewer, and the ever-shifting lines between journalism, entertainment, and friendship. Plus, you’ll finally know why—sometimes—everyone’s playing too tight.

Transcript

[A]

Welcome to Pablo Torre Finds out. I am Pablo Torre. And today we're gonna find out what this sound is.

[B]

This is all your.

[A]

Right now, right after this ad, you're.

[B]

Listening to Giraffe Kings.

[A]

Wait, what else is on your actual writer?

[B]

My actual writer has. Granted, this was. This list was made probably like five. It's still true, but it probably was made like five to ten years ago. Plantain chips, beef jerky, Twix and Pellegrino.

[A]

So to summarize again, you are not high.

[B]

No, I'm not.

[A]

You just love all the things that I would love.

[B]

Yeah.

[A]

While high.

[C]

Wait, but.

[B]

Yeah, I guess so.

[C]

But tell me what things you would demand a rider for.

[B]

I love seaweed.

[A]

I like seaweed.

[C]

But why would you. To what events and places that you're invited to. Would you like a.

[B]

Like a commercial shoot? You have your trailer, a lot of like, you know.

[A]

That's a very down to earth rider, I gotta say. You should be more of a diva. Have you considered that?

[B]

Like what?

[A]

No.

[B]

I M and M's. Only red ones?

[A]

Yeah, green M, M's, no eye contact. And I want this smell like, you.

[B]

Know, lavender Starburst, only red.

[A]

By the way, can you tell him to stop airing your commercial?

[B]

The Carmax one?

[A]

Yes.

[B]

Why?

[A]

It's. I love it.

[B]

Well, there's. There's the new iteration when Asia got.

[A]

I've noticed that there was an.

[B]

I can't remember. Third mvp. When you became MVP once. Was that fine? No, you did it thrice.

[C]

How often in the world have you actually used the word thrice?

[B]

Thrice.

[C]

Have you ever.

[B]

I'm guessing it's now like 10 times a day. Every time they roll.

[A]

I was gonna say. I'm guessing it' less than thrice.

[B]

Yeah, I've been in commercials before. Maybe they didn't run this much, but I've been in commercials before. You could have seen me while I was playing. You probably weren't paying attention.

[A]

I saw you.

[B]

The world wasn't paying attention.

[A]

Naked.

[B]

You did see me naked. Although blocking certain areas.

[A]

That's right.

[B]

Body issue in.

[C]

Oh, in the swimsuit issue.

[B]

Yeah, ESPN body issue.

[C]

But you're in the swimsuit issue too.

[B]

Yeah, but that was.

[C]

That. Wasn't that last year?

[B]

No, that was. No, that was. God, what year was it?

[A]

It's funny that you.

[B]

That was 2022.

[C]

Right, but that's.

[A]

Remember when you were in SI Switch, I think.

[B]

2022.

[C]

But wasn't that post retirement?

[B]

No, right before it might have been 20. It might have been 2020. 1. Do you know what I remember about the swimsuit shoot? Please not.

[C]

Did you have a rider for that?

[B]

No, he didn't. Of course I remember things about the shoot. What I remember is Brianna Stewart was also there. And she leans over to me at one point, she's like, yo, I think something happened with BG in Russia. And I was like, oh, really? Like what? She goes, yeah, I don't know. I don't know the details, but I don't think it's good. And I was like, oh, because kind of like, shrug. What could it be like? What could be that bad?

[A]

Right?

[B]

And then fast forward 48 hours, maybe a week. Because, you know, it was held. I think it was held.

[A]

Yeah.

[B]

Like the actual news.

[A]

Right. This was like State Department.

[B]

Yeah.

[A]

Level embargo.

[B]

Yeah. So then. So that's how. That's, like, technically how I found out. But I didn't know the gist. And she was like, yeah, I just.

[A]

Absurd setting to learn about that.

[B]

We were in St. Thomas.

[A]

The opposite. All right, so if you're wondering how it is that I'm sitting with Ezra Edelman, who's arguably the best documentarian in America, and Sue Bird, who is inarguably the best point guard in the history of women's basketball, you should know that I sometimes wonder that very same thing in real life. But what I knew going into today, which I hoped would be a little bit of a year in review here, was that Ezra, who won The Oscar for O.J. made in America and has since become the journalistic conscience of my podcast, was going to ask questions, Lots of questions. And that's partly because Ezra does this professionally and also partly because he hates answering them personally. And I also knew that sue, who launched her own pod this year with Megan Rapinoe, her partner, called a touch more, would be undaunted by whatever it is that Ezra decided to throw our.

[C]

Way now that you're retired for over a year. Over a year, Right.

[B]

Two years.

[C]

Over two years. Okay.

[B]

Yeah.

[C]

Like. And I might be conflating this from getting to know you over the past year, but in some ways, I mean, I've always known you. You're Sue Bird, you're Hall of Fame basketball player.

[A]

You guys are friends. I should establish that we are friends, stranger.

[B]

We're all friends.

[C]

We're all friends. But I would venture to say that you have penetrated the world and our culture in a way in the last two years post retirement than you in a way that you hadn't as a basketball player, not only are you in Commercials. Not only are you doing shoots, and then you're ahead of companies, and you're, you know, basketball player emeritus. You show up everywhere. You. You actually are a grinder who does a podcast every week.

[B]

Yeah, like, I'm in the podcast, so.

[C]

So how do you think you're doing?

[B]

I don't know. No, for real. I think we're going all right. We're hanging in there. No, it's getting better. It's getting easier. Better from our standpoint.

[A]

What's your standard of success as now? This. Because before, you had a pretty clear one. Yeah, this is a very different business. If I may lay down on the therapy couch on this side of the room.

[B]

Good question. I'm still figuring that out. I don't know what Megan did recently. It was an interview or maybe something I read. I can't remember. It might have been a podcast we were on, and she talked about her sister, her twin sister, asking her, after retirement, do you have some new measure of success? Like, how do you judge? And the answer is, I don't know. Like, I don't really have. Is it money? Is it, like, what is it?

[A]

Is it retweets?

[B]

Yeah. Is it retweets? Is it comments, you know, on the YouTube? I don't know. I don't really know what it is yet. I think we're both trying to figure that out. But what I was getting at was we are. I don't. It does. It does not feel like a grind. So that's success. It is getting easier in terms of, like, the preparation and how and getting, like, a flow and an understanding, so. Which obviously speaks to the grind part of it. So it doesn't feel as hard as it did early on. I think we're getting a little bit more of a flow together. Learning how to do it with two people is different than probably. I'm sure you can speak to this. Than just by yourself.

[A]

Yeah.

[B]

So, yeah. So it's getting. It's getting easier for us. And I think right now that feels. Feels like the level. That's. That's the measure of success, that it doesn't feel like a grind, because something weekly could feel that way.

[C]

You guys have an amazing rapport, which is. That's a good.

[A]

By the way, that's the head start, is that you guys are authentically enjoying each other's company. You have natural, real chemistry, and people want to hang out with you guys. So much of the battle is we're at a cafeteria, and I'm over here with my weird friends right. And Megan and Sue are over there, and I want them to sit with me. So other people want to sit with us.

[B]

We're clueless.

[A]

Yeah, totally.

[B]

Yeah.

[A]

And you're just like, do I want to. I want to spend time with this person. And that is. You guys are over indexing on likeability. I would say, in that regard, you have nothing to worry about. Me and Ezra have a different proposition.

[C]

Hold on a second. We're going to turn this down to Pablo.

[B]

Okay, great.

[C]

You're 15 months into this, right? You celebrate your year anniversary one in September.

[A]

Yeah.

[C]

All right. How are you doing? How do you think you've done? What's your measure in terms of where you started?

[A]

How you conceive this didn't come to this episode?

[C]

For this, I did. Oh, I did.

[A]

Unfortunately. I know Ezra did. What's funny is that I have found myself at parties or gatherings or whatever, or kindergarten admissions events, which I go to these days, and people ask me, who don't know sports or me, what do you do? And I always have to figure out, like, my elevator pitch for my show, which was designed to be hard to summarize.

[C]

Wait, hold on a second. Before you keep going, what do you do? One word.

[A]

I talk.

[C]

Talk. You don't say journalist.

[A]

Let me. Let me retract that. Journalist.

[C]

Okay, so you say journalist over podcaster.

[A]

Well, because I go on television and I.

[B]

You also have multiple.

[C]

Oh, so you do. Okay, so fine.

[A]

I got some. I got some W9s.

[C]

As a former writer, how. How does that make you feel?

[A]

It makes me feel like the more I say that I'm a journalist, which I say a lot on this show, the more I am compensating for my insecurities about mostly talking.

[C]

Sorry. So fair enough.

[B]

I can't wait till we ask you this, by the way.

[C]

I'm not talking about this. So, like, Ezra's gonna send me a.

[A]

Legal letter if I ask him questions.

[C]

So I digress. So. So I digress. So anyway, I interrupted. Go back to what you were saying. So you're. You're in the elv, you're talking to people.

[A]

And as the Ghost of Christmas Future, it will never feel cool to say I podcast. You'll notice I did not say podcast when presented with the choice of a single word that is low on the draft board. And it's even weirder for me to have to say, I host a show called Pablo Torre, finds out that's me, because inherent in the premise of me having to say the name of the show, that you don't know is that you probably don't give a about me, which is an insecurity that I need to get over because I believe that people should be interested in a show that they don't know, even if I am the host. And they don't really give a about me. The point being that I end up talking about how I use my curiosity to solve mysteries. I use journalism to answer questions that I'm authentically engaged by considering.

[C]

And then I hear boo considering from whence this came. And like you have a podcast, you're thinking about the theme of the podcast, how best to sort of use this opportunity that you had. Like, in all seriousness. Cause I do think this has been a rousing, if not raging success. You are very good at your job. But this idea of like Pablo Torre finds out, has this sort of fulfilled your vision for what you hope this would be?

[A]

So I think a lot of my insecurity around answering the question in an efficient way is because I actually love it so much and I am deeply proud of it. And being given a blank piece of paper on which I've written this, in which I can do this and be like, that was work today. I looked forward to doing this today. I've created a show where every episode we do, I actually am super interested in. I look forward to it. And so I'm working all the time. And it's very tiring and all of that. But the answer of like standard of success. Do you again, not to sound like now a coaching cliche. Do I love the process? And I do and I'm proud of it. And I zoom out to like larger things about how in sports podcasting and podcasting in general, there are not a lot of shows that do what we try to do.

[B]

I was actually going to ask how if you view yourself as a sports.

[A]

Podcast, we are a technically sports podcast. Sports ends up being the thing I love and I'm still interested in. And so we do a lot of it, but we don't feel bounded by that, as both of you maybe have experienced. In terms of what I want to ask you guys about, do you ever.

[C]

Feel any less sure footed when you're doing podcasts that are not based in the world of sports?

[A]

No, no. Because as I think you guys know, like I pride myself on mostly I pride myself on using sports to talk about other things. And also, like, I really love talking to people who don't actually care about sports. And I think you have some of that too. Like you don't go to your show because I want to. And you. You do this. You break down sports and games and stuff, but mostly you're there because you want to hang out with that person. For me, my whole thing is I'm gonna make something that people who don't give a about sports as you might conventionally understand them, something that you might still love, and that's maybe, like, also born of an insecurity, you know, Like, I'm not. I'm not a Hall of Fame athlete. Like, what do I bring to the table? I mostly bring to the table the possibility that there's a good story or angle or curiosity or person I've persuaded to entrust me with their own insecurities that I'm then gonna invite you to hang out with.

[C]

So, based on what this podcast is called, Pablo Torre finds out based on sort of your grandiose vision for what you hope to do with certain episodes.

[A]

Yeah.

[C]

Does what's happening right now, like, qualify as a complete failure? You're just sitting here talking to your friends like, what are you doing? This isn't a real podcast.

[B]

For someone who, like, didn't want to.

[A]

Come and for someone who hates podcasting. Has a lot of questions about podcasting over here.

[B]

Or is it just so we don't ask him questions?

[A]

It's definitely.

[C]

Absolutely. It's. It's classic.

[A]

It's called filibustering. Filibustering with Ezra Edelman, by the way. Speaking of which, Ezra filibuster, what's your.

[C]

Current one word title, professionally?

[B]

Oh, God, yeah. I don't know.

[A]

Icon.

[B]

Living? Um, yeah, I don't have one. Entrepreneur.

[C]

Wow. Okay.

[B]

Is that a good one?

[A]

Yeah, I mean, that's global citizen.

[B]

Yeah. It doesn't really fit. But to actually answer your question, before you get to your point, I still start with, like, either retired or former athlete, or, depending on the room, retired WNBA player.

[C]

Do you aspire to get to a point where that is not what you say anymore?

[B]

Not really.

[C]

Or think why? I'm not saying you should. I'm not. No judgment.

[B]

No, I don't think so.

[C]

Okay.

[B]

Because I haven't given it much. I haven't given it deep thought, but.

[C]

No, I mean, look, you're an incredibly curious person. Fact that you've, like, sort of taken to retirement, like, with gusto, and you try different things. You're, like, sort of between. Again, you are an entrepreneur and you are a podcaster, and you are a, I don't know, cultural ambassador for your sport, and you are a team owner, and you are all these Things. It's like, it's like. It's like, how many jobs do you got, too? You got a lot of jobs. So all I'm saying is, like, there's a level to which you could be like, oh, it would be amazing that in five years without thinking about, of course you're always going to be a Hall of Fame athlete, but you're like, oh, I'm this, and you can believe it. Think it. I would just think that might be an amazing thing to be able to. I mean, it's never going to happen with me.

[A]

What is your one word answer, Ezra?

[C]

Documentary filmmaker. That's two words. But who doesn't make many documentaries?

[B]

Yeah, I was like, waiting for that.

[A]

Yeah. Waiting for the rest of the rest of the business card.

[C]

Yeah.

[A]

But you guys are both in, by the way, documentaries, women's sports. These are boom times.

[C]

I don't know.

[A]

Actually.

[C]

That's not true.

[A]

It's not true anymore.

[B]

No, for documentaries.

[C]

For documentaries.

[B]

Okay.

[C]

For women's sports. Yes. Because you know why? Everybody watches women's sports.

[B]

That's right.

[A]

I've seen that. I've seen you guys wear that. Actually, I do want to get to the idea that women's basketball specifically is now cool in a capitalistically verified way. It is not a guilt trip. It is not a thing I want you to enjoy, because I like it. There's just real money in this, and that must be profoundly fun on some level for you to enjoy now.

[B]

Yeah, it is. I think there's a thousand positive things to say about it. Really? Everything we're already talking about, the businesses that. That are gonna grow, the sport itself, all the things. The only negative for me personally is like, it would have been much easier to capitalize on all this as a player, I can tell you that.

[A]

I was gonna ask how much of that is, like, really, we have to wait till now until I'm done for this?

[B]

Three years. It just. It is what it is. It's not, what are you gonna do? You can't change it. It's like classic. You just have to move on, let go. But I do. I do have moments where even though the podcast doesn't feel like a grind, it's still not playing basketball. Still not going to play the game. Even though having companies or doing speaking engagements or commercials don't feel like grinds every now and then, they do. It's still not playing basketball. So, yeah, it would have been wonderful to be able to capitalize on all this as a player, just because that's what I was born to do. That's why I don't think I want to let go of it.

[C]

And also, you could have enjoyed the sort of at the height of, you know, what's the right word? The, the boom of player salaries. That would have been nice. I mean, it's nice, by the way, to do what I do. And like, now, weirdly, I never thought, you know, and like, oh, do okay financially doing something that I didn't.

[A]

Right.

[C]

No one thinks traditionally is like, oh, documentary filmmaking.

[A]

Same. Yes.

[B]

So what if, what if for some reason you could no longer make documentaries? I don't even know what the reason was.

[C]

It is totally not.

[B]

And there was a boom. I know it's not. I'm trying to make it. And there was a boom. And now whatever you made on your last film, people are on a regular, on average are making 10 times that. You wouldn't be like, oh, dang, I was born in the wrong year. Yeah, that's what I'm, that's all I'm saying.

[C]

That's fair.

[B]

Yeah, that's fair. It's not. But it's like, you can't go back. There had to have been all of us before in order to get to this point. So there's something, you know, there, the Billie Jean King of it all. So there's that. But yeah. Would I love to play basketball and get compensated? Absolutely.

[C]

So when I'm being a total, like, obnoxious child, being like, I completely understand. That's, that's a given. You're right.

[B]

Okay.

[C]

But you're also doing okay.

[B]

Oh, I'm not complaining. It just would have been, it would have been a lot easier because the hard's not as hard when you're doing the thing you were meant to be doing.

[C]

That is true.

[B]

Even when it's hard.

[C]

That's fair.

[A]

So the thing about documentary. That's what. No, I, I, I concur. And also appreciate, Appreciate what you have now. Appreciate your commercial that runs endlessly. No, the thing about documentaries being cool now is that they are certainly cooler than when I was growing up. The idea that people want to make documentaries, even if the economy in this current phase of filmmaking has shifted from the boom time, which was before. It's different now.

[C]

I agree.

[A]

And how do you feel about that? That lots of people want to do the thing that you are as fastidious about in terms of craft and effort and standards.

[B]

Great question.

[A]

In the way that sue is not just, you know, welcoming anybody into calling themselves basketball players at that level.

[C]

I think it's great that documentary filmmaking as an art is something that is popular. I do think the idea that younger people could inspire to be non fiction storytellers is great. I do think in terms of what, how you're characterizing the popularity of documentary filmmaking, you might be conflating what it is that makes it popular with what I would sort of term real documentary filmmaking.

[A]

So I would, I'd like, I'd like you to un. Conflate it.

[B]

Yes, please.

[A]

Can you deconflate it?

[C]

I could walk right into that one. But like, look. Yes. Do I think it's great? Did I. Do I think that there would have ever been a time in my life that I could have imagined growing up and making a living as a documentary filmmaker? No, just like I'm guessing, could you have imagined that as a young child that you would. Could have been a professional podcaster? Well, needless to say, podcasting or even.

[A]

Just guy who talks about sports at a level with people who actually did this professionally is ridiculous in retrospect.

[C]

But I mean, the, the bigger answer to your question or the. To me, what I more think about is the type of documentaries that are sort of more popular and more prevalent are increasingly things that are shown by streamers that are sometimes about famous people, artists, singers, whomever, and that are sort of like bordering a little bit on branded content because they're done in. In sort of connection with the subjects themselves who often are producers. And this sort of idea of documentary filmmaking as journalism is, is being sort of pushed by the wayside a little bit. And so it's not like there aren't tons of films that qualify in terms of what documentary filmmaking is. I desire to make them and see them. It's just that those aren't the ones that are typically compensated in the same way. So if you're saying, oh, look at this, the spoom in documentaries, I'm like, yes. But right now I feel like, like to me, culturally there seems to be less of an emphasis on art, you know, sort of in how sort of even like, yes, you know, politically in terms of like what we, what we focus on, what we finance, what we appreciate, all these different things. And I think that sort of has seeped into the art of filmmaking too in terms of like what gets made, what we value because it's still a commercial exercise. We are, you know, after all, a capitalist society. And when it comes to narrative filmmaking, it comes to documentary filmmaking, I see the same issues and that's what is more of a concern for me. So I do Think there is an ability to make money as a nonfiction filmmaker maybe more than not ever before. Because I do think the boom was a few years ago and hopefully something. The cycle will sort of get back to a point where you can make really good things for. But, like, what I've seen is the stuff that is valued are the things that I happen to devalue slightly in terms of the content.

[A]

So I should say that all of us have been adjacent to, participated in, judged on a jury, or merely just as a consumer, films that you would consider not the type of doc that you yourself want to make.

[C]

But this sounds super pretentious. I don't mean to say that because first of all, like, every documentary is hard to make. Every sort of documentary has value. And I really am trying to be like, vague, specific.

[A]

I'm trying to unveig you.

[C]

I know, but like, it doesn't.

[A]

But the reason I'm saying that is because I. The whole wind up to what I was trying to do was to say, and I have enjoyed personally many of those films. What we are, I think circling though, for me at least, is a curiosity around. Do you think we should call them something else?

[B]

Ooh.

[A]

Because I think it's cool to enjoy both. Yes and. Right. It's cool. I've enjoyed many of those same films that you would not want to make. Do you think they should be called something else?

[B]

Is it to add to that? Is it just when the subject is involved? Is that like the hard line?

[A]

Yeah. What's the threshold?

[C]

I do think that's a line that I don't think is right.

[B]

But is that the only one when you. When you. In your mind, when you're thinking of. I forget the exact word you use.

[C]

But no, I mean, first of all, I do think there happens to be a glut of documentaries that are now being done in participation with the subject. If a subject has any creative control. I have a problem.

[A]

Now, I want to clarify. How would you characterize yourself as a hardliner relative to other people in this field?

[C]

I can't speak for other people. I just need to speak for the fact how these things get made by people.

[A]

Right.

[C]

That's my answer to that question. So some people clearly are. Look, by the way, I should also say, based on what we're saying, we all have to make a living. And also, everyone doesn't have a background as a journalist. And so if you come to something as more of an artistic filmmaker or as something. Whatever you're trying to do, or you just love the person. Oh, my God. I love you so much, Sue. I want to make a film about you. Oh, you don't like this? Sure. We can just take that out because it's like, the world needs to enjoy sue bird for 90 minutes. It's like, okay, I can't do that. That is not what I want to watch.

[A]

We're going to clip Ezra saying that.

[C]

And circulate that in a documentary about you. But I do think there is plenty of people who take on assignments, projects, and films, whether, by the way, even for the check that are, like, totally valid. I'm starting to regret doing.

[B]

Came in hot.

[A]

How the table has turned. Part of the reason why, though, I wanted to hang out with both of you at this table is because we have enjoyed you two to a degree. That has made me jealous. What I consider the greatest seat in all of entertainment, which is a courtside seat at a basketball game. And watching basketball games with sue courtside is. It's so fun for so many reasons, one of which is that sue must behave like the Queen of England.

[C]

I was literally about to say that. And it's like washing with the Queen. The camera comes over, and she's just.

[B]

Like, only at the Liberty games when they're not playing the Storm.

[A]

But I feel like there is. You are acutely aware. Okay, so sue is also a part owner of the Seattle Storm, the franchise.

[C]

Wait, hold on a second. When you're sitting courtside at a Storm game in Seattle, are you, like, yelling and, like, yelling at the refs?

[B]

Like, no, that would never be me. Regardless. Maybe in a playoff game, I also am just, like, so I'm. I'm just so immune to the regular season. It's like. It's really hard to.

[C]

You're indifferent to the regular season?

[B]

No, I'm just, like, not impressed by the regular season. Yeah. Playoffs, though. Like, it was, I'll say this Game five, really, all the playoff games I went to this year in New York, game five especially, it was very difficult to stay in my seat. And I don't even mean that from, like, an excitement cheering for one team or another. Both teams had big plays at different moments. Both teams had, you know, big calls, go for them against them. It was hard not to, like, do anything.

[C]

What did you think of the quality of basketball in game five?

[B]

Looking back now, I don't. That's not really the right question. Looking back now, when you look at the schedule, they were tired.

[A]

Sucks at questions.

[B]

They were tired. And so is that the.

[A]

Did you know that when you were.

[B]

Watching It I didn't because the game.

[A]

Was criticized broadly we should say yeah. For being messy and not the best advertisement for this sport that now I.

[B]

Actually put a lot of that on the refs so that I was up close and personal obviously. We know I've been to a lot of WNBA games. I basically have that same seat to all the games I've been to prior.

[A]

It's remarkable for 20 years remarkable throne you have.

[B]

That was the loosest I've ever seen a WNBA game. And WNBA games are very physical and that was like another level where the off ball actions that were happening, some of the banging, some of the holding, the referees were letting that go. And you guys know at any sport when a referee lets something go early in the game it just builds and builds and builds. It gets worse and worse and worse. So I think you had two very tired teams just naturally from the excitement, from the emotion of playoffs, from the travel and then they basically played every other day. I think there was like two games that had two days in between or something like that. So I think it was just exhaustion combined with both teams beating the crap out of each other because the referees allowed for that. And that led to a very sloppy, messy game. It led to I think all the missed shots. I mean I don't remember what the percentages were but they were horrible.

[A]

Yeah, I want to.

[B]

The other grind out game for sure it was a Euro league game. I actually said this on our own pod. That is what the Euro League is like.

[A]

Physical, slow whistle, grind, grind.

[C]

Can I can I slight digression about referees and like. So I assume you were the captain of the storm for the.

[B]

Yeah, I mean we do captains.

[C]

I mean I know it's not like.

[A]

A good one word answer.

[B]

What are you not that serious? The captain.

[C]

What's the best way. And I know every, every referee is a person human being. You have relationships I'm sure with all of them. But how. What was your mode of conveying frustration if not contempt for a call or how a game was being reft in terms of not only knowing that you're trying to get a point across but you're trying to actually be effective.

[B]

So I don't think there is a way to talk to a. There's no magic way to talk to a ref that you're gonna get them to see something or change how they call something immediately. That just like I don't know that that exists. I don't know that anyone can sit in here and if they're being truthful, be like, oh, yeah, I know when I go up to ref X, if I say it like this, they're gonna. They're gonna respond to that. It's just not gonna happen that way. It's just not. Or they might not. Like, they might not call something purposely just so it doesn't happen in that way. And I'm not even saying that to be shady. It's all like a mind game. But what I can say over the course of my career, and I really wish Diana were here right now because she'd be laughing.

[A]

I'd also draft her over Ezra, just.

[B]

For the record, next time she's in New York. I do think there's something to being consistent. It doesn't mean I never got loud and in ref's faces. I definitely have. It doesn't mean that there weren't times where even if the call was against our team and I saw that it was a good call, I didn't just go like, it sucked for us, but it probably was the right call. So there was like a. I think I was consistent and I think what that brought was like a little bit of good faith and trust. And so if I did have a really big reaction to something, I think referees understood that I wasn't doing that just to be like, demonstrative and because I was pissed. But that's like the course of years and time.

[C]

Was there ever any dynamic that happened during the course of a game where it wasn't. Basically, it wasn't left on such good terms to a point where you had to have a conversation before the next time that person refereed a game to clear the air?

[B]

No, no.

[A]

Never disgusted. And even, even almost where I had to.

[B]

Where I did something like I had to go to the ref.

[C]

Like where you guys got into it a little bit, you were pissed off and. Or they made a call and you were stewing to a point where it's like you had to go the next time you saw him, like, look like four games, just be like, hey, can we talk this out?

[B]

Like, no, never. In fact, I've the opposite. I've had referees come up to me before games. Numerous times. Numerous. Like a handful in the course of 20 years. So where they were like, hey, remember that call that X, Y and Z happened? I went and watched it. By the way, I'm. I'm talking like the next time I saw that ref, so they could have refed me on a Monday, I might not see them for three weeks. The next time I saw them then be like, oh, actually, that Call. I went and watched it. I see what you're saying. Or, and, or you were right. I've had that happen.

[C]

And you say, I told you so.

[B]

No, thank. Like, thank you. Obviously it sucks. I'm like, oh, well, I can't go back.

[C]

And so. And do you then have increased regard for that person for having done it?

[B]

Yes, absolutely. Yeah. It's all the refs and players. It's relationships, especially in the wnba, very small league. So that's not that many refs. We all know their names.

[A]

It was so funny sitting next to you for one of those playoff games because you were basically giving me like the pop up video. Like, there's that ref, there's that player. They have this history together. She does, yeah. It was a remarkable, just like knowledge of all of these.

[B]

There are some refs I know not to go up to. It's. You're not going to get an answer. So you're going to get a lot of defense.

[A]

The small.

[B]

Don't waste your breath.

[A]

The small town that is the wnba. Part of what. Also the second thing that I was amused by sitting courtside next to you was how unempathetic you are towards bad basketball or even to the messes that we saw in the playoffs of Just like. Can you tell, can you, can you. Can you tell the butthole story?

[B]

Yeah, I can.

[A]

When I am watching basketball, I will sometimes text Sue a photo of what is not literally a butthole, but does demand that you tell the story so that I stop looking like even more of a perv than I have already established myself to be.

[B]

So in college, Coach Aurayama is known for his humor, his wit, and he can be. Yeah, he can just. He can be really cutthroat.

[A]

So bit of an ezra.

[B]

Yeah, a bit of an ezra.

[C]

Leave me out of this, man.

[B]

I think he might be funner. Yeah. Yeah, that's.

[C]

That's saying a lot.

[B]

Okay, so we're playing. I want to say it was Tennessee. I'm like, pretty sure we're playing Tennessee. Not going well in the first half. Like, just not going well. Like super tentative, kind of nervous probably. Whatever. We go into halftime. I don't remember what the score was. We go into halftime. He comes into the locker room and he just looks around and the man is prolific at storytelling in general and in these moments of building up and he knows when to just drop the bomb on us. So anyways, he comes in and he just looks around, makes eye contact and he goes. Do you know what this is? Do you know what this Is this is all your buttholes right now. He's though. This is all your. And we were all because. And by the way, when he goes, do you know what this is? All of us are like, oh, what is that right?

[A]

Doing. Doing the three fingers of clenched. Clenched index playing. Okay, yeah, like, what is okay, but.

[B]

Just real zoom in on that. Yeah, this is all your right now. Like, and then he goes on to tell us. Yeah, just how tight we were playing. This is all your right now. So I told. I shared that with Pablo.

[A]

And it's just a thing that I not only will photograph my own fingers doing that all the time, but also.

[C]

Oh, I have a question for you. What is the most that your has been like in interviewing somebody who has made you feel the tightest?

[B]

You get tight booty hole and it.

[A]

Will bend the tightest.

[B]

I'm trying to think of.

[A]

Oh, I know 100.

[C]

So that's why I'm gonna like, oh, for you? Yeah.

[A]

Oh, oh, okay, easy. Give me yours. Yeah, I'm gonna think about Larry Bird.

[B]

So, like, you were just nervous because you were in the presence of Larry?

[C]

Well, like, it was like, he didn't like. No, but it was like, all things, which is like, I was making a documentary about him and magic. He had no interest in this. It was like he was basically the last person to get the interview. It was like, oh, he's got to wait till we have to go to the end. Wait, to the end of the season. He's like this mythical figure out of, like. I think there was a point where, like, I showed up. He was like, you can come and, like, go to French Lake and go, like, talk to somebody. He's like, you can talk to my brother. I might have even literally been in his presence in an elevator like, three months before, and I was, like, too afraid to say anything. It was just like. He's just. So he comes in and you've been around him. I forgot we're talking about your uncle. And he's ginormous.

[B]

Yeah.

[C]

And he already, by the way, someone. This. This was happening. This must have been 2009. I was interviewing him, and he doesn't talk about himself. He's really never really talked. And so the whole thing is like, you have one guy over there who won't shut up and then another guy. It's like, that's part of the story. And he just sits down in the whole. It was like. It actually was informative in some ways of how to do interviews, because I had a finite amount of time with him and he sits down, he just.

[B]

Is like, get to it.

[C]

And it's like, okay. And I remember just like even before him being like, I gotta remember every single thing I can't like do. And it was. He's so intimidating because he's not gonna sit there and smile and make you feel comfortable. And it was so. That was the. Easily. And he was just like a lot of things. He's like, I don't know, I don't care. I don't answer that. I was like, cool.

[B]

But in the end, ambition right there.

[C]

It worked out. I don't know. That was a very like. And he did talk more than I thought.

[A]

Work out.

[C]

No, he, he did talk more than.

[A]

Why did. Why did he.

[C]

I don't know.

[A]

Why did he open up while you were very, very glitched?

[C]

Why did he. I can't speak to why he opened up, but I could tell you that like, anything this would go for you doing a podcast, you doing a podcast. It's like I was prepared. I was very respectful. The thing I would. I knew, you know what I mean? Like, I was not there to, like, I was there to do a job. And I also think he is a responsible individual. So he agreed to do something he was not going to do any more than what he agreed to, though. That was very clear. He's like, I said I would do this, so I'm gonna do this.

[A]

You know, I, I speak to. I have the. I've been mistaken for somebody who should be speaking to journalism classes. And so I am asked sometimes, like, how do I get better interviews? And all I have is what Ezra just articulated, which is demonstrate that you really put time into your preparation for this thing.

[B]

That's true.

[A]

Demonstrate that you care. It tends to be the skeleton key that unlocks so many people for. And Ezra, by the way, is the most extreme version of that for those who are unfamiliar with his work. That is you over index on. On. On having that credibility.

[C]

I would say I think it's the most respect or elite, the respectful thing to do. Still, in front of whom has your butthole been most quenched?

[A]

So the answer to this is embarrassing because I thought I was too cool and it was not even a deep dive sit down interview. But I talked to LeBron for a magazine piece one on one after a practice. And what LeBron did was render me like the anonymous journalist character in a movie scene about LeBron doing an interview. Because he. This is not an exaggeration. He literally throws the basketball off the wall of the Practice facility maybe like 40ft in the air. It caroms off, bounces back, bounces. He takes it Tomahawk, dunks it to finish practice, and then walks over to me and I. I would need to. The jaws of life couldn't have opened up my butthole at that moment.

[C]

How'd the interview go?

[A]

It was fine.

[C]

Can we bring this back to WNBA for a second? Which is we. You know, it's been a lot. You know, one of the storylines, as you like to say, of the season.

[B]

Yeah.

[C]

Was of Caitlyn Clark and Angel Reese and sort of the special treatment that Caitlyn perceived. Rough treatment that she got from players.

[B]

The targeting.

[C]

The targeting, the target. Anyway, this is all live to say that when you were a player, what's the most offensive question you got?

[B]

Honestly, the only thing I can pull right now is somebody was doing. I don't remember who it was doing. Just like a basic. It wasn't even a thing on me. It might have been on our team, might have been on the playoff run. I know it was during the playoffs. And he just continued to get facts wrong.

[C]

Were you silently judging or did you actually say something?

[B]

I. I was passive aggressive at the end, and I got my little dig in, and that was it.

[C]

It is true that, like the idea that unlike Pablo and I, you have been the subject.

[B]

Yeah.

[C]

Thousands of times. And so that's a whole different lens through which you. And so that must inform how you're talking to people because, you know, how you like to be talked to a little bit.

[B]

Yeah. Yeah, absolutely. I think it's in the back of my head, for sure. I like it when it's more conversational. I think most people do, of course. Yeah.

[A]

So. But that. But even that premise. Right. Like, I think that part of what Ezra does as a questioner is do both. Somehow where there is. There is the sense of this guy could conduct an inquisition, but somehow, shockingly, he has disarmed and charmed me into just talking to him about the things that I don't actually want to talk about.

[B]

Yes. And I actually would struggle with that.

[C]

What do you mean?

[B]

Every now and then I have this thought of, like, oh, what if I had an athlete and there was some sort of controversial thing that I would love for them to share on my show, but, like, that feels icky to try to get that out of them. I struggle with that.

[A]

I don't have that feeling at all.

[B]

Yeah, I know I would assume both. Neither of you. But I think as an athlete or somebody who got interviewed a lot. I don't want to be that person. And it feels like you're.

[C]

But this is the medium.

[B]

You're a friendship or a relationship. Maybe I don't like that thought, but.

[C]

This is the medium.

[B]

I know, but that doesn't have to be that.

[C]

No, what I'm saying. But this is the idea of, like, if you're doing a podcast, why does one have a podcast? You have a podcast to talk to people. Important. I have, like.

[B]

But why do you have to get the controversial thing out? Why is that?

[C]

You don't.

[A]

I think Ezra and I have different sort of maybe thresholds on that. I imagine that sue and the two of us, Ezra, probably have a bigger gap in terms of, like, the ickiness of feeling like, I didn't want you to do that. The whole point, in fact, is that we have sort of worked to earn a trust that you then implicitly, yes, don't complain about when we decide to tell a story that isn't the one that you want to tell.

[B]

When people talk to you, they also probably go into it understanding they might get asked if I'm going into an interview. Yeah, I understand. With certain people, I understand, like, I'm likely going to get X right. I'm trying to think of an example. I'm just going to use this random one, but I think it's best, let's say. I don't know how familiar you are. Diana's name is top of mind, since I just brought it up. She had a fight with a teammate two years ago, Skyler Diggins on the bench. Everybody saw it. Whatever.

[A]

With under three to play here in.

[B]

The quarter and a little extra testiness on the Mercury Mercury bench between Skyler Diggins, Smith and Diana Taurasi. Oh, to be a fly on Turner's shoulder to hear that conversation. Well, digging Smith, she's got two points. She's one of four. Let's say D was set to come on my podcast and she's sitting there. I would feel icky being like, so what happened? Whereas I feel like a lot of people are like, d, recently this happened. Can you talk us through it? Or whatever you would say that I. That moment feels like, eh. Even though I'm curious.

[A]

There is such immense power in what the journalist chooses to include and leave out omission is a wildly impactful thing because it is not merely, I'm going to twist your words, it's I am deciding what is relevant.

[B]

So when we were at the Olympics, we did a live show and we had Don Staley On. We had Carl Lewis on. And then Mia Ham came on. And it was in the conversation with Mia. I wasn't even involved. So this is more of a Megan thing. Megan just knew what question to ask, and it wasn't because of preparation. It wasn't because she knew the answer. She just, like, stumbled onto it as the conversation happened. And eventually. I don't remember the exact question, but eventually they got to a moment where Mia shared that Emma Hayes, who's the current national team coach, actually brought back that 1999 World cup winning team to, like, be with the current players. Right. Bridging a gap, bringing. I mean, the fact that coaches don't do this all the time, actually, or the previous coaches hadn't done that actually shocked me. And for Mia, in that moment, as she's answering, she gets emotional. It wasn't like a boohoo cry session, but you could see eyes start to well up. She's getting, like, emotional at the fact that other coaches hadn't done it. She felt a little. These are my words, maybe a little disconnected from it all. And now Emma was bringing that all back together and how meaningful that was for Mia. And that's something that we didn't. Like I said, prepare for, think about, just stumbled upon it. But really only Megan probably could have gotten that.

[C]

So how did you react to. I assume that's the first time someone teared up on your podcast.

[B]

Yes.

[C]

How did you react when you're seeing someone feel that emotional in a genuine question?

[B]

I loved it. I thought because it was real. It was. I could, like, feel what she was saying through my own experience. So, I mean, I wasn't feeling the emotion build by any means, but I could definitely, in that moment, connect to what she was saying. I think when you retire and time goes on, you do just naturally feel disconnected from it.

[A]

I think you answered in a way that reveals the disconnect, because you're feeling the feelings as if you are the person. I would be feeling the feelings of somebody who just got a great interview.

[C]

Has anyone. Has anyone teared up sitting doing this show with you?

[B]

Yeah.

[C]

How did you react when they teared up?

[A]

With the craven enthusiasm of someone who's like, that's gonna be a good clip.

[C]

See, you know what you just did there, Right. You answered that sarcastically and disingenuously, when in fact, that's kind of true.

[A]

Well, Ezra, I believe it's time to end this interview. But that is, by the way. But that is the tension in me constantly trying to make a show to answer the elevator pitch question that is not every other show, while needing to compete with shows that are, in fact thinking clip first. Like, if you listen to or watch the show we make. This is not a show that's engineered to produce viral clips. If it happens, it happens. So incidentally that it makes me truly, like, thankful that it happened and also recognize the metric upside of this thing, but I'm not going for that. So my enjoyment and my sarcasm is. Yeah, both true and a lie. I want it, but I don't aim for it.

[B]

Right.

[C]

What was your level of anxiety when you're thinking. So when you did the ESPN Daily, right, I assume you're. You're Pablo Torre. You're a journalist, you're doing this every day. And so you are not, as Pablo, prominent in that dynamic. Is that correct?

[A]

My name wasn't in the show.

[C]

Okay.

[A]

In the show title.

[C]

And so, like, what is your. The idea that you have a show that your name is in and you're willing to talk about yourself and make fun of yourself and, like, what's the balance between your comfort in terms of focusing on your own psychology and focusing on your own profile when at the same time you're a journalist talking to other people? So you're both personality and star of your own show, but you're clearly are trying to tell other people's stories.

[A]

Yeah, I do feel like I am constantly testing the tolerance of people. Like, right now, as you're asking me the question, I'm like, I think it's probably time to be done. Like, I don't think people want to know that much more about my psychology. My radar and my compass is in finding you guys exploiting your introspection. And for me, like, I. I am always going to bet on my ability to discern what is interesting about someone else. I am far less confident in what people actually might agree with me about when it comes to my own.

[B]

What about butter you?

[A]

Butter me?

[C]

What is that?

[A]

Oh, I hate you. Look at this. Sue Bird, actual PTFO listener.

[B]

You just told me.

[A]

Ezra Edelman just exploiter. Exploiter of friendships.

[B]

Wow.

[C]

Yeah.

[B]

It is a more recent episode, though, so.

[A]

It is. It is.

[C]

What's the. Well, anyway, go ahead. Sorry. Answer the question. Now.

[B]

It can be cut out because butter me looked confident.

[A]

Butter me. We had a sculpture of me made out of butter that we presented to Jerry Saltz, Pulitzer Prize winning art critic in an episode.

[B]

He was tough.

[A]

He was. He was great. And he was a.

[B]

He's a tough critic.

[C]

I missed this one. I'm sorry.

[A]

It's. You would appreciate it, actually, because of his.

[B]

You would, you would actually love it.

[C]

Okay. But he sent me, I mean, he sometimes sends me podcasts that he is proud of and wants me to listen to. So the last one he sent me was his conversation with Connie Chung.

[A]

Yeah.

[B]

Which I enjoyed all the clips of.

[A]

That one, which I did. And I appreciate that because I am, again, thirsting for all sorts of engagement.

[B]

I did see the clips metric.

[A]

And otherwise, the point with the butter me thing being that I think it churned out great. This has been Pablo Torre Finds Out a Meadowlark Media production. And I'll talk to you next time.

[B]

Sam.