Jackass: Best and Last

Summary

Pop Culture Happy Hour – "Jackass: Best and Last" (June 29, 2026)

Host: Stephen Thompson (NPR)
Panelists: Ronald Young Jr., Jordan Morris, Rhianna Cruz

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Episode Overview

This episode centers on "Jackass: Best and Last," the purported final movie in the long-running Jackass franchise. The hosts and guests discuss the new film’s approach as a retrospective—a “victory lap” of stunts, pranks, physical comedy, and bodily-fluid humor—while grappling with the cultural legacy, personal nostalgia, and signifying shifts within the cast and format. The conversation examines whether this film serves as an effective sendoff to the franchise and explores what makes Jackass unique and its place in pop culture history.

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Key Discussion Points & Insights

1. Jackass: The Franchise Grows Up (or Not)

• Aging and Retrospection:
  The current cast is now middle-aged, forcing both a physical and emotional reckoning. Jackass: Best and Last is described as “an anthology, kind of a greatest hits reel, kind of a clip show, kind of a victory lap” (Stephen, 00:54), acknowledging the limits of stunts with increasing age.
• Sentimentality and Changing Tone:
  The film features reflective interviews and an overtly sentimental approach, signaling an end-of-era feeling, though not all panelists received this positively.

2. Panelists’ Personal Connections and Critiques

• Jordan Morris (02:05):
  Recalls being a “scuzzy little teenager” for whom the franchise felt made. Highlights Jackass as a “joyously, self consciously stupid” antidote in a landscape crowded with “prestige dramedies” and more calculated comedies:

  • “It’s nice to sit in a theater watching something where its main objective is just like, we want to make you laugh.” (Jordan, 02:33)
  • Critique: The movie relies heavily on recycled content, and the stunts aren’t as large in scale.

• Ronald Young Jr. (03:34):
  Discusses watching Jackass grow from MTV to uncensored films. Divides stunts into those he loves (dangerous, high-energy stunts) and those that make him uncomfortable (bodily fluids, anatomy).

  • “It feels like body horror to me.” (Ronald, 03:55)
  • Notes how franchise retrospectives appeal to him, but observes the discomfort of watching older men do hazardous stunts:
    • “You don’t have to do this. No one’s making you do this.” (Ronald, 04:55)
  • Critiques how the show treats fat participants as oddities, creating an undercurrent of body-shaming.

• Rhianna Cruz (06:08):
  A lifelong Jackass fan with a tattoo, but as a younger viewer, she finds this installment “my least favorite of the franchise.” Dislikes the forced sentimentality and “greatest hits” feel; doesn’t love the reflective interview segments.

  • “This one, I think overdoes it on the sentimentality, and it’s a turn off for me a little bit.” (Rhianna, 06:46)
  • Enjoys watching familial laughter with her brother—evidence that Jackass remains a unifying, communal experience for newcomers.

• Stephen Thompson
  Admits to being a Jackass outsider; coming to the series later in life, he recognizes the archetypes of the franchise and is most drawn to the “Wile E. Coyote” slapstick segments, which evoke old-school cartoon physicality.

  • “The show Wipeout was made for me. Bonk. Sploosh. That’s my kind of, you know, physical stunt based comedy.” (Stephen, 10:31)

3. Categories of Jackass Comedy

Stephen identifies four types of Jackass bits (08:31):

• Death-defying stunts
• Pain-tolerance skits
• Bodily fluids/anatomy humor (“Lots and lots and lots of poop.” – Stephen, 09:43)
• Slapstick/visual gags (Wile E. Coyote style)

4. Jackass' Influence on Internet and Pop Culture

• Ronald points out the show’s huge influence on prank/stunt YouTube channels, calling the Jackass crew “the OGs” of this trend (11:30).
• Jordan distinguishes Jackass from mere “bro” culture, situating it closer to artsy, punk, or performance art roots:
  • “How can we use all of our creativity to be as dumb as possible? There’s something kind of beautiful about it.” (Jordan, 12:52)

5. Issues with the New Cast, Diversity, and Structure

• Rhianna observes that efforts to diversify the team aren’t matched by equal screen time or participation (17:23):
  • Newer, more diverse cast members mostly “stand around and laugh,” not featured in stunts.
• The film recycles footage from previous movies (notably “Jackass Forever”), sometimes feeling like “Jackass 4.75” rather than a truly new film (19:20).

6. Sentimentality vs. Cynicism in the Farewell

• Several panelists discuss the film’s attempts at emotion—tributes to the late Ryan Dunn, absence of Bam Margera—and find these moments forced or incomplete (20:15).
  • “If you’re gonna close it out, you gotta bring everybody back.” (Ronald, 20:45)
  • Universal skepticism that this is actually the end for Jackass.
• Subtle indicators of aging and personal change noted: the swap from beer to LaCroix cans in the background, suggesting sobriety and maturity (22:03).

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Notable Quotes & Moments (with Timestamps)

• ”Smack dab in the middle of my thigh, baby.”
  – Rhianna Cruz on her Jackass tattoo (00:49)
• ”It’s nice to sit in a theater watching something where its main objective is just like, we want to make you laugh... Mission accomplished.”
  – Jordan Morris (02:28)
• “It feels like body horror to me.”
  – Ronald Young Jr. (03:55)
• ”What would Jackass do?”
  – Jordan (06:43)
• “This one... overdoes it on the sentimentality, and it’s a turn off for me.”
  – Rhianna Cruz (06:46)
• “Lots and lots and lots of poop.”
  – Stephen Thompson (09:43)
• “These folks are the OGs... I never thought of them as trailblazers in that way...”
  – Ronald Young Jr. (11:30)
• “How can we use all of our creativity to be as dumb as possible? There’s something kind of beautiful about it.”
  – Jordan Morris (12:52)
• ”This feels like Jackass 4.75.”
  – Rhianna Cruz (19:20)
• “If you’re gonna close it out, you gotta bring everybody back. I need to see Rake Jorn, I need to see Bam Margera, I need everybody there…”
  – Ronald Young Jr. (20:45)
• ”In all the new footage... you can just see the set is littered with LaCroix cans.”
  – Jordan Morris (22:04)

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Key Timestamps

• 00:04–02:05 — Introductions, Jackass nostalgia, setup of film’s nature as a “last chapter”
• 02:05–04:55 — Jordan & Ronald: Joy of Jackass, aging cast, tonal shift toward retrospection
• 06:08–07:54 — Rhianna: Reception as a younger fan, critique of sentimentality and repetitive format
• 08:31–10:44 — Stephen: Newcomer reflections, “taxonomies” of Jackass bits
• 11:26–12:48 — Jackass’ influence on YouTube/prank culture, “OGs,” artistry vs. bro aesthetic
• 15:37–22:03 — After the ad break: body horror, group dynamic, robot character, casting/diversity questions, film structure
• 20:07–22:16 — Forced sentiment, lost cast members, panelists reflecting on what a true finale would include

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Final Thoughts

Consensus:
While still hilarious and capable of generating laughter—especially for newcomers—“Jackass: Best and Last” feels less essential to longtime fans due to its clip-show formatting, forced emotion, and slightly superficial attempts at closure. All agree that Jackass is foundational to 21st-century pop comedy, both as a communal experience and as an influencer on digital culture, but panelists question whether this “last” installment earns its finality.

Memorable Moment:
Subtle generational shift is marked by switching from beer cans to LaCroix as omnipresent on set (22:03).

Cultural Reflection:
Jackass’s magic remains in physical comedy, boundary-pushing stupidity, and the weird warmth of collective suffering—a sort of slapstick brotherhood that, regardless of age, unites its audience through both gasps and giggles.

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For listeners and non-listeners alike, this episode offers a rich, funny, and sometimes bittersweet eulogy for a franchise—and a moment in pop culture—that refuses to go quietly, or painlessly, into the night.

Transcript

[A]

It's been more than 25 years since the dawn of the Jackass franchise, in which a bunch of goofballs pull pranks, attempt dangerous stunts, and get whomped in the genitals over and over again. Now it's got one more supposedly final film titled Best and Last. I'm Stephen Thompson. And joining me today on NPR's Pop Culture Happy Hour is Ronald Young, Jr. He's the host of the Film and Television Review podcast Leaving the the. Hey, Ronald.

[B]

Hello, Stephen.

[A]

Also with us is Jordan Morris. He's the co host of Jordan Jesse Go and Free with Ads. Hey, Jordan.

[C]

Hey.

[D]

Hey. Good to be here.

[A]

And rounding out our panel is freelance music and culture journalist Rhianna Cruz. Hey, Rhianna.

[E]

Hey, Steven. Happy to be here.

[A]

I bet you are happy to be here. Rihanna, I know you to have a Jackass tattoo.

[E]

Oh, well, yes. Smack dab in the middle of my thigh, baby.

[B]

As one does.

[A]

As one does. So it's very important that I pause to let people know about the plot. It is hard to confidently proclaim this to be the last Jackass movie, given how much money the other films have made and how often. Ringleader Johnny Knoxville has claimed to be getting out of the game once and for all since the franchise began on MTV back in 2000. But Jackass best and Last does feel like the closing of a chapter. Many of these guys, including Knoxville himself, are well into middle age, which the latest film acknowledges by having eternal stalwart Steve O subject himself to a prostate exam courtesy of a wisecracking robot. And look, this is not the Odyssey. This is an anthology, kind of a greatest hits reel, kind of a clip show, kind of a victory lap full of footage of guys getting flung from things and clobbered and doused in bodily fluids. There's no plot beyond that, no real narrative thread beyond the basic understanding that this is the sort of thing you can only physically pull off for so long. Jackass Best and Last is in theaters now. Jordan, before you climb into a shopping cart and ride it off a rooftop, give. Give me your take on jackass circa 2026.

[D]

Okay. Well, yes, I was in the pocket for Jackass when it first aired on mtv. I was a scuzzy little teenager. I considered myself fairly punk rock. It spoke to me. And I have seen all these movies in theaters. And yes, I laugh like a maniac. I think this would make a good double feature with Hear me out. Stop that Train.

[A]

Interesting.

[E]

Yes, agree.

[D]

Stop that Train. Of course, the RuPaul airplane homage. That is also very Very funny. I think both of these movies, like, are joyously, self consciously stupid, and they just want to make you laugh. And I think that's nice. In a world of prestige dramedies, in a world where there's a lot of comedies that want to be clever or cute or charming, it's just. It's nice to sit in a theater watching something where its main objective is just like, we want to make you laugh, we want to get laughs out of you. Mission accomplished. I will say that because of the kind of clip show nature of this movie, there's a lot of recycled stuff, a lot of stuff you've seen before. So, you know, it's maybe a little bit disappointing that they're not going out on the biggest stuff they've ever done. But as you mentioned, the fellows are older and, you know, they're probably not going to be getting gored by the craziest animals they've ever been gored by. So, you know, I understand that part, but, you know, if you kind of go into this knowing it's a little more of a tribute, a little more of a look back, then I think you're gonna have a blast.

[A]

Okay. How about you, Ronald?

[B]

So I have watched every one of the Jackasses. I watched the show on mtv. When you go from the show on MTV to the movie, you immediately realize that there are rated movies, whereas the show mtv, they had a lot of restraint. And I find it interesting that this one, best and last, they opened with one of the stunts that they could not show on mtv, which is if, you know, Jackass. That is the biggest difference from the shows to the movies, which is, like, now we can do all this stuff, right? So I've always liked them. I've always liked these stunts. And I've realized while watching this fifth one, two things. The first thing is I like when they do stunts. I like when they're throwing themselves off a cliff or going off a rocket and all that. I do not like when they're doing anything bodily fluid or anatomy related. It makes me uncomfortable. Even though I'm laughing, I'm still watching through my eyes, like, oh, it feels like body horror to me. The second thing I realized is my favorite genre of any Legacy sequel or any celebrity retrospective is exactly that, the retrospective. And this is very much a retrospective. And to see them being young people doing these stunts, it made so much sense. It was perfect. It made me feel good to watch them look back and watch them see themselves be young. But to watch them do it

[D]

late

[B]

40s and 50 year old men that do this. The first thing that always popped my head was, you don't have to do this. No one's making you do this. You do not have to do this. And they keep. And I'm like, just be careful.

[D]

Listen, we don't know how everybody managed their money. Okay, they might have to do this.

[B]

That's exactly it. Yes. I'm like, what's going on there?

[D]

I have not seen Wee Man's bank account. He may have to do this.

[B]

And you only see Wee man in these movies, you know what I mean? So it's very interesting to watch that. And I enjoyed that. And I felt like a little bit sentimental thinking about my own life in comparison to the first one came out. I was 18, I'm 42 now. Feels a lot like scary movie in the same sense of the amount of movies that have passed over the same passage of time. So worth watching. The one criticism I have is I have never liked the way that Jackass has dealt with fat people. They treat them like an oddity or a sideshow in a way that makes me very uncomfortable or a punchline. Yes. And the way that they think is fun. But I think it's not good for fat people who enjoy Jackass that feel like, ok, what is everyone looking at me like now? But that's my only real quibble there, other than that I had a good time.

[A]

Okay, Rihanna. I watched this film through your eyes. Or at least I tried to.

[E]

Oh, I'm grateful. No, I, I honestly, I come down a little bit differently. And maybe part of that is that I'm younger, you know, so I'm not seeing Jackass through this schmaltzy, you know, earnest lens that I think the boys themselves in the movie are approaching it from. This was my least favorite of the franchise. You know, I love Jackass. I have watched all of the movies on several different occasions. You know, I, I didn't necessarily grow up with it, but I found it later in life and it has been a guiding light for me.

[D]

I mean, wwjd, what would Jackass do?

[E]

Exactly, exactly. But this one for me, I don't know. It plays like a greatest hits compilation. You know, it feels like it was scrapped together super quickly. I don't really enjoy the reflective interview inserts that pepper the movie. You know, it slows the thing down, in my opinion. I don't know. The thing about Jackass, to me is that even when the guys are doing the stupidest stunts on earth, it's still fundamentally earnest. You know, there's an element of honesty and earnestness to it that is always there. And this one, I think over does it on the sentimentality, and it's a turn off for me a little bit. I. I wish it gave a little bit more. That being said, you know, a Jackass greatest hits still easy to laugh at. A lot of the footage that I've seen dozens of times still managed to make me laugh. And I went with my little brother, who hadn't seen any of the jackasses, and he was laughing so with untainted eyes, like, this was all new footage to him, you know, And I appreciated that.

[B]

Same with Steven.

[A]

Yeah, I mean, I'm really glad that you brought that up. It must be a very different viewing experience for somebody who has, like, lived for this series, watched every episode of the TV show, seen all the movies, versus someone like me, who was 28 when Jackass premiered on MTV, already thought I was too good for it. I was about to become a dad. It wasn't my thing. And so now coming back and looking at it often through my fingers, the way Ronald described, you know, this felt to me a little bit like baby's first Jackass.

[E]

Yeah, totally.

[A]

You're getting a clip show, and a clip show for somebody who has seen the original clips a hundred times is gonna hit very differently than it would for somebody who's kind of coming in large. You know, obviously, I've been in the culture the entire time that this series has existed. I've seen bits and pieces of it in clips and YouTube and what? But, like, you know, for me, this stuff still felt pretty new, even if I'd seen stray seconds of it here and there. What I found coming in as a newcomer, I immediately kind of identified a taxonomy of jackass bits, which to me greatly vary in how much I enjoy them. Basically, you can break them down into four categories. You have death defying stunts, right? You have Johnny Knoxville strapping himself to a rocket, and they shoot the rocket over a lake. It either blows up on the launch pad or sends them hurtling into the lake. You've got stuff centered on pain tolerance, Lots of mouse traps and Tasers. Oh, this show loves Tasers so, so much. Very often involving genitals. You have kind of endless bodily fluids.

[B]

Yes.

[A]

Lots and lots and lots of poop.

[E]

Yuck.

[A]

So so much. And then you've got the form of this show that I really enjoy, which is the subgenre I would call Wile E. Coyote, where they set up some kind of visual slapstick like, one example, and it's a very small example in this film. And Rihanna, you can tell me when this was used before or if this was new. You have a big guy and a little guy. They're tethered together with a bungee cord at the top of a bridge.

[B]

Yes.

[A]

The little guy jumps off the bridge and starts to bungee, but the force of him bungeeing down pulls the big guy off the bridge and they go pinwheeling into the water. First of all, I made. I've said on this show before in the very first episode of this show, I love the show Wipeout.

[D]

Yes.

[A]

The show Wipeout was made for me. Bonk.

[B]

Sploosh.

[A]

That's my kind of, you know, physical stunt based comedy. And I think when Jackass is in that Wile E. Coyote mode is when I enjoy it the most.

[E]

You could see in the credits also, they're in on that. You know, in the credits, there's producers wish to thank. And then they have, like, Tom and Jerry, Buster Keaton, like, they know who they're pulling from.

[A]

Buster Keaton comes up a couple times to that effect.

[B]

I realized when I'm seeing those stunts, specifically either the Wile E. Coyote or when they're interacting with the real world in kind of prank style stunts or whatever they're doing, I had this epiphany in the moment, and maybe this is something y' all already knew, that a lot of the YouTubers that exist right now, I don't know if they'd have a lane if not for these guys on Jackass, because I'm thinking about the stunts that I've seen on YouTube that don't faze me at all. No one's getting punched in the face with a giant hand.

[A]

Or also chalk that one up as another giant win.

[B]

Yes. That's one of my favorite all time of Jackass stunts. So I'm thinking, like, these folks are the OGs of doing that. And I never thought of them as trailblazers in that way. Unless you sit down and think about the YouTube landscape right now, which is just a bunch of people in some cases doing stunts and pranks and. And doing stuff to each other just to get a simple audience.

[A]

YouTube has democratized idiocy 100%.

[B]

They have done the exact opposite of what Jackass says in the disclaimer at the beginning and the end of the movie, which is they are doing these stunts at home and they have no business doing them.

[D]

Yeah, I mean, I think what sets Jackass apart from that sort of thing is you know, like, the original show was produced by Spike Jones, like an artsy filmmaker. And I think that, like, the Jackass crew gets placed in the bro bucket a lot, but I think they're kind of more artsy punk guys. And, like, the whole thing is a little more art project than it is bros, bro, and down. And I think that is the stuff that's the most fun of, like, when they do find some sort of Rube Goldberg, you know, incredibly baroque way to kick someone in the testicles. There is a, there's a spinning wheel of boots in this attached to a

[E]

conveyor, very saw trap.

[A]

It's kind of James Bond.

[F]

Yes.

[D]

Oh, that was great. Exactly. Again, something that I really admired about Stop that Train is that like, it's like, you know, how can we use all of the powers of our imagination? How can we use all of our creativity to be as dumb as possible? There's something kind of beautiful about it. And. Yeah. And I think that's the Jackass stuff that I like the most. Like, you know, there's a famous Jackass clip of someone sitting in a plastic chair and then someone kicks the chair out from under them.

[A]

Yes.

[D]

And like, that is very funny. But also, you know, then we have the conveyor belt attached to the whirling wheel of boots and that stuff is the. Oh my gosh, I can't believe they did that stuff that I think makes you remember Jackass.

[A]

We've got a lot more to talk about. We will be right back after this break.

[F]

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[C]

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[A]

I spoke with Alon Cohen, who heads

[D]

research and development at UFC Insights Engine

[A]

is not here to feel technical. We are bringing it to a place where you feel like you could even have an opinion because you understand enough of what's going on.

[C]

Listen to Smart Talks with IBM wherever you get your podcasts.

[A]

And we're back.

[E]

I like the bits that I get the vibe nobody else here really likes. Like, I like the body horror. I like the stupid. You know, my favorite jackass bit. And maybe all of the movies is like a five second clip and it's called Bam drops in and it's Bam Margera on top of a ramp and he comes down the ramp on a skateboard, goes right into the camera and then falls back like a prat fall. It's so silly. And I love the little bits and pieces that they put into these movies that feel like people just hanging out. You know, there's another clip where somebody jumps into a ceiling fan.

[B]

Oh yes, I like that.

[E]

Things like that that really, really get me. Maybe part of what lost me with this movie is that all of the new gimmicks that we see are kind of heavily involved a little bit. Like there's a robot quote unquote character that joins the group and it's voiced by Adam Ray. And the robot has kind of a scrappy doo quality to it that I don't really love, where it's just there to quip. And obviously it gets in on some of the pranks and some of the bits, but generally, like there's an element of this is a little bit too far from what I love about the franchise and what I love about these stunts. And you know, I really like the group dynamic and the editing of the movies made me feel like something was a little bit askew and I'm not really sure why. Like, I wish more of the group got to do tricks.

[A]

Yeah, I'm glad you mentioned that because, you know, there's clearly been an effort to diversify this franchise a little bit beyond a group of white dudes. But at the same time, several of the newer cast members spend a lot of time in this movie standing around and laughing and not necessarily participating. And I think part of it, that this is being presented as kind of a last hurrah for these old warriors. You know, Bam Margera is not in this film in the present day, but, you know, Steve O has certainly had a very long and checkered career in this realm. Johnny Knoxville, you know, as kind of the ringleader. But I'm kind of surprised that this film didn't give some of the younger cast members a little bit more space, because if and when we get another Jackass movie, it's likely to be something like the Next Generation, where the older guys are there to stand around watching the young guys get flung into things.

[E]

Yeah, yeah.

[D]

You know, I think that's what they were trying to do with Jackass Forever, the last one. I think they were trying to spin off a group of younger jackasses. And, yeah, for whatever reason, that show or that movie they were trying to make out of that didn't work.

[C]

Maybe.

[D]

I vaguely remember they were trying to make, like, a Paramount plus series with the new cast, and it just didn't happen. So, yeah, it kind of feels like the new kids are here to do some of the stuff that the older guys can't. But also, there is an element to where there are a handful of cast members where, like, they just seem to be standing around laughing.

[E]

Well, an interesting thing about the Jackass franchise is that a bunch of these movies have 0.5 installments attached to the movie, which essentially functions as, like, a group of, like, deleted scenes, extended universe, you know, larger, longer cuts of the. The sketches or whatever they do. Jackass Forever had one. There was Jackass 4.5. This feels like Jackass 4.75.

[D]

That's a good way to describe it,

[E]

because there is a lot of footage from the last movie that is repurposed. And I honestly felt like Jackass Forever was a good way to close the book. You know, you bring in new people, you kind of send off the old heads. There's an element of finality to it that. That I feel like here is there, but forced. You know, it felt like with the last one, they effectively closed the book again. I'm saying all of this. I laughed so hard. Me and my brother laughed so hard. I was asking him outside what his favorite bits were, and they were clips that, like, I've seen a million times, you know, and it's like, yeah, that's the power of Jackass, you know, to bring people together through laughter and poop humor.

[A]

It's a great unifier.

[E]

Yeah, exactly. Exactly. So, like, all that to say, like I. But it did feel maybe a little bit superficial.

[B]

There's a scene early where Johnny Knoxville is getting choked up. He's like, this is the last one. And I remember there's several times in the movie in which he gets choked up, but he never takes off his sunglasses. So I felt like I didn't really feel those moments. So when you say forced and he's talking about crying, no one's really crying. They're not even doing these candid shots of them being like, hey, man, we've been in this for a while. There's kind of like this eulogy that they're doing for Ryan Dunn, who died

[A]

a few years back, 2011.

[B]

And I'm using eulogy liberally. They just referenced that he's no longer with them. And every time I saw him, I felt a little tinge of emotion there. And Bam's not in the new movie. Clips of Bam Margera are there from the old movies, but he's not in the new movie. And for me, if you're gonna close it out, you gotta bring everybody back. I need to see Rake Jorn. I need to see Bam Margera. I need everybody there if we're properly going to give this the send off that it deserves. But instead, what we kind of get is them referencing that this is the last one, and me saying, I don't really believe that. I believe that.

[A]

Not at all.

[B]

Some of you will have children or you will do this again at some point in the future. And it might be Jackass the new generation, but Johnny Knoxville will still be around. Someone will be pulling the strings, and it'll move into whatever the next iteration is. But forced is a good word. It does feel forced in some ways. And again, like I said earlier, nobody's forcing you to do this.

[D]

A funny detail I noticed that I thought really pointed to. These guys are older now. In some of the old clips, you see them drinking, like, cheap beer. They're drinking like Miller High Life or similar. And in all the new footage, nobody points it out, but you can just see the set is littered with LaCroix cans.

[B]

Yep.

[D]

So, you know, I'm sure a lot of these guys are sober now, but. And, you know, part of the arc

[A]

for a lot of these people.

[D]

Yeah. And, you know, the cheap beer has been replaced with sugar free sparkling seltzer,

[A]

as it has for so many of us.

[D]

Of course. Oh, yeah.

[A]

All right, well, that brings us to the end of our show. Rihanna, Cruz, Jordan Morris, Ronald Young, Jr. Thanks so much for being here. I am so sorry I didn't bring any kind of gauntlet to prank you with, but I appreciate your participation in this discussion.

[D]

Right, Peter Sagal's gonna run into all of our houses, kick us with a giant boot.

[E]

Happy to be here.

[B]

Thanks for having us.

[E]

You should have started this by saying, hi, I'm Stephen Thompson, and welcome to Pop Culture Happy Hour.

[A]

Missed opportunities lost all right, well, just a reminder that signing up for Pop Culture Happy Hour plus is a great way to support our show and public radio. And you get to listen to all of our episodes sponsor free. So please go find out more at plus.npr.org happyaur or visit the link in our show notes. This episode was produced by Liz Metzger, Lennon Sherburne Hafsa Fathoma and Mike Katsif and edited by our showrunner, Jessica Reedy. Hello. Command provides theme music. Thanks for listening to Pop Culture Happy Hour from npr. I'm Stephen Thompson, and we'll see you all next time.

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