The Fantastic Four: First Steps And What's Making Us Happy

Summary

Pop Culture Happy Hour: The Fantastic Four – First Steps and What’s Making Us Happy

Released on July 25, 2025, "Pop Culture Happy Hour" hosted by NPR delves into Marvel's latest cinematic venture, "The Fantastic Four: First Steps." Hosted by Glen Weldon, the discussion features Ronald Young Jr., Char Jassel, and Jordan Morris, who dissect the film's nuances, production design, character development, and its place within the broader Marvel Universe.

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Introduction to "The Fantastic Four: First Steps"

Glen Weldon opens the conversation by introducing "The Fantastic Four: First Steps," highlighting its vibrant retro-futuristic aesthetic and the ensemble cast featuring Pedro Pascal (Reed Richards), Vanessa Kirby (Sue Storm), Evan Moss Bachrach (Ben Grimm), and Joseph Quinn (Johnny Storm). He describes the antagonistic force in the film, Galactus, portrayed by Ralph Einason as a character true to his comic book origins, complete with a tuning fork helmet and a knee-length skirt.

Glen Weldon [00:17]:
"Marvel's latest attempt to kickstart a franchise around their OG superhero Superteam is an eye-popping good time."

---

Casting and Character Chemistry

Jordan Morris praises the film for its faithful adaptation of comic elements and the chemistry among the cast. He appreciates the homage to Jack Kirby and the decision to start the narrative mid-story rather than delving into origin tales.

Jordan Morris [02:40]:
"It's fun, it's colorful, it is goofy, goofy, goofy. There is a lovely little tribute to Jack Kirby at the end of the movie, which I thought was nice."

Char Jassel echoes this sentiment, noting the accessibility of the film for both casual viewers and hardcore fans, and likens the viewing experience to watching a live-action video game.

Char Jassel [04:00]:
"I felt like I was like watching a video game, like a live-action video game on the big screen. And so that really drew me in."

---

Storytelling and Narrative Structure

The panel discusses the film's narrative approach, with Glen Weldon drawing parallels to "Superman" by starting the story without bogging down the audience with origin stories. This technique, he argues, mirrors how comic book readers often engage with characters.

Glen Weldon [06:00]:
"We're not comparing it to Superman, but let's compare it to Superman. Like, that movie is set in a recognizably contemporary time... This film is out of time, intentionally so. It's already a distant world."

Ronald Young Jr. appreciates the standalone nature of the movie but expresses concerns about its integration into the larger Marvel Cinematic Universe (MCU).

Ronald Young Jr. [04:48]:
"I liked this movie, it was a little bit of a line drive down the middle. But most of my quibbles with it come with the ways in which it's going to connect with the rest of the universe."

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Production Design and Aesthetic

The production design receives substantial praise for its intentional out-of-time setting, combining 60s retro elements with futuristic technology. Char Jassel admires the set design, noting its flawless integration with the narrative's aesthetic.

Char Jassel [15:07]:
"I thought that the design was beautiful... It added to the flair."

Ronald Young Jr. compares the visual style to a blend of Jetsons-era futurism and steampunk, appreciating the cohesive and intentional design choices.

Ronald Young Jr. [15:16]:
"It felt very Jetsons futuristic, which is a past view of the distant. ... It felt like we were watching a comic book movie for real."

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Character Development and Themes

A significant portion of the discussion centers on character development, particularly Sue Storm's evolution. Glen Weldon expresses concern that Sue's character becomes overly defined by her role as a mother, potentially regressing her character development.

Glen Weldon [07:41]:
"Sue becomes a mother over the course of the film. And I worry that that was coming to kind of define her character in this regressive way."

Ronald Young Jr. counters by highlighting the nuanced portrayal of Sue and how her development aligns with her narrative arc, likening her superhero act to real-life maternal heroism.

Ronald Young Jr. [12:04]:
"Sue lifting up a car to save her baby from underneath... That's exactly what I was thinking in that moment. This is the superhero version of that."

Char Jassel concurs, acknowledging the narrative necessity while noting moments where Sue’s characterization felt one-dimensional.

Char Jassel [13:15]:
"It leaned heavily into the tropes of, like, a mother's love and a mother's sacrifice... it did seem kind of one-dimensional."

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Comparative Analysis with Other Superhero Films

The panel draws comparisons between "The Fantastic Four: First Steps" and other superhero films like "Superman," discussing similarities in tone and storytelling. Jordan Morris notes that while the film shares DNA with "Superman," it sometimes falls short in delivering the same level of humor and excitement.

Jordan Morris [07:41]:
"I think Superman had more. There’s a little moment in the credits here... that was part of that scene. And that's the kind of like, goofy goofballs comedy that I kind of wanted more of from this."

Ronald Young Jr. further elaborates on the film's pacing, suggesting that while the story is solid, it lacks standout sequences that elevate rewatchability.

Ronald Young Jr. [08:34]:
"What's bothering me... there's no particular sequence of events in this movie that I'm looking forward to seeing again outside of their visit to Galactus."

---

Panelists on Production Design and Visual Appeal

The discussion shifts to the film's production design, with Glen Weldon commending its intentional out-of-time setting that preserves the retro aesthetic.

Glen Weldon [14:58]:
"You know, Natasha Leon. I think that she added to the comedic fodder of this film... those bright 60s colors... those kind of things are what makes me pretty high in this movie."

Char Jassel appreciates the seamless blend of familiar cityscapes with imaginative elements, enhancing the film's unique visual identity.

Char Jassel [15:07]:
"It seemed like this hybrid city... I loved seeing Natasha Leon... those bright 60s colors."

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Final Thoughts on Character Portrayal

Jordan Morris emphasizes the strong casting as a hallmark of Marvel's success, highlighting Vanessa Kirby's performance and the authentic portrayal of adult relationships within the superhero framework.

Jordan Morris [13:47]:
"I think that Vanessa Kirby is really good in this, and she and Pedro Pascal have chemistry... you do think that the characters in these have adult relationships. It's kind of nice to see."

Glen Weldon concludes with a positive note on the film's commitment to its unique setting and design, expressing optimism for its reception.

Glen Weldon [16:41]:
"This film is out of time, intentionally so... It's already a distant world... These are what makes me pretty high in this movie."

---

What’s Making Us Happy This Week

Transitioning to the beloved segment, "What’s Making Us Happy This Week," the panelists share personal recommendations:

• Jordan Morris recommends "Impossible People" by Julia Wertz, a humorous and honest graphic novel about sobriety.

  Jordan Morris [19:30]:
  "Impossible People by Julia Wirtz... it's really, really funny... it talks about what rehab is like and what happens when you relapse."

• Ronald Young Jr. shares his enthusiasm for Dropout, a streaming platform featuring improv and game shows reminiscent of "Whose Line Is It Anyway?"

  Ronald Young Jr. [20:37]:
  "It's like this generation's version of Whose Line, but all kinds of different shows. I've just been binging this because it just feels nice to see people play and have fun."

• Char Jassel expresses joy over the "Sex and the City" spinoff on HBO Max, appreciating its character evolution despite mixed reviews.

  Char Jassel [21:53]:
  "I love the evolution of these characters for better, for worse. It's a nice reminder of how things don't really end like the sloppiness of life."

• Glen Weldon introduces his pick, the board game Things in Rings, praising its engaging and adaptable gameplay suitable for various audiences.

  Glen Weldon [22:09]:
  "Things in Rings is a board game that brings all the pulse-pounding excitement... it's easy to learn... challenges both your abstract thinking and your logical thinking."

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Conclusion

Glen Weldon wraps up the episode by acknowledging the contributions of the panelists and highlighting the thoughtful analysis provided on "The Fantastic Four: First Steps." He encourages listeners to engage with the podcast through surveys and social media before signing off.

Glen Weldon [24:14]:
"This episode was produced by Carly Rubin, Janae Morris and Mike Katsif and edited by our showrunner, Jessica Reedy. Thank you for listening to Pop Culture Happy Hour from NPR. I'm Glenn Weldon and we'll see you all next week."

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For more insights and discussions on the latest in pop culture, tune in to "Pop Culture Happy Hour" on NPR.

Transcript

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[Glen Weldon]

Hello. Thanks for listening to Pop Culture Happy Hour. We'd love to know what you think about this podcast. Please help us out by telling us what you like and how we could improve by completing a short Anonymous [e-mail] PCHHSurvey we'll also have a link in our episode description. Thank you. The Fantastic Four are back again. Marvel's latest attempt to kickstart a franchise around their OG superhero Superteam is an eye popping good time. It stars Pedro Pascal, Vanessa Kirby, Evan Moss Bachrach and Joseph Quinn as the famously fractious family with amazing powers who tangle with a godlike being who wants to eat the Earth. Now, on a story level, we've been here before. This time out though, the vibe is different. A brighter, boldly colored retro future with flying cars, semi helpful household robots and more talk about the importance of family than your average Fast and Furious movie. I'm Glen Weldon and today we're talking about the fantastic four first steps on pop culture happy hour from NPR. Joining me today is Ronald Young, Jr. He's the host of the Film and Television Review podcast Leaving the Theater. Hello, Ronald. Hello, Glenn.

[Ronald Young Jr.]

Great to be here.

[Glen Weldon]

Great to have you. Also with us is entertainment journalist and contributor Char Jassel. Welcome back, Char.

[Ronald Young Jr.]

Hello.

[Char Jassel]

Thank you for having me, Glenn.

[Glen Weldon]

Great to have you. And rounding out the panelist, Jordan Morris. He's a writer and the co host of the podcasts, Jordan Jesse. Go and free with ads. Hey Jordan.

[Jordan Morris]

Hey.

[Glen Weldon]

Hey.

[Jordan Morris]

It's good to be here to spend some quality clobbering time with you all.

[Glen Weldon]

It's always clobbering time with you. Well, you know the Fantastic Four even if you think you don't. There's Reed Richards, played here by Pedro Pascal. He's a brilliant scientist with a super elastic body. Then there's his wife sue, who can turn invisible and cast force fields. She's played by Vanessa Kirby. There's Sue's hot headed brother Johnny, who can turn into flame and fly. That's Joseph Quinn. And there's Ben, a super strong humanoid lump of orange rock. He's played by Eben Moss Bachrach. They live on a bright alternate 60s styled Earth where the space age never ended. In the film, they face off against the quintessential Fantastic Four villain, Galactus who this time out is not a space cloud as he was in the 2007 Fantastic Four film. He is a giant dud in a knee length skirt and tuning fork helmet straight from the comics, played by Ralph Einason. The Fantastic Four First Steps is in theaters now. Jordan, kick us off. What'd you think?

[Jordan Morris]

Yeah, I think this movie is part of a nice trend, which is comic book movies that actually seem to like the comics they're adapting.

[Glen Weldon]

There you go.

[Jordan Morris]

It's fun, it's colorful, it is goofy, goofy, goofy. As you mentioned, Galactus has a tuning fork helmet, there's a robot. All that stuff is so much fun. There is a lovely little tribute to Jack Kirby at the end of the movie, which I thought was nice. Jack Kirby, of course, one of the creators of the Fantastic Four and all your favorite comics. So, yeah, I really liked the like, reverence for the comics. And I also like that this isn't an origin story. We're kind of dropped into the middle, which I think Superman did so well earlier this month. I think that technique is so smart. I think it really kind of mimics how we get into these comic book characters. I think when you are a kid and you were browsing in the comic book store, or, you know, when I was a kid, the grocery store, you're not picking up issue one, you're picking up Amazing Spider man, issue 317 because the COVID looks cool. And then you do your research and figure out the origins and everything. So I think this is really smart not having to deal with all that kind of boring origin stuff. You're dropped into a world where the Fantastic Four are heroes, the world loves them, and you get to see some little snippets of their past adventures. This is a blast and a nice kind of comic book movie that I hope does well.

[Glen Weldon]

Okay, how about you, Shar?

[Char Jassel]

You know, much like Jordan, I think even casual Marvel fans will enjoy. I went on Disney plus prior to watching this and watched the most recent Fantastic Four. And then when I got in the theater, I realized that they had no connection. So I do love that you don't really have to do homework to enjoy this film. And my favorite aspect is I felt like I was like watching a video game, like a live action video game on the big screen. And so that really drew me in. And of course the colors were always an added bonus. But yeah, I enjoyed it for that aspect alone. You don't have to do much homework, I'd venture to say any homework to really enjoy and get the most out of this film.

[Glen Weldon]

Yeah, because this is not in the MCU we know. This is in this own little separate space age world. And that's done very intentionally. Ronald, what'd you think?

[Ronald Young Jr.]

Well, when you say it that way, when you point that out, I think that's when I start to have gripes because I liked this movie. And I feel like nowadays Marvel has like two missions. Make a standalone movie that I like and then connect it to the movies that I've seen. And I feel like that is the rhythm that they've established since they started with Iron man. And Samuel Jackson shows up at the very end this one. I expected that this movie would be good, and it was. For me, it's a little bit of a line drive down the middle. But most of my quibbles with it come with the ways in which it's going to connect with the rest of the universe. Given that the next Fantastic Four film is essentially going to be Fantastic Four. Well, 1.5 if you want to call it. And it's a team up with other, and I'm using big air quotes here, Avengers in the next one called Avengers Doomsday. So while I liked this movie, I almost wish that we'd have more movies between this and what comes next because I think it only goes downhill from here. And that's just me thinking bigger picture. But I know we're going to focus on this film.

[Jordan Morris]

That's kind of a hot take. Let's have more Marvel movies. We're just in a desert.

[Glen Weldon]

Yeah. You all know the conundrum here, which is that Marvel movies with things that sets them apart theoretically is yes, they can tell a good story, but they also, you know, when you're reading a Marvel comic, Spider man can look up and see the fantastic car flying overhead. Because this is a one connected world. And when you remove that, you risk doing something to the appeal. For me, it didn't. This is July 25th is the summer of the sunny Superhero. And I am here for it. I am here for filmmakers. As you mentioned, Jordan, embracing the comics, no longer apologizing for the source material, for the goofiness of the comics, holding their. And attempting to create these other comics, adjacent stories and characters that are more cool and more relevant and more believable.

[Jordan Morris]

Grounded, grounded. I think people like to say these days, grounded. If you've ever gotten notes from an entertainment executive, that's something they like to say to you a lot.

[Glen Weldon]

Spare me grounded. Spare me relevance. This is the last time we get it. It's done. Because those Studios, they want the four quadrant hits. And they're deathly afraid of alienating people who haven't read the comics. But let me tell you, I can't speak to if this is gonna hit with non nerds. Cause I am one. I can only say that just like in Superman, which this film shares a lot of DNA with, when Superman said, golly, I relaxed and knew I was in good hands. In the opening montage of this film, we get a newscaster breathlessly listing, you know, the various Fantastic Four's accomplishments, including that they defeated the Red Ghost and his super apes. And I let out a sigh. I said, they have understood the damn assignment. If you're gonna do it, commit to the bit. If you're gonna do Galactus, do G, do the tuning fork, do the skirt. That hits exactly the right point on the thigh. They had him galumphing through lower Manhattan like this Kaiju with a stick up his butt. That's who he is. That's what you gotta do.

[Jordan Morris]

It is kind of hard not to compare this movie to Superman because I think, you know, Glenn, as you mentioned, they're cooking with a lot of the same ingredients. Optimistic superhero movie, kind of retro superhero movie. It's so hard not to compare them. And I did think Superman had more. There's a little moment in the credits here where you're seeing little stills and there's a still of Pedro Pascal fighting one of the super apes that you mentioned. And the ape has grabbed his face and is like stretching it. And that was obviously from a scene that was cut. John Malkovich kind of famously cut from this movie. Maybe it was part of that scene. And that's the kind of like, goofy goofballs comedy that I kind of wanted more of from this. So I didn't think this movie went in the right direction, but. But, I don't know. Push it farther. Sillier, weirder. More apes, I think is my general note for it. It needed more apes.

[Ronald Young Jr.]

You know what? I just. I feel like I have to set the stage and say my two favorite superhero movies are Logan and Captain the Winter Soldier. And the reason why I like those movies is because when you turn them on scene by scene, there's scenes that you want to watch and watch over and over again. I'm talking about the elevator scene from the Winter Soldier or Logan. You could just go up and down that movie in terms of scenes that you want to watch over and over again. And I feel like what's bothering me about Superman and about this outside of the Mr. Terrific scene in Superman, but specifically about Fantastic Four is while I will watch this movie again, there's no particular sequence of events in this movie that I'm looking forward to seeing again outside of their visit to Galactus. But nothing much happens except they have to escape from there at some point. But we don't really get a full display of their powers of them kind of going crazy and really just like being the Fantastic Four and going through something. There's no, like, cool one like they do with the Avengers with these four. And I feel like that's what I'm missing from superhero movies right now, which is that bit of rewatchability from scene to scene, which makes us, again, a fine movie. But that's the one thing where I'm just like, I need more.

[Glen Weldon]

Come on.

[Char Jassel]

Yeah. I have to agree. Although I enjoyed it, it kind of drags a little bit as it's building up to what the viewer would think would be the climax. Because I don't want to do any spoilers.

[Glen Weldon]

Sure.

[Char Jassel]

I'll say as they go to outer space to go see. What's the villain's name again? Mr. Galactus. Galactus.

[Ronald Young Jr.]

Mr. Galactus is the name.

[Jordan Morris]

Mr. Galactus if you're dancing.

[Glen Weldon]

Galactus Esquire.

[Jordan Morris]

Please. My father was Mr. Galactus.

[Char Jassel]

I want to be respectful because he terrified me. Oh, my gosh. When they go out of space to see him, it kind of dragged a little bit and then it kind of picks up when they try to escape.

[Glen Weldon]

Yeah.

[Jordan Morris]

This movie has a lot of Pedro Pascal solving giant equations. That is a lot of this movie is him writing on a giant chalkboard. Whereas you do want a little bit of that. That is part of why we bought the ticket. But yeah, I'll just go back to some more. Apes would have helped this. There's a lot of figuring out how to kill Galactus. That is fun and cool and all the art direction is so neat. But there are stretches that feel a little bit inert.

[Glen Weldon]

I think I didn't have a problem with the Pedro Pascal character because he's given something to grapple with here, which I don't need him to brood. God help us. I don't need him to brood. But here he's a square jawed hero who believes, firmly believes that he can prot humanity. But he's also a nerd whose mind is constantly churning through worst case scenarios. So he is, at the end of the day, an optimistic catastrophist. Right. That is fun. That's something we haven't seen before. You know, Who I was worried about, though, and I want to get everybody's take on this, is Sue. I like Kirby here, but sue becomes a mother over the course of the film. And I worry that that was coming to kind of define her character in this regressive way. But then I thought, well, maybe I'm just being taken in by the 60s trappings and the 60s sett. Is that why I'm thinking that she does get more to do? One point, she gets a speech that's very important in the story of the movie where she explains what family is all about. And it's one of those moments when movies, superhero movies aim for relevance when they fail. Because even if we believe that that speech, which we can't get into too much detail here, but that speech convinced folks in the movie, in the real world, that speech would have convinced absolutely no one. You have to suspend your disbelief. But I was worried about the sue character. What do you guys think?

[Ronald Young Jr.]

Characterization generally in this movie, I thought was done well. If you look at the past ways that we've looked at Johnny Storm, he's been a lot more hot headed. They gave Ben Grimm this quiet simmer, which I thought also worked, and banter between him and Johnny. So I thought that those characterizations work also. Like Pedro Pascal, like a lot of interiority, a lot of thinking. It wasn't like necessarily signposting as much as kind of just like delivering it in dialogue, which really, really worked for me. But when it comes down to Sue, I felt like what they did well was talk about when you are one thing and you become another thing and the other thing becomes more important than the first thing in some cases for you. And I feel like that's kind of what happens with motherhood. And I feel like it was done with just enough that it didn't to me over season, the whole movie. But because it is a superhero movie, when we get to the climax of sue having to do something later, it makes sense to the ways in which they positioned her and built up her character to be able to do that one thing. Because the thing I thought about when it was happening was mothers lifting up a car to save their baby from underneath. That's exactly what I was thinking in that moment. And I was like, oh, then they did a good job for me here because this is the superhero version of that. And I hope that's not too spoilery.

[Char Jassel]

And I definitely thought about that as well. When I walked out of the theater, I was like, oh, I see why it's called First Steps. It's a play on words, you know, But I didn't look at it as regressive or her motherhood role, like, defining her per se. But it definitely leaned heavily into the tropes of, like, a mother's love and a mother's sacrifice. And I will say, towards the end, it did seem kind of one dimensional, but I get it. Like her role, I understand for storytelling purposes, because it wasn't like that prior to her giving birth.

[Jordan Morris]

I think that one of Marvel's great strengths has always been casting, and I think that's totally true here. I think the casting is great, and I do think Vanessa Kirby is really good in this, and she and Pedro Pascal have chemistry. I think that these movies are kind of known for and criticized for being a little sexless. And, you know, whereas things don't get too spicy, it is nice to see, like, a couple who loves each other and a couple who's attracted to each other. And you do think that the characters in this have adult relationships. It's kind of nice. And I think Vanessa Kirby being so good is a big part of that.

[Glen Weldon]

Let me ask you all about when this movie would go to Galactus Lair and they have to escape from it, which, you know, Char, I get your point about that seeming like a video game. That seemed like a cut scene from a video game. You beat the level and then you get the cutscene. Even in those moments, Z axis, like the third dimension. The thing that this movie has that a lot of other movies like this don't is this production design. I wanted to live inside this movie, inside that apartment, to have that tv, the Manhattan of this film. You know, it looks like a movie set, but that's intentional. It's kind of unnervingly tidy in a way that doesn't seem at all real, which is why I loved it. What'd you guys make of the production design?

[Jordan Morris]

I'm just so glad they still have Little Caesars in this world. I know this is an alternate dimension, but I'm still glad I can get a pretzel crust pizza.

[Char Jassel]

I thought that the design was beautiful. I know that during the big fight scene towards the end, I looked up and I was like, I know this is supposed to be New York City, but that building is in Chicago.

[Glen Weldon]

Yeah, yeah, I know which one they're talking about.

[Char Jassel]

It seemed like this hybrid city, like it takes place in New York, but it's like, I know that building is in Chicago, Illinois, and so I thought that it added to the flair. I loved seeing Natasha Leon. I Think that she added to the comedic fodder of this film, even though she wasn't used to her fullest potential. It felt weird seeing her here, but I loved the character that she played and, like, those bright 60s colors. Like, when we first see her character, it's reminiscent of, like, Daphne from Scooby Doo. And so I thought that the set design all tied in really, really nicely.

[Ronald Young Jr.]

It felt very Jetsons futuristic, which is a past view of the distant. So I'm like, when you get that together, it's almost like a weird, steampunk, slick future type thing. You know what I mean? Which I really liked that. And no problems about the costume design, the character design, the set design. I thought all of that was done well and with intention, which felt good to watch. It felt like we were watching a comic book movie for real.

[Glen Weldon]

Yeah.

[Char Jassel]

When I was in the theater, people were talking about how the women in this film had these elaborate, throwback, like, 60s bouffant hairstyles. With the exception of Sue Storm.

[Glen Weldon]

Correct.

[Char Jassel]

She had a very modern beach wa. I'm like, they could have given her a little flip or something, like a little bob, you know, to represent the time.

[Glen Weldon]

Why couldn't she have a pillbox hat? Everybody else had a pillbox hat.

[Jordan Morris]

I mean, full beehive, right? Full March 7th, full beehive. That's what we all want.

[Ronald Young Jr.]

Let's do it.

[Glen Weldon]

Well, that was what I was. You know, we're not comparing it to Superman, but let's compare it to Superman. Like, that movie is set in a recognizably contemporary time. So in 10, 15 years, the hairstyles, the fashion, the technology are gonna date it. This film is out of time, intentionally so. It's already a distant world. It's 15, 20 years from now. You can still go back to it. And that's done in way not only to kind of keep it from feeling dated, but also to preserve it as what it is, which is an homage to those original Fantastic Four comics we see in the opening montage. The COVID of Fantastic Four 1 is in there. We'll meet a character from Fantastic 4, number one in the movie. It's just those kind of things are what makes me pretty high in this movie. Tell us what you think about the Fantastic Four first steps. Find us on [e-mail] PCHH and on [e-mail] NPRpopculture. We'll have a link in our episode description. Up next, what is making us happy this week?

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[Glen Weldon]

Eduardo now it is time for our favorite segment of this week and every week. What is making us happy this week? Jordan, kick us off. What is making you happy this week?

[Jordan Morris]

Yeah, if for some reason this weekend you're down at your lcs, your local comic book store shopping for some issues of Fantastic Four because you were so hot on the movie, a great comic book I am reading with a little bit of a different flavor. It's called Impossible. A completely average recovery story by the great cartoonist Julia Wertz. Julia Wertz does these kind of confessional slice of life comics and this is her story about getting sober. It is really, really funny. It definitely leads you into the heavier stuff with a lot of just good old bodily function humor underneath the yucks. There's a really, really touching, interesting, honest story here about getting sober and it's really fascinating. It talks about what rehab is like and what happens when you relapse. It is funny, it is fascinating. And yeah, just really, really to Julia Wirtz does this so great. And yeah I think Impossible People is my favorite book I've read of hers.

[Glen Weldon]

Okay, thank you very much. That's Impossible People by Julia Wirtz. Thank you, Jordan. Ronald, what is making you happy this week?

[Ronald Young Jr.]

All right, so I know I'm late to this, what I'm about to say next, but I recently discovered the Beatles, the Dropout.

[Jordan Morris]

There's four lads from Liverpool.

[Glen Weldon]

I spread.

[Ronald Young Jr.]

No, I recently discovered the Dropout. Dropout is if you are familiar with college humor, a lot of the comedians and the actors from that started kind of this other streaming source which one of their main shows on there is a show called Game Changer. It is a game show in which the game changes every single show. You've probably seen clips of this on social media of that and another show called Make Some Noise as well as Dimension 20. This app is like if you gave theater kids and all comedians the keys to a public access television station with a little bit more budget. Like, it's very simple. It's a lot of games. It's a lot of improv. It's kind of like this generation's version of Whose Line, but all kinds of different shows. I've just been binging this because it just feels nice to see people play and have fun and make up things in their imagination and have a good time with one another. Sure, there's plenty I could be watching on Netflix and Disney plus and the others, but I've really been enjoying watching all of the shows on the Dropout app recently. So check that out if you can.

[Glen Weldon]

Check it out. That's a great pick. I've talked about Dropout in the past. I've talked specifically about the yes or no episode of Game Changer, which, if you haven't seen yet, Ronald, I have not. You are in for a treat. Oh, I'm gonna check it out once again. That's the Dropout app. Thank you very much, Ronald Schar, what is making you happy this week?

[Char Jassel]

What's making me happy this week? And I know some people may throw tomatoes at me, but HBO maxes and just like that, the Sex and the City spinoff, you know, it gets mixed reviews. I love the sloppiness of the show. I probably will never stop watching. If they run it for another six seasons, I'm gonna be there for all six. I love the evolution of these characters for better, for worse. And it's just a nice reminder of how, like, things don't really end like the sloppiness of life. So I've really been enjoying that. That's been bringing me a lot of joy this week.

[Glen Weldon]

Okay, that is. And just like that, streaming on hbo. Max what's making me happy this week? Things in Rings is a board game that brings all the pulse pounding excitement of of the Venn diagram to your next game night. It's so easy to learn. It's simple in concept, but playing it really challenges both your abstract thinking and your logical thinking. You get a hand to five cards, right, and they're all physical objects. Your job is to place them within this Venn diagram of overlapping circles. Each circle has a different rule and the specific rule changes every game. What stays constant is the kind of rule each circle has. So one circle has a rule that's always related to the actual name of the object, like the word itself, like has two vowels, has a repeated letter. Another circle always has to do with some ph property of the thing itself, its color, its weight, its size. The third circle is about the context you will usually find this object in. At a school, at a wedding, only at night, outside, whatever. You can adjust the difficulty of this game very easily so you could play theoretically with either smart kids or very drunk adults. And that is the board game Things in Rings. And that is what is making me happy this week. And a reminder, we'd love to know what you think about this podcast. Please help us out by telling us what you like and how we could improve by completing a short Anonymous [e-mail] PCHHHSurvey we'll also have a link in our episode description. And that brings us to the end of our show. Jordan Morris, Ronald Young Jr. Char Ja Sell. Thank you so much for being here.

[Ronald Young Jr.]

Thanks for having me.

[Char Jassel]

Thank you.

[Jordan Morris]

Thank you so much. I've had a wonderful clobber in time.

[Advertiser]

Excelsior.

[Glen Weldon]

This episode was produced by Carly Rubin, Janae Morris and Mike Katsif and edited by our showrunner, Jessica Reedy. And hello, welcome in provides our theme music. Thank you for listening to Pop Culture Happy Hour from npr. I'm Glenn Weldon and we'll see you all next week.

[Advertiser]

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[Glen Weldon]

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