Bad Ancestors, The Dry 2, TSBHITG, Zone of Interest & How To Have Sex

Full transcript of Bad Ancestors, The Dry 2, TSBHITG, Zone of Interest & How To Have Sex.

0:00KT: It's another week in the For Your Reference household. And Oti, are you a member of Blackstreet? Um, because we going back, back into town, you weren't expecting that were you, but you are our urban reference, um, friends and lovers. Thank you so much for joining us in a nonlinear linear time fashion. Thank you for joining our five year celebration.

0:26KT: Um, we did get sick, so we disappeared for a little while, but just like Kendrick, we are eternal. We are Prince. And you might Jack, you got anything to say, Oh, breezy.

0:43Oti: You're a ridiculous bastard. You know that

0:45KT: find us on our subreddit friends and lovers. Let's get on with the show. Friends and lovers. Welcome back to the For Your Reference podcast. You've got your MCs.

1:06KT: We have another delightful edition of Ref Max, friends and lovers, and for those playing at home, this is our combined review format, uh, for screening, whether it's TV, whether it's film, um, requests that we get from independent as well as studio, um, PR as well. We've got an interesting, delightful, muy caliente bag.

1:33KT: Most of them, we also have interviews for as well, which is also very exciting. Friends and lovers, if you are new here, we do have a YouTube channel, so feel free to follow that, especially for the video interviews. One of my favorite, favorite, favorite, if I'm allowed to have that tax, Oti, um, was with Wendy Mocke as well as Jess Magro, uh, for Bad Ancestors.

1:58KT: Ooh, it is definitely a hundred percent our longest interview as well. Friends and lovers, uh, again, if you aren't familiar with Bad Ancestors, it is available to watch on YouTube as well as Purple Carrot Productions, Instagram. We will put the links in the show notes. This is a gorgeous, delicious, short TV concept.

2:26KT: So you have a few episodes. They are only a few minutes long, but Ooh, we, there is a lot of deliciousness to get into there. So before we get into, um, our other reviews, I do want to lay a lot of love and splooshes, um, to our Pacific fam, our black indigenous fam, um, and everyone that did the damn thing on the Bad Ancestors set, because it is that intersection of Beautiful storytelling.

2:57KT: I'm just being fucking funny, man. Like, is that okay? Can we be the center and also be fucking hilarious?

3:06Oti: Just a little bit.

3:08KT: Yeah? Are the light packs pressed?

3:13KT: Where were you in the 1800s, Oti? I feel like if Bad Ancestors got its own show, we would have been eaten good with those Taylor Swift lyrics. That's as much as we're going to mention the light pack.

3:34Oti: Are you sure?

3:38KT: Um, but let's get into Bad Ancestors, you know, uh, we did have the opportunity to watch it, but it is now available globally. Because we are Pitbull worldwide friends and lovers. So, um, even if you're not in so called Australia, you can watch it right now. Um, so how do you feel? Cause we also watched it again when it was released on the YouTube too.

4:00Oti: We did. I enjoyed it. I loved it. I could see the. The possibilities of the show in as much as concept, I could see the direction that it would take. It was hilarious, it was funny, it was unique. It's something that it's not been done, which is hard to do in this day and age.

4:19KT: Right? Without it feeling hokey, without it pandering.

4:25Oti: Um, it's one of those things that I cannot wait for it to be made, for it to be visualized in its full glory.

4:33KT: I absolutely agree. Um, there are so many gorgeous lines that, you know, I talked about in the interview and I also don't want to spoil it. Um, but there was so much love and care and it was so funny.

4:47KT: Um, it was so funny, like doing the interview with Jess as well as Wendy and seeing their sort of dynamic and being a woowoo artist, being a producer and you know, what's, what gets left on the cutting room floor or what we don't want to leave on the cutting room floor. Um, Yeah, you know, like I, I talked about Next Goal Wins.

5:11KT: I talked about how the lens is shifting and the, the, the, the sense of enjoyment isn't necessarily for us, even if we're visually majority, if that makes sense. Um, so I will forever love and hold and sploosh over Bad Ancestors. Um, and I really loved, I really loved the way we navigated, you know, a young Papua New Guinean.

5:38KT: Actor trying to do auditions and being told, essentially just go full native. Like you still do Shakespeare, but do it in a way that makes us feel like we got braids in Jamaica. I get that pretty much. Um, and even just like on expanding Pasifika representation as well, like 10 cents, 10s across the board.

6:03Oti: Yeah. It's the classic FUBU Venn diagram of what we want to see.

6:08KT: Wow.

6:09Oti: Yeah. Gotta add culture to this.

6:11KT: I said you were the urban reference, did I not?

6:17KT: You must be Jagged Edge cause you're my good luck charm. Um, but again, friends and lovers, you can check it out on the Purple Carrot's Instagram, um, as well as the ABC YouTube. I believe it's also still on the ABC iview, um, app as well, but let's move in. Do you want to, uh, do you want to dive into another Australian icon?

6:40Oti: Let's

6:42KT: I'm not even talking about Bluey. Okay. Oh, uh, so thank you to the team at Nixco as well as Village Roadshow. This was our second in person press junket after Talk to Me. Um, so if you haven't checked it out, friends and lovers, we have videos as well as audio, um, interviews with a whole bunch of the cast and crew, including Eric Bana, as well as Robert Connolly, the director, as well as Jane Harper, um, the author of the book.

7:15KT: This is a sequel. We've watched The Dry, but I think we're just going to focus on Force of Nature: The Dry 2. Take us away, Oti. Also, we don't spoil anything in the format of Ref Max, so take it away.

7:29Oti: Force of Nature: The Dry 2 feels so distinct from its predecessor, it could stand alone. Eric Bana shines, and the film boasts stunning nature scenes, despite uneven pacing.

7:42KT: Ooh, la, la, oui, oui, monsieur. Wow. You really knew how to season those vegetables. So they went down well. Hey, okay. Let me get into my quote. The perfect storm works best when it centers the dynamics of a mostly women cast navigating the hierarchy of corporate culture. Ooh, I don't go to a jungle from nine to five, but it feels like I'm tussling flicking off those leeches.

8:14Oti: Yeah, like there was a lot to be enjoyed in this movie. Um, how it was shot, you could tell that a lot of effort and, and thought was put in place and I could appreciate that from that level. And I think this is where In as much, I understood the storyline and I appreciated it. I felt like a lot of the time, the pacing just felt a bit short, especially even towards, um, halfway through, you know, the moments where I was like, this could have definitely happened faster to get to this point.

8:51Oti: And we didn't need to go around in circles on some aspect.

8:56KT: Yeah, I agree with you. I think the dynamics were pretty straightforward, so it would have been more interesting to. Dig deeper instead of create more happenstance around the ensemble. If that made sense. Um, it was, like you said, it was definitely distinctive from the first one.

9:17KT: I think, I, I think they're both very different to me. Like, I think I enjoyed them to the same level, but in different ways.

9:27Oti: Yeah. Like if, and this is where like it created a disconnect because I went into it thinking that I'm getting, uh, some semblance of continuation from The Dry.

9:37KT: Yeah,

9:38Oti: in whatever shape or form, but in as much as we get the same or Eric Bana is there, is still the main character.

9:45Oti: We get a completely different sort of story and narrative. And he was just there.

9:50KT: As opposed to it being his story. Like he doesn't need the, the, the, like he doesn't need to be the victim or the like main part, but it can still be his story. If that makes sense. Like how you follow like Perry Mason in different cases and it's still a Perry Mason story.

10:11Oti: Yeah.

10:11KT: It felt less noir actually.

10:14Oti: Yeah. It could have just been Force of Nature and just drop The Dry 2. Because. It didn't feel like it.

10:20KT: Yeah, I think so. I think so. Um, I think one of the cool things about this film slash franchise is our friends and lovers in the U S for example, or even in the UK, we're asking when this film is going to be available.

10:37KT: Cause they liked the first Dry.

10:38Oti: Oh yeah.

10:40KT: Interesting. Um, I guess we don't really dabble too much in, is there going to be another story? There are different books. Um, in this like storytelling, I'm not sure if his character continues along, but, um, you know, watch the space friends and lovers, not necessarily our space, but watch the proverbial sort of space, unless we do get the opportunity, um, again, but, you know, thank you again.

11:09KT: All right. Well. You know, since we've been so grounded in so called Australia, let's hit it all to the way to the dickship space. We are covering friends and lovers, The Second Best Hospital in the Galaxy. Um, thank you to Rachel and the team at Scenario PR. We were given access to the screeners, um, and because of the space time continuum, we are covering it today, but we are very excited to talk about the show.

11:41KT: Um, the cast, the cast, the cast, Oti, uh, creator Cirocco Dunlap. We have executive producers Maya Rudolph, Danielle Renfrew Behrens as well as Natasha Lyonne. Uh, in regards to cast or the voice acting cast, Stephanie Hsu, Keke Palmer! Come through. We're not saying sorry to this woman because we love and know and absolutely love.

12:06KT: You know who I also love.

12:11KT: And that's a reference, so I guess it's appropriate and okay. Um, but let's talk about it. I'm very excited. Let's get your initial thoughts and, uh, we'll have our non spoiler chat.

12:24Oti: Great voice cast and a funky animation style make The Second Best Hospital in the Galaxy a standout. It's a zany, anxiety-battling good time.

12:34KT: Hey! You're my zany anxiety battling good time, Oti! Woohoo! Yeehaw! The Second Best Hospital in the Galaxy finds the delicious balance of self aware spiralling, distinctive voice acting and understanding the breadth that animation can offer. It's so cool getting these screeners. It wasn't even that long ago where we covered Scavengers Reign.

13:01KT: Which really understood how much you can stretch and breathe and exist in animation. And this is exactly what we got in The Second Best Hospital.

13:13Oti: Oh, a hundred percent. And I love that we're getting animation. That is trying to stretch the boundaries of what's acceptable or what's deemed like, you're not put in a box to sort of define how this would play out.

13:28KT: Yeah, exactly.

13:29Oti: And I think with Scavengers Reign, which really stressed that boundary, or at least the understanding of it, I feel like this went almost as close.

13:41KT: Yeah. Did it hit the spot? I just, I really appealed to just the core of like anxiety and what that can look like and how it can feed on, or you can feed into it.

13:57KT: If we want to get really grounded about an intergalactic show, which is usually where I like to reside. Um, I really enjoyed that. I enjoyed the quirkisms and the navigating of a clinical sort of space.

14:12Oti: Yeah. And who doesn't want to get rid of anxiety?

14:14KT: Oh, it's like, can we have fun? Like, can we watch, can we cackle?

14:20KT: Can we laugh? Can we also take notes for potential incognito sub searches we want to do now? Like, I didn't know you could stretch it like that. That's where you could put it. Um, but where I could put all of my emotions was in the show. It's just, it's so vibrant. Yeah. And it's so interesting the way that it's animated because how I feel or how itchy it makes me is exactly the way it was animated.

14:50KT: Um, I, you know, it makes sense and there's a lot of animated shows and there's so many that deserve our attention. And perhaps there are some that don't deserve our attention. Um, and it's hard to cut through that sort of animation noise. So I'm so glad that we had the opportunity to watch it and the world now, cause it's already out.

15:12KT: Um, I just had such a great time.

15:15Oti: Same here.

15:17KT: Are you ready for another one? Oti? All right. We're going to get a bit, a little bit heavier. Um, we're going to get into our first impressions and pull quotes, but, um, I do just want to say, you know, we are very active and very vocal on our socials, but I do just want to say, um, love and splooshes to Jonathan Glazer.

15:38KT: Um, he has, you know, he worked with the Auschwitz museum to make this film and also given his lineage and his history and his pain, um, he was able to channel that. And we will talk about the film. We won't spoil it. I do have some conflicted feelings about it, but what I'm not conflicted in Glazer, especially the speech that was cut out.

16:06KT: Of the later broadcast of the Academy Awards where he succinctly specifically highlighted what's going on in Gaza and Palestine right now.

16:14Oti: Oh, speak it.

16:17KT: Well, I will say fuck you and the clique you claim to whoever signed the letter against him. Um, but yeah, before we get into our pull quotes, thank you to the team at Nixco that gave us access to the media screening for Zone of Interest.

16:31KT: Take it away.

16:33Oti: Oh, no, I feel bad.

16:39KT: Well, there's feelings and critique and sometimes they don't scissor

16:44Oti: The Zone of Interest presents a weird juxtaposition of mundane family issues against the Holocaust backdrop. It felt overly artistic, just because you can, doesn't mean you should. Artistically bold, but emotionally vacant.

17:01KT: Wow.

17:02Oti: Yeah.

17:03KT: Okay,

17:04Oti: I'm the dick you go you

17:05KT: signed that letter. Okay, well, you know, I, I've had a whole journey with this film, but let me get into this pull quote and I think with the luxury of time, if you had caught me soon after watching the film, it would have been a different recording, but this is where we are, Oti.

17:33KT: While the deliberate indifference that is core to this film can be frustrating, Jonathan Glazer offers up his own and the pain of so many to put focus on those that keep going while calamity escalates. Exactly. So let's, so let's talk about it. Friends and lovers, as with controversy, You know, without even trying, you've probably heard about The Zone of Interest and maybe even potential plot points.

18:05KT: So I don't think in this case, there will be moments where we're spoiling it. We won't go into detail. Um, but I definitely want to speak on. You know, the film as well as my changing relationship, and it is a very conflicted relationship that I have with The Zone of Interest.

18:25Oti: Yeah, um, I get, I understood the perspective of this movie, granted, I understood every, I understood the decision that was made to present it this way, but I still could not connect that with.

18:43Oti: From a movie watching perspective and from a lens where a lot of the time as a black person, we don't get to see ourselves a lot, or at least myself growing up, or at least a lot of the experiences were always outside looking in.

18:59KT: Okay.

18:59Oti: So when I went into this movie, I carried my baggage going in. Because it's who I fucking am.

19:06Oti: So watching it in the, in that sort of lens, I just could not disassociate myself from that and enjoying what list and just, and this is where I like, it's getting a bit Marky. It just felt as if why, like the biggest question I could ask myself was why, and then we'd get a lot of the different sort of, Angles and shots and, and like silences, which are part of the whole thing.

19:37Oti: And I get it. Like artistic decisions are made while making this film. I can understand them, but I just felt if it came a bit short.

19:47KT: Okay.

19:48Oti: And maybe I just don't want to look at the bigger picture here, but you go, you go for it.

19:55KT: Well, you said Holocaust in your pull quote. So there's your bigger picture there.

20:00KT: Um, yeah. Um, so before I even get to where I am, I want to come to where you are because you talk about the lens in which you experience film, and we talk about frame of reference a lot. Um, but there's something that I want to clarify. Are you saying while the world is focusing on this part? Of the globe that they're not focusing on Africa slash Kenya.

20:24KT: Is that what you mean?

20:25Oti: No, I'm saying while the world, it's not a direct, direct comparison. It's more whilst the Jews were suffering. We're here focusing on one of the most mundane sort of family dynamics that we've seen. Yes. Yes. And I'm sitting there thinking, what the fuck it might be new to them. Me growing up, it was always that to me.

20:53Oti: It was always focusing on people putting their perspective on what's going around. All I'm saying is it's the Killers of the Flower Moon angle. It's, I don't need that in my life right now.

21:03KT: Okay. So let me pick up on that because you're all. You're feeling and experiencing where you are, which is our Killers of the Flower Moon analysis.

21:12KT: I am in my Monkey Man analysis. Right. And what I mean by that is cause I was exactly where you were. And even if we talk about the film, that's exactly where I am. Why are we focusing and shout out to Sandra Hüller. It's nice to see her again. We also talked about Anatomy of a Fall. Um, yeah. It's fucking frustrating to, to actually be watching a film that focuses on just a German family going about their life while you're hearing the genocide go on in the background.

21:49KT: That's fucked to the core. Right. And it was really frustrating watching this film because, you know, we had discussions after watching this film. Um, and we knew we were going to have this discussion eventually when we covered it on the podcast. Because not necessarily to the credit of The Zone of Interest, but it's not the first time you see potential, um, whether you want to call it propaganda, whether you want to call it bias, because how many American films.

22:21KT: Like, if you want to talk about the American war, otherwise referred to as the Vietnam war. How many British films, how many fucking Australian films have this valour and this fucking white warrior soldiers going out and spreading, spreading joy to everyone except for people that don't look like them. So that propaganda exists, right?

22:42KT: So it's not to say this film is bad. Is frustrating because no other film has done it. You'll continue to see the, the Bravehearts or whatever it is. Um, maybe that wasn't a specific reference to this, but you get what I'm saying, right? You have these films that are so patriotic, that are so, um, you know, Oh, you know, it's a shame for people to lose their sovereignty, but this is what this film is and this is where we are, right?

23:10KT: It doesn't question the nationalism. So I'm not necessarily coming for The Zone of Interest from that point of view. But I kept asking myself, why, why did we have to keep watching this film? Why did we have to keep caring about these little kids? And to be fair, they don't really know what's going on because this is their life.

23:32KT: Right. But it's also what you said in our redacted Green Book, um, recording that will never surface because it got destroyed for probably very good reasons. Um, who cares what the white people were doing at the time of Green Book? Who cares if Taylor Swift transported to that time? It's still in a time where it wasn't great if you weren't white, right?

23:55KT: So why do we care about what's going on with this normal German family, right? And that's what I maintain about this film. That's what's frustrating about this film being. And existing and fucking yelling through the 2020s where whether it's Palestine, whether it's West Papua, whether it's Sudan, whether it's the Congo, whether it's Haiti.

24:23KT: Whether it's our sinking nations in Tuvalu or around the world, we are constantly trying to get people to fucking care. Hawaii! We are trying to get people to care because you know why? Our livelihood, our preservation of culture is in the hands of those that continue to exploit and benefit from that exploitation.

24:53KT: Do you see what I'm saying? And that's why this film means so much to me, because no one is fucking listening. Do you understand?

25:02Oti: I get it.

25:03KT: It's the opposite of Jennifer Lawrence in Don't Look Up.

25:07Oti: I get it. I get it. And That's why I come back to the movie in itself, in its intrinsic sort of nature. Because at the end of the day, when I walked out of that film, I still felt the same way you did.

25:22Oti: I still feel the same way about it sitting here. You know, the other factors that come into play that make me want to understand it a bit more or say, okay, I get it. So it's just, I don't know, I sit here conflicted.

25:40KT: Misusing your influence.

25:41Oti: My quote might have been a bit harsh, but it's what I truly felt about the movie in itself.

25:49KT: Well, I think that brings like a broader question, which may be, you know, um, maybe we can find another format to discuss this in, but just very quickly, that brings a different conversation of where does the film end? When does the, rather, I guess, the more. Uh, succinct question is when does the film experience end because the film is the film but even knowing that Jonathan Glazer's speech got cut from broadcast.

26:19KT: That, uh, winners that won BAFTAs, their speeches got cut as well. Whenever they would mention Gaza and Palestine, because that plays into real life too. I understand what you're saying that the film is the film, but art is a reflection of culture and the resistance of changing culture. Yeah. Nina Simone said the purpose of an artist is to reflect the times in which we're in.

26:46KT: Right. So I would extend that. But maybe we don't need to. Maybe that's too much extension. Maybe people are extending themselves onto flying dragons all the way away from this burning world, which I obviously respect as well. But that's where I am. Art is a vehicle. Art is an expression. Art is rage.

27:14Oti: I agree with you.

27:15Oti: Um, and maybe that's more on me to do my reflections on this movie, but maybe a second watch is due to probably appreciate it a bit more. But I've just got to speak it how I felt it. And this is how you got to walk it.

27:34KT: Like you talk it, Quavo.

27:41Oti: Crockett

27:43KT: MJ. Well, I have one hand, um, on critical film analysis and I have the other hand on hip hop friends and lovers. Um, but yeah, I think. It brings a more interesting conversation. I don't see the point in reducing a film to just something to digest, especially when it runs through your body without any sort of rumination.

28:11KT: Um, I don't know if I can do a rewatch, if I'm being perfectly honest with you. But, um,

28:17Oti: maybe in a couple of years,

28:19KT: I commend you on that journey, Oti. Um, well, let's move into our last review for this week. Um, thank you again to the team at Nixco. Um, I also had the opportunity to speak to filmmaker Molly Manning Walker, also friends and lovers that are playing at home.

28:35KT: Um, Molly was a cinematographer for Scrapper. Um, so a lot of reward awards, including the Un Certain Regard award at Cannes, um, and a great film. We also did a giveaway for it, um, as well, but let's get into our thoughts.

28:56Oti: With powerful storytelling, How to Have Sex confronts the complexities of trauma. Its essential discomfort will ignite important dialogue.

29:06KT: Nice. The beauty of Molly Manning Walker's storytelling brings the fierce resolve of Mia McKenna-Bruce's performance. For the friends that said the wrong thing at the wrong time, this film says the right thing at the right time. Oof! I can't even take credit, that was part of Molly's speech. Um, but yeah, let's talk about the film.

29:31KT: It's been a while, we've watched it twice. Um, when we had the opportunity to interview, I believe it was in August of 2023. It was when Molly was here for the Melbourne International Film Festival that we did the interview. So we watched it back then. And then we watched it again, leading up to the interview.

29:50KT: What are your thoughts? What are your feelings?

29:56Oti: It's. It was very unnerving. It was very uncomfortable, but at the end of the day, it was very essential. I think even out while watching it the second time, and I think we picked up a lot on a lot more that was happening. Mia McKenna-Bruce, who plays Tara. Out of this fucking world.

30:20KT: Yeah.

30:21Oti: It's very good performances there.

30:25Oti: And I think just how, like, how do you talk about it? Like it, there's no easy way. There's no dictionary of how you're supposed to express, you The sort of things that you're going through, um, the trauma and how you're supposed to deal with it, you know, even with your friends, how do you say it? You know, it's those unsaid things that I think is important for people to see and

30:53Oti: people to understand that it can manifest in a lot of ways.

30:57KT: Yeah.

30:57Oti: And just because there are no easy words for it, you shouldn't cower from it. You know, like it's

31:06KT: Like it's hard to be there, but you should be there.

31:08Oti: Exactly. Yeah, exactly.

31:11KT: I absolutely understand that. I think both of us, but I noticed with you in particular, you were getting really frustrated with the friends Skye and Em.

31:23KT: I was as well. Um, but I think, I don't know, like being a woman and maybe no longer in the young category, but like at a time I was a young woman and I understand what it's like to be vulnerable. And I, I guess it's also reframing that these kids are like 15, 16. So even though they are there, like they can't really be because they're kids, they don't understand.

31:52KT: And how are we supposed to get, like, it should be on adults to make that space available for young people to be able to have that resource, to be able to reach out.

32:03Oti: Yeah. Having that language, like It's, it's the tools that you need to instill on young kids to understand that, A, there's no fucking shame in anything like this.

32:14KT: Exactly.

32:15Oti: And it should not be such a taboo subject. I've seen a lot of the reactions around this movie and the title and people what they thought this movie was.

32:24KT: Mm hmm.

32:25Oti: And it's such a reaction that you want like, yes, this is movie was made for you. You fucking idiot. You know, like take a dick out

32:33KT: of the American Pie and watch a proper film.

32:37Oti: Exactly. Exactly. And it just goes to show you that the Kazim in, in, in the, in the sort of acceptance of what we need to learn about ourselves. And the tools we need to empower the young people to understand exactly how to, you know, not only feel shame or, you know, to have the language to talk about it and to, to speak on it because it's needed.

33:05KT: Cause I don't know if in Kenya, they have the equivalent of, you know, um, they're in Malia, but, um, or like spring break or in Australia, we call it schoolies. Whether you want to call me a nerd or for whatever reason, but I, I wasn't up in those spaces. I was at Big Bean Flicking LLC, you know, I was like, minding my business, literally minding my business.

33:31KT: Um, so I don't necessarily understand To that level. But again, there's so much as a woman navigating this world. And I think we can say recently, but it's, it's always a happenstance that, you know, women are vulnerable and it takes not just women, but all of us to speak out. On that and making sure that there are spaces that are available, um, as well, but yeah, absolutely love it.

34:01KT: Friends and lovers at this point, if you haven't watched How to Have Sex, um, definitely do. Oh, how are you feeling Oti?

34:10Oti: Good.

34:12KT: You feeling good?

34:12Oti: Yeah, I'm feeling good. Regretting some of the quotes, but good all round. It's a good

34:18KT: all round BBL Oti.

34:25Oti: Ah,

34:28KT: you want to comment on the rap beef quickly?

34:31Oti: Nah, don't giving you any ammo.

34:37Oti: I'm apologizing before I start. Anything

34:43KT: Well, there you go.

34:45Oti: I did my sleep.

34:47KT: From from KT K dot kt Kung Fu Kenny. Um. So much friends and lovers for tuning in another week in the For Your Reference, um, household, we don't have any, uh, For Your Reference segment, um, but yeah, if you have any interesting sort of thoughts, um, you know, feel free to reach out on Twitter, Instagram, Bluesky, uh, TikTok.

35:16KT: I'm thinking about Threads. What do you think about Threads? No.

35:19Oti: It's up to you.

35:22KT: We're @ForYourRefPod,

35:23Oti: right? That's the name of the, hello@fyrpodcast.com,

35:27KT: we're also on this me, bro. If you'd like to leave a rating and review and we'll see you guys next week, counseling,

35:39Oti: your music subscriptions, bro.

35:41KT: Do you know when you can block the artists? Friends and lovers, block Oti. See ya. Bye.