On a transatlantic flight, George Clooney told Geena Davis he 'hated' Brad Pitt — then revealed it was because Pitt got the part in Thelma & Louise. Clooney had auditioned with Davis. She had absolutely no memory of it. She lied and said she did.
Where this was said
At 50:48 · chapter starts 49:20
The cultural reception of Thelma & Louise in 1991 was more complicated than its legacy suggests. A week after release, Susan and Geena were on the cover of Time magazine alongside editorials denouncing the film's supposed misandry. (Dax's response: 'You mean rapist-bashing?') It succeeded commercially anyway. Brad Pitt showed up as an unknown and was instantly, obviously a star — playful, loose, fully committed, and having the best time of his life. Years later, sitting next to George Clooney on a transatlantic flight, Geena learned that Clooney had auditioned for the Pitt role and never let go of the loss. She had no memory of his audition — and lied and said she did, because she wasn't yet brave enough to say otherwise.
Brad Pitt showed up to Thelma & Louise as an unknown and was immediately, obviously a star — fun, playful, loose, and totally unselfconscious. Geena Davis says she knew the moment she saw the audience's reaction that this was the reaction he was always going to get.
A League of Their Own opened number one and became the 10th biggest movie of 1992, a commercial triumph that surprised even Geena Davis.
Steven Pressfield's insight: don't wait for the commitment to feel real before acting like a professional. Set up the studio. Make the schedule. Show up. Commitment doesn't precede action — it follows it. You act like a pro first, and your brain catches up with justifications after. The action is the commitment.
Robby Hoffman isn't fearless — she's terrified all the time. The difference is she does it anyway, because not doing it feels worse than the fear itself.
John Mulaney texted Robby Hoffman out of nowhere saying he'd been a fan for a while and wanted to make a Netflix special with her. Robby called it 'shocking, horrifying, anxiety-inducing, surreal and thrilling' — and said yes.
Mulaney is buttoned-up, suit-wearing, classy. Robby is gritty, raw, and undefined. Together they made the collab nobody expected. Batman and Robin. Eminem and Dido.
Music had Pope Gregory forcing notation. Comedy has had 'magical thinking' — he's just got funny bones. But jokes work through discoverable, teachable mechanics. Writing down the rules doesn't kill the magic; it gives more people access to it.
Howard Ashman had one insight nobody else had: animated Disney films should be Broadway musicals. The third song of every great musical is the character sitting alone explaining what they want. That's 'Part of Your World.' That structure — combined with Alan Menken's compositions — generated Beauty and the Beast, Aladdin, and The Lion King, and turned Disney Animation into the most profitable creative engine in entertainment history.
The Lion King musical has been running for 30 years across Broadway, London's West End, and global touring companies. It has grossed over $11 billion in total revenue — more than Avatar, more than Avengers: Endgame, more than any album, more than any video game. It generates an average of $350 million in revenue every single year. Disney owns it outright.
The anonymous French artist Invader has hidden 1,500 pixelated mosaic artworks across Paris alone, with thousands more scattered across 80+ cities — affixed to the Eiffel Tower, the Hollywood sign, and even sent to the International Space Station. He might be even busier than Banksy.
The Flash Invaders app turns city streets into a treasure hunt, letting players scan Invader's hidden mosaics for points. Players have collectively logged over 47 million flashes. Unlike most mobile games that glue you to a screen, this one forces you to look up and engage with your surroundings.
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