Amy Adams confronted Paul Thomas Anderson at a house party for irresponsibly egging on a drunk mutual friend — not knowing he was her favorite filmmaker. She was secretly 10 weeks pregnant and agitated. He apparently loved it, and cast her in The Master.
Where this was said
At 49:20 · chapter starts 47:50
Sean opens this section by calling The Master one of his favorite films and noting his excitement any time Paul Thomas Anderson calls. Jason and Will ask how she ended up with David O. Russell on The Fighter — Amy says Russell took a chance on her when the industry didn't see her that way, and that something about an early interaction between them (described vaguely as getting in someone's face over a valet situation) showed him something. She was filming Leap Year in Ireland when The Fighter came through, and the contrast was instructive: she learned that romantic comedy is not her lane. She's too earnest, too inclined to transform light material into Wuthering Heights, she says — and she's made peace with that.
Amy Adams confronted Paul Thomas Anderson at a house party while 10 weeks pregnant and not telling anyone, and credits the outburst with getting her cast in The Master.
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.
New York draws thousands of young, talented performers every year chasing Broadway stardom — but the hard truth is that most of them never make it. Zelig Williams was one of the rare exceptions.
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