Matt Rife spent seven months filming the Netflix FTX drama 'The Altruists' in Vancouver while keeping as many touring dates as possible. He would shoot Monday through Friday, fly to shows on weekends, and take red-eyes back to be on set by 6 AM — all while learning crypto-heavy dialogue he had to Google mid-memorisation.
Where this was said
At 45:00 · chapter starts 39:40
The episode hits one of its most engaging stretches as Matt explains his years of ghost-hunting adventures with business partner Elton Castay — from haunted locations around the world to eventually being first-offered the Ed and Lorraine Warren house by their family. The property came as-is: old clothes, hundreds of tape recordings from undocumented paranormal cases, the museum's 700+ artifacts, and the infamous Annabelle doll. Matt makes clear he considers the doll genuinely dangerous, never touches it, and relies on priests for any necessary handling. His line — 'I check on Annabelle like I look for racism on Twitter' — earns the episode's biggest laugh. [1] — Matt Rife "Matt Rife and business partner Elton Castay purchased Ed and Lorraine Warren's Connecticut house after being first offered it by the family…" 1:10:40
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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