Podbit · Last Podcast On The Left
Joe Hill had a role in Creepshow as an abused child with bruises applied by makeup. After a late night shoot, Stephen King took his small son through McDonald's drive-through — and the cashier called the police.
Where this was said
At 23:27 · chapter starts 22:00
Marcus asks whether Joe had to sneak scary films at a friend's house or if the King household screened them openly — the answer is the latter, emphatically. Stephen took Joe to a pre-release screening of The Shining when Joe was around 6 years old. Joe emerged shaking, gripping his father's hand — and in that moment had a revelation he somehow hadn't had before: his dad invented fictional people and put them into terrible situations. It clicked. Stephen then tells the more chaotic companion story: Joe was cast as the young bruised child in the Creepshow segment 'Somebody Loves Me,' complete with makeup bruises on his face. After a late shoot, Stephen drove through McDonald's and the drive-through cashier, seeing a small battered child at 11pm, called the police. Both stories are told with deep warmth and effortless comic timing.
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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