In a 2005 GEICO ad, LaFontaine was hired to 'movie up' a real customer's average everyday story, translating her mundane claim into booming trailer-speak. Josh calls it 'so cute.' The fact that LaFontaine leaned into the parody of himself speaks volumes about his self-awareness.
Where this was said
At 14:03 · chapter starts 13:50
The hosts run through the full scope of LaFontaine's peak career dominance: in-house voice for all four major US networks, plus UPN, TNT, TBS, Cartoon Network, and in-show announcer for the Academy Awards. [1] — Josh "LaFontaine became the in-house voice for all four major US networks, UPN, TNT, TBS, and Cartoon Network. He was also the in-show announcer …" 12:42 Chuck's summary is simple: 'You can hardly name a brand without mentioning Don LaFontaine having voiced for them.' But what the hosts seem to enjoy most is that LaFontaine could laugh at himself. Josh describes watching the 2005 GEICO commercial where LaFontaine was brought in to turn a real customer's mundane insurance story into cinematic drama. The spot is 'so cute,' Josh says — and it shows a man fully at ease with his own cultural footprint. Chuck speculates he was well compensated. Both agree GEICO has been 'killing it' for the entire twenty-first century.
LaFontaine was admitted to Cedars Sinai in 2008 with a pulmonary embolism and died September 1 at age 68 — despite having quit smoking two decades prior. His last ever recorded line, in a Phineas and Ferb episode, was 'In a world.' It couldn't have been scripted better.
Despite being an on-and-off smoker for much of his life, LaFontaine had quit for two solid decades before his fatal hospitalisation.
The entire plot of the original Terminator film depends on the phone book. The Terminator looks up 'Sarah Connor,' finds multiple listings, and starts killing them one by one. No phone book, no movie.
Rico has already appeared in Den of Thieves, Den of Thieves 2, and Roadhouse alongside Jake Gyllenhaal and Dave Bautista. Jason Statham is developing a specific role for him. Working alongside elite actors taught Rico something about himself: the emotional suppression that makes him a great fighter is exactly the material that makes great acting — if he learns to stop pushing it away.
Trump joked that Health Secretary Robert F. Kennedy Jr. personally ran over, butchered, and delivered the evening's beef tenderloin to the dinner — then topped it with a punchline about RFK wanting to serve raccoon roadkill as an appetizer. The crowd's laughter at jokes targeting his own administration signaled a rare night of good-natured self-deprecation from Trump.
Jimmy Tatro is playing the nemesis-son to Will Ferrell's washed-up golfer in The Hawk, his fifth project with Ferrell and Ferrell's first lead TV series. The real highlight: Molly Shannon, playing his on-screen mother, drove off set on the last day with Chief Keef blasting from her subwoofers.
Alan Ritchson walked into a Thor audition with his sides still in his hand, half-assed it on a spotlight-lit stage before two silhouettes in a dark theater, and bombed so completely that the casting director broke protocol to call his team. The feedback? He had no craft. That one sentence sent him to acting school — and changed the trajectory of everything.
Alan Ritchson walked out of his Titans audition so sure he'd booked the lead that he called his wife and told her he was going to buy a Tesla. She said he hadn't booked it. He went and bought the car anyway. His instincts were right — he was offered the role — just not the one he wanted.
Reacher drew 56 million global viewers in a single week of Season 2. Alan Ritchson points out what makes it unusual: unlike ensemble shows, almost all of that visibility lands on one person. It's an anthology with a rotating cast built around a single titular character — and the scale of it is something even he calls unprecedented.
Motor City has no spoken dialogue. Every major leading man in Hollywood — Jake Gyllenhaal, Hugh Jackman, Gerard Butler, Adrian Brody — was attached at some point. It was greenlit nine times. The concept was simple: Greg Silverman wanted a film everyone in the world could watch with the exact same experience, regardless of language. Alan Ritchson read the script and called it a masterpiece.
Working with Arnold Schwarzenegger showed Alan Ritchson what 100% recognition looks like. People feel Schwarzenegger before they see him — like a meteor approaching. Alan's wife wants a strict no-photos policy around family. Arnold stops for everyone. The contrast was a master class in how gratitude should manifest when fame is inescapable.
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