Jason Sudeikis and Hannah Waddingham staged an epic Ted Lasso reunion on Sunday night as the former co-stars launched into a surprise performance of “Shallow” from the 2018 Lady Gaga film, A Star Is Born.
The Ted Lasso stars were on hand for Steps of Faith’s seventh annual variety show “Thundergong!” that raises funds for “amputees in need of prosthetic limbs and financial aid,” according to Decider. However, the “Shallow” performance originally started as a duet between Sudeikis and his old plan and former Saturday Night Live castmate Will Forte.
“There is nobody I’d rather sing this song with,” Sudeikis said as he launched into Bradley Cooper’s part of the song. But when Forte got ready to belt out Lady Gaga’s verse, Waddingham’s vocals beat him to the punch as she come out and muscled Forte off of the stage. Rolling with the punches, Sudeikis joined his Ted Lasso co-star for the rest of the duet.
The two sang so hard that Waddingham was hoarse while appearing on The View the next morning.
“As you can hear, it was quite a lot of fun,” Waddingham told the panel while sharing a clip of the musical Ted Lasso reunion. “I decided I was a rock star for the night, hence sounding quite like a drag queen today.”
But now, as the defense prepares to make its case, Trump is once again taking to his Truth Social account to metaphorically hang himself — proving being chronically online really does warp your rational thinking skills. After being warned by Judge Engoron to cease his attacks against court staff members during the trial, Trump shared a rant on Truth Social that did just that.
I am the victim of a corrupt legal system that is being used by those surrounding Crooked Joe Biden, with his full knowledge & consent, to hurt, demean, and damage his Political Opponent, ME. A terrible precedent is being set, but so far, despite the vulgarity & viciousness of it all, it has driven my poll numbers to record numbers. You see, the American people are MUCH smarter than Crooked Joe! They see what is going on with a Corrupt & Racist New York State A.G., and a Trump Hating Puppet Judge willing to do her dirty work, even as it takes him, and his reputation, to new levels of low. They fully understand the Obama appointed, Radical Left D.C. Federal Judge, who refused to recuse, fully “gagged” me, and set a trial date THE DAY BEFORE “Super Tuesday,” the biggest & most powerful day in the Primaries. They get the fact that A.G. Garland and his boss, Lisa Monaco, sent their TOP DOJ lawyer to Manhattan to run the District Attorney’s “case” on me…And Much More. BUT WE WILL WIN!!!
The grammatically plagued rambling missive managed to attack multiple government officers, including James, Engoron, Attorney General Merrick Garland, and President Joe Biden while also stirring up MAGA diehards, some of whom suggested James and Engoron face legal consequences for doing their jobs. Trump reshared one such post that read, “MY FANTASY. I WOULD LIKE TO SEE LITITIA JAMES AND JUDGE ENGORON PLACED UNDER CITIZENS ARREST FOR BLATANT ELECTION INTERFERENCE AND HARASSMENT.”
There’s a wide variety of summer camps out there with activities ranging from classics like bonfires and water balloon fights to the uber niche, ala putting on musicals or prepping for space adventures.
Still, even with the plentiful themes in existence, people are calling one mom’s unique but oh-so-practical camp idea pure genius.
Kaitlyn Rowe, mom of four and content creator in Utah, gave her kiddos a list of super basic, but very important life skills to learn at home throughout summer, in what she calls “How To Be A Person” camp.
The difficulty level of each task would be age dependent. Rowe’s 3-year-old son learned things like making the bed, safely using scissors and glue, introducing himself to a new friend and organizing his toys. Whereas Rowe’s eldest daughter, age 6, would learn slightly more complex things like scrambling an egg on the stove, blow-drying her hair and packing an overnight bag. There was also a list of skills the siblings would learn together, like putting away groceries, pool safety and talking on the phone.
As Rowe shared in an interview with Good Morning America, she actually got the idea from fellow mom Emily Ley, who created this alternative camp during the peak days of COVID-19.
Overwhelmed with homeschooling, Ley thought if she could teach her kids “some age-appropriate independence,” it would take the load off of her as well. Rowe borrowed the idea and the “How To Be A Person” camp title as she compiled her own list of activities in lieu of sending her kids to an actual camp. So far, her kids have loved it. And with her post currently having over 54,000 views on Instagram, it seems other parents are in love with the idea as well.
It’s no secret that many of us reach adulthood having learned obscure academic subjects and somehow skimming over the things we would actually incorporate into everyday life. Nothing against algebra and trigonometry, but it sure would have been nice to have learned about doing taxes instead, you know what I’m saying?
Plus, it’s well documented that kids genuinely enjoy mimicking adults, so having them engage in grown-up duties is not only a rewarding activity in the moment, it potentially creates a positive relationship with household chores that they can hold onto throughout their life.
Another cool thing about the “How To Be A Person” camp idea is that it’s fully customizable. It can be a list that parents create, or it can be child-led. It can be 100% practical or silly. A healthy mix is probably the best of both worlds.
Per some suggestions in the comments, it seems that Rowe will be changing the name to “How To Do The Important Stuff” camp to be more inclusive towards those with special needs. Point being: this camp can be for every kid. And honestly, probably should be.
To see Rowe’s complete “How To Be A Person” camp list, go to Instagram.
Many great comedians have sat at the helm of the “Weekend Update” desk on “Saturday Night Live” over the show’s 48 seasons. Chevy Chase was known for his cool deadpan. Dennis Miller was the hip intellectual. Norm Macdonald will go down in history for his endless OJ jokes that eventually got him removed from the desk. Tina Fey and Jimmy Fallon were a great double act that was a fun mix of high-brow and low-brow humor.
The current anchors, Michael Che and Colin Jost, will probably best be known for making fun of each other. Over the years, one of the duo’s signature bits has been writing jokes for each other and reading them live for the first time. It seems like every time they do that bit, Che finds a new way to embarrass Jost.
On Saturday, April 1, Che was at it again, this time with a brutal April Fool’s prank where he secretly asked the audience not to laugh at any of Jost’s jokes.
Che and Jost opened their segment with jokes about the indictment of former president Donald Trump, but the audience laughed much harder at Che than at Jost. A few minutes into the bit, Jost made a joke at his own expense and it received only a smattering of laughter.
“At this point, it feels like even pro-Trump people have moved on,” Jost said, referring to the trial before a superimposed image of him wearing a “Make America Great Again” hat and a sign that read, “LET OUR BOY GO!” appeared on the screen.
The gag was met with an audience member screaming, “You stink!” The heckle was the last straw for Jost, who hung his head in his hand in shame. At that point, Che gave up the gag.
“I told them not to laugh at you for April Fools,'” Che told Jost, and the two couldn’t keep it together. “That’s the meanest thing you’ve ever done to me. I’m covered in sweat,” Jost told Che through fits of laughter.
“I was truly like, ‘Am I not mic’d?’ And then I was like, ‘Oh, I just suck,” Jost joked.
The crowd broke out in applause for Jost, but he wouldn’t give them the satisfaction of acknowledging them after they refused to laugh at his jokes. “No, no! Don’t even dare! Don’t you even dare try now.”
When it was Jost’s turn to tell his next joke, a bit about Florida Ron DeSantis, Che said, “They’ll probably laugh at this next one.” And the audience did.
The episode was hosted by Abbot Elementary’s Quinta Brunson, who shined in “Traffic Altercation,” a sketch where she and Mikey Day played motorists screaming at each other in traffic. The crux of the bit was that they couldn’t hear what each other was saying, so they had to argue using hand signals.
The opportunity is here if you’ve ever been interested in becoming a professional songwriter, or at least if you’re looking to see how the sausage is made. Today (November 14), Big Thief’sAdrianne Lenker announced an educational partnership with the School Of Song.
Lenker’s passion for arts education has shown up in Big Thief’s youth outreach work while touring. So, beginning at the top of 2024, Lenker will take that love to another level. The singer will be the head instructor for a virtual songwriting workshop for four consecutive Sundays in January. Each class session (on January 7, 14, 21, and 28) will be split into two lectures for each coast (11 a.m. PT and 6 p.m. ET). Participants will connect to the lecture via Zoom. For those unable to attend the live session, recorded lectures will be shared later.
The course description reads: “Students will begin with the understanding that songs emerge from an ever-mysterious source within us – their subconscious, their inner child, magic, the universe. The primary task of songwriters is to ensure this source remains unblocked and unhindered. This workshop will cover how Adrianne navigates this unblocking process throughout all facets of life to get back to the place where songs come from. Throughout the workshop, students will learn to write lyrics that highlight the beauty and magic often overlooked in our daily existence, revealing the depth that lies beneath the veneer of the mundane.”
Lenker’s virtual songwriting workshop with School Of Song begins on January 7 and the course costs $160. Registration is open now. Gift cards for the course are also available for purchase. Find more information here.
The Holdoversis a film full of sharp-edged insults hurled back and forth like spears between Mr. Hunham (Paul Giamatti), an acerbic teacher of ancient civilizations at a New England prep school, and Angus (Dominic Cessa), a troubled teenager Hunham has been tasked with supervising over Christmas break. Hunham calls Angus and his comrades “snarling visigoths” and “rancid little philistines.” Angus tells Hunham that he smells like fish and everyone hates him. It’s the kind of dialogue actors relish, and Giamatti and Cessa sink their teeth into every line like they’re gnawing at an overdone steak.
The line that sticks in my mind, however, is delivered by Da’Vine Joy Randolph with the kind of quiet confidence that makes you lean in so that you don’t miss a word. She plays Mary Lamb, the school’s cafeteria manager who is stuck at school feeding these two man-children. Over a bottle of whiskey, Hunham reveals that he hopes to complete a monograph on Carthage one day, noting, “I don’t think I have a whole book in me.” Mary’s eyes turn softer than usual, and she sighs almost to herself, “You can’t even dream a whole dream.”
On paper, some of the writing in The Holdovers is probably too flowery for its own good, and while Giamatti and Cessa have a great time over-enunciating every bon mot, Randolph takes a different tack, countering their boisterousness with minimalism. Her character is suffering a greater grief than either of these men due to a loss she encountered because of the war in Vietnam. She now lives every day serving rich white kids who will never know such harsh consequences. Many actors would play Mary as a woman bursting with rage at her injustices. Such a tactic would produce a tidy Oscar clip, but it would also throw the movie off balance. As it is, her character’s anger, sadness, and even gratitude are all present and accounted for, but they exist just under the surface, allowing the viewer to discover them on their own and feel more invested in her plight.
Director Alexander Payne and Giamatti collaborated on Sideways nearly two decades ago, and The Holdovers is a neat continuation of their dynamic. If Miles from Sideways never got his act together in the final scenes and moved on to harder stuff, he would have ended up as bitter and alone as Hunham.
Walking into an established director-actor collaboration as is is never simple for an actor outside thay dyamic, but Randolph slides in with ease not by trying to match Giamatti blow for blow, but by drawing the audience towards her with a quiet performance that creates intimacy between her and the audience. From her acid-tipped “Merry Christmas!” to Hunham (when he asks her for a favor on Christmas morning before saying hello) to her explosion of grief, she tends towards the unexpected, giving small moments a unique spin and underplaying the moments of high drama, never yelling to the cheap seats, always drawing the viewer towards her.
It’s not the kind of performance we expect from an actor with roots in the theater. Randolph’s big break came when she was cast as Oda Mae Brown (a character that won Whoopi Goldberg an Oscar) in the Broadway cast of Ghost: The Musical. She auditioned to be the understudy, but her take on the material was so good that she was given the role outright. After being nominated for a Tony, she jumped to Hollywood with small roles in films Mother of George and The Angriest Man in Brooklyn, and recurring roles in the quickly-canceled Selfie and long-running Empire.
It was in 2019’s Dolemite is My Name, however, that she found herself on the silver screen, where she volleys winningly between boisterousness and quiet intimacy. In the film about Rudy Ray Moore and the making of 1975’s Dolemite, Randolph plays Lady Reed, one of Moore’s discoveries and a key figure in both his stage show and the titular film. She shares several scenes with Eddie Murphy, who is giving one of the best performances of his late period, and somehow comes out ahead in every one. Her vocal performance in “Itty Bitty Girl,” a ribald duet with Murphy, is a high point, but she also nails what is arguably the film’s thesis scene, when Lady Reed pulls Moore aside and shares how much his confidence in her has meant. “I ain’t never seen nobody that looks like me up there on that big screen,” she says, nearly breaking down. “I may not be sexy, but I’m a real woman.”
Randolph’s ability to locate her career within the broader struggle for representation is as powerful as it is authentic. “I’m on a quest to illuminate the reality of the human experience,” Randolph stated on the Dolemite press tour. “There are so many unsung heroes and pioneers within many different cultures, especially those of minority groups, which are not even discussed. They’re rendered invisible, like it never happened, and that’s really unfortunate.” She is currently the early favorite for Best Supporting Actress for her performance in The Holdovers, setting the stage for a difference making acceptance speech that might speak further to these themes.
Randolph’s career has been a study in overcoming enormous odds, from her Ghost audition to her celebrated turn in the TV adaptation of High Fidelity, in which she stepped into Jack Black’s shoes and crafted a performance every bit as indelible. Now she’s entering a new phase in which she’s the favorite rather than an underdog. Will she come out ahead on Oscar night? She hasn’t yet met a challenge she couldn’t best, so there’s no reason to stop betting on her now.
The connection between TikTok and music has always been strong, from the Musical.ly merger in 2017 to the platform being used as a music promotion tool today. Now, TikTok has made it easier for fans to keep track of songs they hear on TikTok outside of the app: As TechChrunch notes, the platform has launched a new feature that allows users to save songs from TikTok videos to their accounts on Spotify, Apple Music, and Amazon Music.
The feature, dubbed “Add To Music App,” was introduced in a TikTok press release shared today (November 14). It notes in part:
“The feature will appear as a button that says Add Song next to a track name at the bottom of a TikTok video in the For You Feed, inviting users to save the song to the music streaming service of their choice. The first time a user presses the Add Song button, they can choose to save it to their preferred music streaming service.
The track will then be saved to a default playlist in the preferred music streaming service, but users can also choose to add the track to a new playlist or an existing playlist that they have created. Following the first use of the Add to Music App feature, the music app selected will then become the default music streaming service for future track saves, although users can select to change the default music streaming service at any time under settings. Users can also use the Add to Music App feature from an artist’s Sound Detail Page.”
Add To Music App is being rolled out to users in the US and UK, while users in other areas are set to get the feature later on. Learn more about Add To Music App here.
Much to the joy of fans, Foo Fighters officially announced that they will be dropping a double A-side single of their song, “The Glass,” including a reinterpretation of the track performed by HER.
The track will be available to stream starting this Friday. There is also a limited-edition 7-inch vinyl that is currently up for pre-order. This will be released on December 29.
While the two performed the song together during the band’s previous Saturday Night Live appearance, Grohl delivered the lead vocals while she first popped in as the backing vocals in the chorus. From there, she carried the second verse on her own, giving fans a glimpse of what she’ll sound like delivering the heartbreaking lyrics in the full upcoming song.
HER will appear solo on this release, delivering new vocals and guitar instrumentation that is meant to transform the original’s “sonic and emotional dimensions,” per a release.
“The Glass” previously appeared as part of Foo Fighters’ recent album, But Here We Are, which dropped back in June. It marked the band’s first record without their late drummer, Taylor Hawkins.
Check out the Foo Fighters’ SNL performance, featuring HER, above.
Foo Fighters and HER’s “The Glass” is out 11/17 via Roswell Records/RCA Records. Find more information here.
The start to the 2023-24 NBA season has gone about as poorly as it could for the Chicago Bulls. After once again deciding that running it back was a better path forward than trying to rebuilt, Chicago has gotten off to a 4-7 start to the regular season, are on the outside looking in at the playoff picture at this early point in the year, and just have this malaise around them that makes it seem like there isn’t any real reason for optimism.
Considering that Chicago is, essentially, built around three veteran players in DeMar DeRozan, Zach LaVine, and the recently-extended Nikola Vucevic, that’s not exactly a great place to be. But according to Shams Charania of The Athletic, the Bulls might be moving towards trying to break that core up, as he brings word that both the team and LaVine are more and more open to the idea of pulling off a trade.
NBA teams are probing the availability of two-time All-Star guard Zach LaVine and there’s been increased openness from the organization and player about exploring a trade, league sources said.
Charania noted that NBA teams have executives in Chicago for the Champions Classic, a college basketball event that features four of the highest-profile teams in the country (Michigan State, Duke, Kansas, Kentucky). It’s obviously not a guarantee that this leads to a LaVine trade, but it’s an opportunity for the Bulls to gauge what they could potentially get back if he hit the trade market.
LaVine is in the second year of a 5-year, $215 million extension that features a player option ahead of the 2026-27 season. The 28-year-old guard has struggled to start the year, as he’s averaging 21.9 points per game on 40.9 percent shooting from the field and 30.9 percent from three.
Before seeing Todd Haynes‘ new film, May December, all I knew about the film was the title and the poster – and from that just assumed it was about a relationship between Natalie Portman’s character and Julianne Moore’s character. Nope, that is not the plot at all. Portman plays an actress named Elizabeth Berry who will be staying with a family near Savannah, Georgia. Julianne Moore plays Gracie Atherton-Yoo, married to Joe Yoo (Charles Melton), who are a little more than loosely based on Mary Kay Letourneau and Vili Fualaau. Elizabeth is going to be portraying Gracie in an upcoming film and wants to know everything there is to know about this relationship, now and then. As you might expect with a Todd Haynes film, the movie goes to some pretty twisted places as Elizabeth conducts her “research.”
May December is certainly the funniest movie Haynes has made in a while, after the serene Carol, the sweet and sentimental Wonderstruck, and his dive into paranoid thrillers with Dark Waters. It’s interesting to hear Haynes talk about his own movies like he didn’t even direct them. There’s something appealing about listening to a filmmaker kind of rediscover his earlier work. Or talk about how he was really into rewatching I’m Not There and considers it his best movie.
I met Haynes at Netflix’s offices in Manhattan. When I walked out he commented on a Three’s Company shirt I was wearing, which led to a lot more Three’s Company discussion than I had anticipated during this interview.
Todd Haynes: I thought this was just a hangout, not an interview…
Yes, this is a hangout.
Okay, good.
We can talk about anything you want. You mentioned Three’s Company a second ago…
I saw Three’s Company once and… well, we shouldn’t do that…
No, we can do that.
We don’t have enough time.
We have enough time.
I saw it live. I saw it on television where John Ritter’s wearing a super tiny, of course, athletic little shorts, right? And he’s sitting on a couch probably next to the two of the women, and his dick falls out.
But I watched it when it aired and no one singled it out. I watched it happening with no context, and I was like, what the fuck?
Have you ever thought what are Mr. Roper’s politics?
I mean, I wasn’t a regular watcher of the show, so I’m not going to be able to answer.
Well, Jack pretends he’s a gay man to live with the two women.
Oh right, yeah.
Mr. Roper is adamant there’s no way a straight guy can live with two women in his building. But he was fine with a gay man living there. But he’s presented as a curmudgeon.
Oh, he’s the landlord, okay. Yeah. Well … it’s the late ’70s.
Before seeing May December I had no idea it was loosely about Mary Kay Letourneau.
Were you a follower of that?
Well, it was impossible not to be.
I know. I mean, I wasn’t that closely following it, although you could not not.
I did notice there’s an age cutoff of people who have no idea that happened or she existed. After the premiere, a lot of people in their 20s had no idea your movie was based in reality.
I’m not surprised. But I mean, do they think it hasn’t happened since? Or do they think that there wasn’t a specific story at that time? Because it’s not like it hasn’t continued to happen.
But they stayed together…
What do you mean?
I think that’s the difference between some of the other examples and makes this unique.
No, no, no, exactly. They stayed together for their entire lives, built a family, and raised kids.
Was this tough to get made? Do you have to get permission from anyone?
Not for that. Not for any reasons about her possession of the story or Vili Fualaau’s permission.
Obviously, because it’s not technically the same person.
And it’s a fictional version of this with enough differences. And I mean, there were a couple places where in the research, unbelievable stuff of interviews with Vili and and Mary Kay Letourneau that made me want to add some stuff.
Oh, like what?
Should I say?
Yes, you can say.
I guess I can say. In the final scene between Julianne Moore and Charles in the bedroom where she basically was, “Who was in charge? Who was the boss?”
So that’s real?
Oh my God. The source of that is bonkers.
Is this one of the more interesting research projects you had to do for a movie? I know you’ve made documentaries. I know you’ve done a lot of research on a lot of things, but this goes some twisted places.
It does go to some very twisted places. I mean, this all happened so fast. And all of a sudden it was like, oh shit. What does Natalie and Julie’s year look like? And we found a little sliver of time in the fall last year, and we jumped on it. So we got right into it, and we didn’t know it was going to be Savannah. And it was also like, we were resetting it. I mean, Mary Kay Letourneau was in Washington state. This was originally scripted for Camden, Maine. So everything kind of changed as it became real. And all the real participants joined in, and all of a sudden all the components and all those elements informed what the film ultimately became in an incredibly stimulating and exciting way. In a way that I think served the film in the end, but was incredibly fun while we were doing it.
Your last narrative feature was Dark Waters, a movie I liked but I had to keep reminding myself you directed it. Does that make sense?
But I don’t think May December is like any of my other movies.
Well, no, but there’s a point of view that’s very much you in this.
I guess. I mean, I didn’t write this movie. Dark Waters was basically a script that came to me and I decided I needed to bring a writer in. And we went to Cincinnati and we met all the real people, and we started from scratch, and we built the whole film from scratch. But no, that film owes everything to the real story, the paranoia stuff. The paranoia cinema of the ’70s, which I am a completely obsessed lover of.
Like Pakula?
Yeah! And that’s what inspired the look and feel of that movie. But it was fortified and supported by the real story.
Klute.
All The President’s Men, The Parallax View. They’re just the true claustrophobia of paranoia.
Well see, that’s the thing, I’ve never thought of you as making a paranoia movie. That was very different for you.
It is.
And this one goes back to relationships.
And a female subject.
Most of your movies deal with relationships.
And all that stuff. Yeah. I mean, I think that I loved that experience of making Dark Waters. It was also the closest I’ve ever come to what Natalie Portman’s character actually does in this movie, which we were surrounded by the real people in Cincinnati making Dark Waters. And Rob Bilott was there. I mean, to a degree, at first Mark Ruffalo was like, “I want Rob on set every day.” And, at first, I was like, “I’m not so sure about that.” And then I couldn’t let go of having Rob on set every day because he was sensitive and sweet, but also smart and informative and remembered every fucking thing about the entire history. And so I became addicted to having the real guy who we’re making the movie about right in the next room next to us. It was a great experience.
So you felt like a journalist? Getting the story right and you liked that?
But what I loved is that crazy claustrophobic isolation. The loneliness of people who are onto massive corporate busting stories like that – that challenge power; systems of power and what it does to you. How it fucks you up and how lonely you get and how isolated you get and how scared you get. I mean, it’s true for All The President’s Men, it’s a real true story. But you feel it. You feel it in The Parallax View, and those are fictions. But this was the true story. It was all there.
So yesterday I went back and I re-watched Velvet Goldmine. Do you think about the kind of movies you made then versus now? You have this arc to your movies over your career, but when you go that far back from now it’s a little jarring the difference in style.
Yeah. I mean, what’s funny is I had this respective at Pompidou in May before Cannes with May December. And so I re-watched the movies that I hadn’t seen in years, and also the ones that I would be talking about. I mean, I talked about a bunch of them, but not all of them. But Cate Blanchett came and was there for two days. We did Carol and we did I’m Not There. And then Kate Winslet came. And so I had amazing guests and partners coming and so I watched movies of mine that I hadn’t seen. Velvet Goldmine, I’d seen not that long ago, because they did a restored version at Tribeca Film Festival recently.
But literally a week later, I watched the new DCP of Velvet Goldmine. But then they showed a print of it at the Hollywood Theater in Portland. I only came for the last half hour because I was doing a Q and A afterward, and I was like, fucking shit. The print is so fucking gorgeous. And it sounded better than the DCP. It was so superior in every conceivable way. I’m Not There was the one that kind of… I think it’s my favorite film of mine.
Oh, that’s interesting.
Yeah, I was into it. I was so into it.
Watching Velvet Goldmine, I kept thinking you don’t get enough credit for casting. Everyone in that movie became famous. Even Wonderstruck, with Millicent Simmonds, she has her own franchise now.
What franchise?
A Quiet Place.
Oh, A Quiet Place. Oh yeah, of course that. No, no. It’s amazing. I know. Oh, Millicent.
You’re the one who introduced us to her.
No, look, I am super proud of all of that. And I owe so much of that also to Laura Rosenthal, my casting director. And she and I go on these adventures and find these people and find unknown actors like Millicent and Millie and Charles. Finding Charles Melton, I didn’t know his work. I didn’t see him on Riverdale. He auditioned for us. But I was like, what the fuck? This guy. It completely changed who I thought Joe was. It deepened. It clarified. It made him human.
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