Technicolor

Yeah.

And it's like we have an example in Technicolor of an entire continent that is basically just a welfare state that sues our innovators-

[laughs]

... to generate revenue so people can fucking take vacations to Cancun.

It, it, it looks beautiful.

It's Philadelphia in Technicolor, and it's Philadelphia from the, uh, late '50s, I think, over a three or four-year period, and taking some of the shots of Philadelphia that we all have seen and lived, particularly if you lived in the city itself, and now putting them into...

I, I don't know if it's AI generated, aided, or whatever, but it's in Technicolor, and it looks incredible, just these everyday, run-of-the-mill things of growing up during that era in Philadelphia you would see.

So I'm gonna go back 30 years.

I have a reason for that, too.

But more than that, we are morally deficient.

And what I mean is this: we have the information, it's as clear as day in Technicolor surround sound brilliance, it's just that we choose to ignore it.

Not just to ignore it, but to reject it and rebel against it.

We're not morally neutral.

Welcome back to the show.

So every face tells a story when you've had a little sleep, and the world sees it in Technicolor, really.

So what does that mean? Well, your sleep patterns make a big difference.

Adrenal glands are the body's stress glands, and what happens, there's a lot of different variables and reasons that we don't sleep, or that we look tired, or that we don't feel rested.

But she uses the kind of metaphor of a, an editor using a blue pencil because back in the day, you know, copy proofs were still manually cut and pasted and photographed, and the blue pencil marks would never show up.

So in a sense, you know, uh, what I find remarkable about your book is that you've shown us in Technicolor where the, where the blue pencil marks were.

Um, and I just wonder, you know, do you think like in this sort of, you know, age when Kissinger was, was in his prime, you know, that that art was still possible, whereas, you know, now in the digital age, you kind of always leave footprints, or how would you assess that?

I think it was certainly easier for him to operate behind the scenes in influencing media coverage of himself in the '70s, '80s, and '90s, when there were a limited number of gatekeepers.

Well, thank you very much for having me.

And I see you in Technicolor this time.

That's right.

That's right.