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Theo Von interviews Danny McBride about his career, life, and the fourth season of The Righteous Gemstones on HBO, along with memories from Vice Principals and Eastbound and Down. McBride confirms this will be the last Gemstones season and discusses how collaboration, casting, and writing shaped the show. He recalls independent filmmaking, highlighting Fist Foot Way, which he wrote and directed with Jody Hill. They shot it for about 70 thousand dollars without SAG, with friends filling the crew, and with a belief that a self‑made project could reach audiences despite industry gatekeepers. He notes the 90s healthy independent film scene as an inspiration and explains how technology has made indie work easier in theory, yet riskier in practice today. He praises Steve Little, who joined Eastbound and Down, describing Little’s genuineness and fearlessness, and explains how casting can breathe life into a character beyond the original plan. He recalls audition tapes and intuition playing a role in casting, and acknowledges the hard work actors endure on set and in tight timing. The conversation moves to Charleston life, family, and moving from Los Angeles to give his kids room to roam. He describes choosing Charleston to give his children independence, riding bikes, and enjoying water and friends. He discusses his wife, his daughter’s humor on set, and her fascination with fake blood, and his son’s interest in lacrosse, helped by Tony Cavalero. He reflects on his Southern upbringing, puppet‑ministry mother, and a father who worked in the Prison system, sharing stories of a prison alarm, a ghost tour joke, and other childhood memories. He also recounts early mischievous projects and a nostalgia for video stores before streaming, including Blockbuster. He speaks about social media, saying he avoids it but recognizes its potential to spark dialogue when you create content, not merely post. He emphasizes that boundary‑pushing comedy can set trends, while acknowledging backlash. He remembers meeting Steve Little, Spade, and other collaborators as part of the fun of making shows with friends, and he explains his approach to crew, hospitality, and treating the crew like family. He notes a Hurricane Helena shoot that tested their resolve and discusses closing Gemstones with a sense of finality. He ends by expressing gratitude for his team, looking forward to a break, and hinting at future ideas, including Sinkhole Baby, a concept he riffs on in a playful, story‑driven way.

Jack Carr discusses his latest novel about Vietnam in 1968, explaining he aimed to write through the lens of that year before hindsight shaped memory. He researched with maps and a 1969 dictionary because terms from 1968 were critical to authenticity, and he chose to transport himself to the era rather than consulting modern sources. He kicked off the book tour with David Morrell, creator of Rambo, and described how his past thrillers, Brotherhood of the Rose, Fraternity of the Stone, and League of Nights and Fog, gave him a framework for a realist, character-driven war story. The decision to locate the narrative in the bloodiest year of the war shaped the plot. Carr contrasts World War II's clear moral frame with Vietnam's ambiguous reality, emphasizing how the Gulf of Tonkin incident and subsequent outcomes triggered a costly conflict. He discusses the 1968 Domino theory and the high casualties: over 58,000 Americans killed that year, with broader casualties. He highlights the homecoming wounds, how veterans faced stigma, and how television brought the war into living rooms daily, transforming public perception. He argues fiction can humanize numbers by following defined characters through decisions under unclear information, allowing readers to grasp perspectives across generations. He notes that the first televised war altered journalism's power and responsibility. Turning to publishing and media, Carr notes the challenges of a changing industry: fewer readers, the rise of smartphones, and the AI debate. He worries about AI copying voice and style, discussing AI-generated content and its implications for authors and the industry; he even jokes about the oddity of a future where prompts could resemble ‘writing in the style of Jack Carr.’ He praises Amazon’s role in enabling longer-form TV adaptations and notes the risk and reward of ambitious projects like Darkwolf, Savage Sun, and others. He observes that success can grant more creative freedom, though pressures to deliver remain intense. Interspersed with production talk are reflections on craft and authenticity, including the use of real watches and gear to tell a character's story and the importance of gritty, believable stunts. He describes filming in Morocco, the cast and crew’s dedication, and the integration of SEAL lore, CIA spaces, and Vietnam-era gear. The conversation closes on the future: a Vietnam-era espionage thriller with potential series development, the hope of sustaining high standards, and the belief that readers and viewers deserve work that honors those who served.

On this episode, Theo Von talks with Gianni Paolo about his breakout role in the Blumhouse thriller MA, which stars Octavia Spencer and opens May 31. Paolo explains how their connection started on set in Mississippi during filming; a mutual friend chain led to Theo’s podcast getting involved, and Paolo began helping with social media and bookings. He plays Chaz, a high school junior who parties with Spencer’s character as a group of teens encounters her; the movie highlights that a Black woman can be a villain, and Paolo notes Octavia’s openness about playfully defying stereotypes. The film blends elements of Halloween, Get Out, and Scream; it’s described as a party movie that turns deadly. Paolo shares practical filming details: a Blumhouse production shot over about four to five weeks in Natchez and surrounding Mississippi locations, with long 13- to 14-hour days, some reshoots, and a rigorous physical prep since he has a scene involving nudity. He recounts the realness of Mississippi hospitality contrasted with occasional rougher moments on set, including a tense moment near a liquor store. He also recalls meeting 50 Cent on Power: lifting in the studio gym beside him, a compliment from him about Paolo’s work, and learning about 50 Cent’s sharp, entrepreneurial approach to filmmaking and promotion; he also describes the Ja Rule concert incident that became public via 50 Cent’s social posts. The conversation shifts to how actors promote work today, favoring podcasts and social media over traditional TV appearances, and how this show’s reach can substitute for a bigger platform. Gianni discusses future plans, hoping MA will launch steady work on a TV series, while continuing to pod and promote; Theo and Nick encourage building an in-house production path, naming a potential production company, Onward Productions, and an in-house network modeled after bold, creator-driven models. The episode closes with praise for Octavia Spencer’s performance, the Mississippi experience, and the excitement for Paolo’s continued ascent in both acting and podcasting.

Mark Kerr’s life becomes a lived war on screen in The Smashing Machine, and this conversation pulls back the curtain on a fighter who helped shape mixed martial arts from its raw, underground days to a global spectacle. Kerr recalls seeing his story portrayed with startling realism in a film where The Rock embodies him, a performance he describes as surreal and uncanny, even his own son recognizing the likeness. The talk moves through the chaos, intensity, and personal cost of Kerr’s rise, including the era’s brutal training, backstage politics, and early UFC grit. In this legend-heavy chronology, the interview dissects the business side of MMA's genesis. Kerr explains the 1990s scramble between UFC ownership under the Fertittas and Pride’s rapid rise in Japan, where he negotiated a monthly salary plus fight bonuses, a stability that let him focus on training. He details the legal entanglements when he left the UFC for Pride and the court battles that followed, and he reflects how the Ultimate Fighter era finally transformed the sport into a commercially viable, television-driven phenomenon. Behind the camera, Benny and DJ pursued astonishing authenticity, replaying Kerr’s life with painstaking care. They rebuilt the early arenas, the pyramid entrance, and even Dawn’s sacrifices, sending Kerr watches, rings, and posters as references. Kerr recalls walking onto Vancouver sets and seeing Mark Kerr appear as a mirror image, so convincing that he resisted until the final cut. The conversation notes how the film captured the chaos of Pride contracts, the testing era, and the intensity that shaped Kerr’s relationships, including his trust in DJ to tell his story truthfully. On a more personal track, Kerr opens up about addiction and recovery, detailing morphine dependence during his fighting career, the later alcohol troubles, and the years of sobriety. He credits therapy, meditation, and family support for reclaiming his life, recounting a pivotal moment when he watched The Smashing Machine documentary and decided to seek help. He describes his sobriety date, the loss of his mother, and how his son Bryce's birthday marks a turning point. He also mentions exploring ibogaine and other approaches to healing.

Donald Trump, born in Queens, New York, was influenced by his father, Fred Trump, a successful real estate developer. Fred instilled in Donald a drive to win and a work ethic, sending him to military school, where he thrived. Trump’s aggressive personality emerged early, as he sought recognition and attention. After college, he joined his father's business but faced a significant lawsuit from the DOJ for racial discrimination in housing, which he fought fiercely without admitting wrongdoing. Transitioning to Manhattan, Trump revitalized the city’s real estate, building iconic structures like Trump Tower, while crafting a larger-than-life persona. His ability to sell a fantasy became central to his brand, leveraging media attention and tabloid coverage to maintain his image. Despite numerous failed ventures, including an airline and various products, Trump’s marketing skills kept him in the public eye. His reality TV show, "The Apprentice," rejuvenated his brand, leading to his presidential run in 2016. Trump’s approach combines a relentless pursuit of recognition with a willingness to challenge norms, raising concerns about his impact on democracy as he faces legal challenges while campaigning for re-election.