NOLA Film Scene with Tj & Plaideau
A podcast about acting, filmmaking, and the improv scene in New Orleans.
NOLA Film Scene with Tj & Plaideau
Ash Reese: Cajun Cartoon Worlds
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Filmmaker Ashe Reese walks us through creating his own cartoon series from scratch. Ash’s Cajun roots fuel the voice of his shows, from food and festivals to the rhythms of Gulf Coast talk. He’s intentional about balancing local flavor with wider appeal, sanding just enough to travel while keeping the soul intact. And yes, we talk AI. Ash rejects the shortcut culture that treats prompts as authorship. For him, AI is a power tool: great for fake toy ads and parody promos that break the acts, never a stand-in for writing, acting, timing, or direction OR for the cartoons he creates.. he does those by hand. That ethic pairs with a strategic home base—public access TV—so he can air five nights a week, retain ownership, and iterate until the season is ready for broader platforms.
https://youtube.com/playlist?list=PLWmXNniUqygl5WML44m6z8eiMZ3SD8sRI&si=2fjxLYNUlc5SOIsG
Voiced by Brian Plaideau
Have you been injured? New Orleans based actor, Jana McCaffery, has been practicing law in Louisiana since 1999, specializing in personal injury since 2008. She takes helping others very seriously. If you have been injured, Jana is offering a free consultation AND a reduced fee for fellow members of the Lousiana film industry, and she will handle your case from start to finish. She can be reached at janamccaffery@gmail.com or 504-837-1234. Tell Her NOLA Film Scene sent you
Follow us on IG @nolafilmscene, @kodaksbykojack, and @tjsebastianofficial. Check out our 48 Hour Film Project short film Waiting for Gateaux: https://www.youtube.com/watch?v=z5pFvn4cd1U . & check out our website: nolafilmscene.com
I'm Ash Reese, creator of the Tundra Man News, and I am pleased as punch to be on the NOLA Film Scene Podcast.
SPEAKER_01:Welcome to NOLA Film Scene with TJ Play-Doh. I'm TJ. And as always, I'm Plato.
SPEAKER_00:Ash, welcome. It is a pleasure. It's great to be uh here. Uh it's it's seldom that I've done podcasts where I at least in anticipation of actually talking about work and not about or the work as I call it, and not about uh I don't know, bullshit.
SPEAKER_02:Not not about any criminal records or prosecutorial things. That's a different like a crime pocket. I understand. It's better to be here. This is a safe space to talk about your creativity.
SPEAKER_00:Yeah. Thank you. Like that there is a process and a craft and involved in what I involved into becoming and doing and all that. Yeah. Nice.
SPEAKER_03:Well, tell us a little bit about what it is that you do and how how you got into it. Like what inspired you to get started?
SPEAKER_00:So I was always uh as a kid, I was always electronically inclined, mechanically, and you know, uh engine my my stepdad was an engineer and he was, you know, in the uh Air Force. Uh he did he was in the the YouTube, well not the YouTube, but the spy planes. He ran the audio video equipment in the spy planes. So he was a DJ and he had reel to reel recorders and he had all this stuff. So as a kid, like I was hacking cable and you know, uh doing, you know, on that side, making demo tapes on reel to reels and you know, quadriphonic sound experiments, and you know, making, you know, me and the friends would go out and make little movies with their families' video cam recorders and stuff, and that whole thing, you know, like I was very much into that. And then the computer age came along. I went to school for all that stuff. Uh well, all that stuff, electronic engineering and computer science. Failed miserably. That's the worst double major, you know. If you want to party and do drugs, don't pick that as a double major. So you will fail miserably.
SPEAKER_02:You you can't type, you can't type like dish A, Bish. I gotcha, I gotcha. Yeah.
SPEAKER_00:But I always, I did musical theater after high school. I always had, you know, I loved watching cartoons. I grew up watching cartoons and playing with action figures and making up my own stories with the action figures, you know. You know, the bed was the stage, you know what I mean? That whole, you know. Oh yeah. And so, and grew up kind of just I kind of my autism thinks in a three-act, uh, I mean, uh a three-act, three-camera TV box sitcom, you know? And so at some point I made some some dubs uh on cartoons and commercials and stuff, just kind of like my take on sketch comedy and and doing voice work. And I mean, I didn't expect anyone, you know, it was like for a select group of friends in a the Facebook group back in 2016. I thought, you know, my YouTube links were safe and they weren't gonna make me infamous, you know, overnight, but that's not what happened. And uh so but always the plan was so immediately I took that first 10 grand I made from the viral success of of Tundamanu and Billy May Law and all these dubs I made, where I just took, you know, late night cable table babaloo. Late night cable, you'll you'll find that I cannot speak even though that's what I supposedly do the best. Late night cable television, kind of remixed and locally uh relevant, you know. And that, you know, just became a thing. And I took that 10 grand and like, hey, let me learn Adobe. I'm good at writing scripts. Adobe is kind of around, you know, you if you if you know how to write good scripts and and what makes a good script and being able to dissect another person's script and and use that to kind of make your own code, you can do a lot in in Adobe products. HTML coding and flash. That's was my approach to animation. I combined that with uh a product called Character Animator that Adobe makes, which is actually like 2018 character animation. I mean, uh Adobe like basically promised this future where you'd be able to take film and cut out like a character. Just like click on that character and it draws a mask around the character and then like hit a button and it removes the character from the scene and you know seamlessly fixes the background, you know. So you can have this shot where a guy's walking you know, walking through a crowd, and you can just take the principal character out and replace him. Like in mid-production, you can switch actors, you know what I mean? But this technology. They're promises this in like 2018. So I'm like, yeah, I'm gonna learn Adobe in and out, you know, like that technology was AI. That's how long they've been working on it behind the scenes, you know. You need that. You need to be able to scan thousands of pieces of footage, millions of segments of footage to be able to replicate how that transfers to the human eye, that crowd shot without the central character in it, you know, because it's about the commonalities. And you know, I mean, we talk about that in aggregation and all that, and you know, not evolved into being uh AI hack, you know, 10 years after. But this is, you know, this is what independent the tools we're given on the independent level were always meant to be, you know. This is what this is the jetpacks and the flying cars that I was promised, you know? So that's how I kind of ended out here, and then you know, but I don't think I don't use Sora or Chat GPT or anything commercially available in the US, so you know, I don't have the look or feel in my the the product that I'm putting out as of the end of here and now that anyone else has, or it doesn't resemble AI slot at least, in my opinion, and I'm pretty well versed on it at this point, you know. Uh but yeah, so developing the characters, learning the writing, learning how to uh do the director of animation job, and that's just a lot of foundational documents, and you just build, you know, a world on foundational documents, you know. You start with the log line or anything, whether it's an idea for a series, a uh character, uh you know, whatever, a movie. You can just give me a log line, you get a get a log line, and then make a paragraph out of that, and then you can make 10 pages out of that paragraph, and then I need 15 to do animation. So, you know, 10 minute, a 10-minute, 12-minute cartoon. That's what I'm have it timed out now. So uh yeah, give me, you know, give me a log line, I'll give you 15 pages, and we'll go into a a room and record that, and then I'll sit down for a week and hammer out that, you know.
SPEAKER_02:Yeah, you're using the computer, but it's still you, a person, doing all the creativity. But doing every nightmare.
SPEAKER_00:So yeah, I took all these jobs seriously as I was learning them, you know. Like, because I wanted to be, I mean, back when I started, it was you'd see guys like Dan Harmon. Not only does he get to do Rick and Morty, but he gets to go and and and like uh I like playing DD, so let's have a whole DD cartoon and color Harmon's quest, and you know what I mean, like flights of fancy you're able to do in animation, you know, create creative-wise, you know, and it's doable, whereas, especially in the modern, you know, computer-assisted animation, you know, you're doing a quarter million job traditionally on, you know, a couple a few thousand dollars.
SPEAKER_02:That's my fear that it'll just be somebody typing in the words and it throws up crap. And anything with AI, oh, it looked good until you see the fingers, until you see the second head. You know what I mean? Kind of for a person who can't be creative to be creative, but it's not. They don't have to put in the work and the years and the the struggle for the art, you know.
SPEAKER_00:Yeah, it anymore. And that but that's another thing. I mean, I've been screaming that this minority report future that y'all are all excited about. I hate. I just want to watch cable, I just want to watch my shows on streaming play my video games with my kids, and you know, maybe go to some cons, meet some celebrities, and but now it's more about spending money and less about going to panels and you know, uh blah blah blah blah. But you know, I I wanna I want my jet pack, I want my flying car, you know, and that's I just wanted to enjoy it. Right. And yet that same technology can be used to trick your mama into buying something that, you know, or whatever, you know what I mean? But that's a haven't we've been living in that world for a while now? Like, yeah. I think the whole social media thing, it's it's a corny circus fairway, and on both sides you're just bombarded by these barkers. Come look at my mermaid, and come look at my headless boy, and come look at, you know, all that stuff. And they're all full of shit. It's all to go get your nickel, your dime of advertiser revenue, or it makes someone's stock go up a little higher, or whatever, you know what I mean? The social media thing. And yes, I have to participate in it too, in order to keep my head above water so people know that I exist, yes, and that the product exists, of course. But I don't encourage pe no, not everyone, uh everyone of you is a movie maker, not everyone is you a star, not every one of you has a like I can actually page by page stretch them out and navigate the wor circumnavigate the world, so you know, uh with with the documents that are behind what I wrote that this is made out of, you know. Right, yeah. So I mean the series to be a showrunner, first of all, like I was saying, you need that, you need some kind of place to start. You need an empty page with one line at the beginning of it, but I have a lot more than that now. You need a whole series, you need a series Bible, you need each character needs to be so fleshed out with relationships with every other character, and all this stuff needs to be worked out before you can go and and and faithfully write a whole ser you know season. You know, we're talking about like the old format of you want to go into syndication, you're talking about 50 episodes, 50 half hours. That's a lot of writing. I'm not Jay Stravinsky, you know what I mean? Like I can aspire to be, but I know I wasn't, so there's a lot I had to learn, a lot of work I had to put in. So, yes, anyone can make eight seconds of slop, but can you make 20 seconds of crap? I mean 20 minutes of crap, 22 minutes of crap, you know? Cable good old cable crap. And it's a whole that's what I do, you know? The golden age of cage of cable garbage, you know.
SPEAKER_02:I was gonna say, I think you're a little bit better than crap, just to be to be honest. I don't know how much, we'll put a scale on it. You're saying you can't be uh J. Michael Skrozinsky. You're not a Babylon 5, but maybe you're a Babylon one or two. Well, there you go. You're gonna get there, man. You're gonna get to six and seven. I know. I didn't say that.
SPEAKER_00:So once you have Babylon when they were just super xenophobic.
SPEAKER_03:So once you have your script fleshed out, how long does it take you to produce one twelve to fifteen minute segment, everything else but the script writing? Because I I know script writing a script can take m different amounts of time depending on what you have in your head, but to actually do the animation part of it Some scripts cooperate more than others.
SPEAKER_00:Yeah, yeah.
SPEAKER_03:Yeah, I get that for sure.
SPEAKER_00:But yeah, no, finish your question. I'm sorry, I didn't mean to interject.
SPEAKER_03:No, no. Uh how long does it take you to do the animation part of it?
SPEAKER_00:So that okay, so originally when I was using just pure I mean, it takes about the same amount of time, but so there's the the old way of I mean buying, producing, flashing together assets, and then character animator, which I was using, I would actually, it's more of a digital puppetry thing. So you sit I would sit there and I'd have the the everything recorded. I'm just posturing so that way if they're surprised, you know, uh you're actually using your body to operate the puppet, and it's going to these uh assigned positions depending on you know different points that you have the audio recorded first, yeah, and how it reacted out, and I have rigged. Yeah, and then uh have to, you know, put the assets together and then work you know, actually perform all the stuff. So it took about a week to do 10 minutes that way, 10-12 minutes that way. Uh, but now I'm I'm back on my original tip of I do things like they did He-Man and cartoons like that, and kind of also later Space Ghost and Aqua Teen Hunger Force and all that stuff, where it's just a lot of loops, create some assets, you know, you have all these alpha characters and stuff, and you just I put them in every possible I create uh a loop of them in every mood, you know. There's the angry loop, there's the you know, you know, uh depressed loop or what you know. I mean you have like three or four, you know, you can pretty much get every emotion out of that, you know what I mean? Then I just put them in different, you know, situations. It's kind of I mean it's not it's not Ralph Bag back sheet, it's not, you know, it's not cinematic, it's it's TV, you know, it's it's uh so it takes uh it still takes me about a week to do the tour, but I I it it just depends on how much I can rely on prefabricated assets, you know. That's why I I I do things like I just do if you can stay in the loop and and just do one thing for a while. So it's like if I'm doing tundamene news, so it's it's kind of like you do a season of television where it's while we're here, let's do the the outdoor scenes for two seas two episodes from now. You know what I mean? We've got we've got to do the backyard picnic table scene and and two episodes from now, so we're we're on this picnic table set, let's do it again, you know, let's do get those scenes out the way, that kind of stuff, you know? It's really it's about line producing, not only my budget and what I'm and the assets I'm having this uh I call them Chinamen. Uh, because I really it's really a lot like it's me having access to the the sweatshop labor, you know, like the direct pipeline to the the Asians, the Far East Asian sweatshop labor that made all the cartoons that I grew up with possible. Because no American, you know, Jay Ward did not draw a thing. Mexicans put all that together. It was some guy, it was all marketing for cereal. Like is what he was a marketing guy that did serial campaigns.
SPEAKER_02:So So the computer is your sweatshop, is what you're saying.
SPEAKER_00:This entity that I say I need this scene to happen, and here are the characters, and here's what they look like, and one's gonna turn to the other one and say, in this emotive state, these things. And not not what they say, just like, you know, character A reacts with shock and horror, and then you get your one-two shot, you know what I mean? And then you get five seconds of that, you loop that, and then you get some, you know, you can get about 20 seconds out of a uh six-second loop, and that's it costs you about a quarter to get that sent back to you. So it's this this back and forth game of like realizing a script, but it it doesn't do a good job, so I end out just cutting, you know, just cutting everything into its layers and reconstituting them. And going, I mean, I write minimal action anyway, because like think of a space ghost or aquatine hunger force. They're not you know what I mean, they're not doing a lot that's causing to create new assets episode to episode, you know. They might have like introduced a new asset episode to episode.
SPEAKER_02:So But Space Ghost would be behind his desk because this is coast to coast, the one you're talking about, not the 60s.
SPEAKER_00:Looping about the same 30 seconds of footage.
SPEAKER_02:He'd flex every episode, he'd you know, turn, so they they just had to drop it in.
SPEAKER_03:That's how on the Japan animation, all of it, they would have a lot of like single like somebody would be flying through the air, and there we there would just be like flashes to make it look like there was wind, but it the character would be still, so there was a lot of stillness, but they would make it look like it was moving. It seemed like it was little tricks they would do to to have chunks of stuff that they didn't have to animate.
SPEAKER_02:A combination. The Scooby-Doo or Flintstone's background that would, as they were running, would always be the same two houses or three houses. Right.
SPEAKER_00:Or doors like you always knew what door it was really gonna be because that one was a different color than all the other doors. Like that would have texture.
SPEAKER_02:The door that stood out is like the guest star on a detective show. You're like, oh, he's they paid him a lot. There's your killer. I can see that door's different, it's gonna move. That's where the villain is, you know, that kind of stuff, right?
SPEAKER_00:So yeah, but and I think part of the art farm is having fun with those tropes, you know? And so, yeah, but the jetpacks and the flying car, so that's coming. So right now, Adobe in in premier beta. Now you can just click on a cat uh you open up your film reel in beta, I mean premiere, and click on a character. You click on the tool, you click on the you know, human, real life character, cartoon character, doesn't matter. You click on the person, you know, the figure, the object. It draws a mask around them. You click on another thing, and it goes frame by frame and masks them out, and you can just boop-boop, you know? So it's got half of it, and that's like next in a month or two is probably when they're gonna introduce the okay, so you made a big hole in your footage. You know what I mean? Generative fill, and it will fill that hole, you know. That makes my kind of animation a lot more doable, a lot more easier, and actually a lot less reliant on generative AI. I can just get what I need character-wise, and then kind of like leave the generative side of it alone and then re-rig all these assets back in character animator. Because that's the other part of it, is Firefly is fully you know integrated now in the Adobe Suites and Character Animator. Now instead of spending hours rigging your individual characters, you'll be able to drop them in, and the AI will rig a character for you. So, I mean, I'm just a writer trying to get my my my vision, you know, right uh on print in a way that I can afford without taking money from people I don't want to do business with to begin with, you know? And it's my stories, it's my vision, you know. So that's why I got it on public access. Nobody can take it away from me, and nobody can pay me a dime for it. So, you know what I mean? And that way I can develop it over years and years and years, and I mean over two years, and get this season that I want to put on Tubi, put on, you know, submit to a commercial streaming distribution, kind of rework some of the dialogue so it's not so locally relevant and kind of you know, you know, kind of hits people. But a lot of my stuff hits people anyway. Just take out the the local. I use a lot of references of the people, places, and things of my, you know, the seven parishes, eight parishes that my show is in. So that is not only takes place in, but it's place you know, you can watch it in.
SPEAKER_02:We haven't said we haven't said your social media, it's the Cajun Nerd Experiment.
SPEAKER_00:Yeah, Cajun Nerd Experiment is my Facebook, and I think Ash the Cajun Nerd, or maybe something something. Yeah, something Ash and Cajun Nerd combined in some weird way is my Instagram. Yeah.
SPEAKER_02:That highlights what you're saying. It's it's gonna be a little local with that.
SPEAKER_00:Yeah.
SPEAKER_02:But everybody loves Cajun food around the world, so they might like your show too.
SPEAKER_00:I've always seen myself as a Gulf Coastiner. Because I think we we also have this from East Texas all the way to Florida, there is a culture that can connects us all. That we all know this language that we all understand culturally. Yeah. If I go to Florida, I get along just fine with the rednecks out in Florida or the black cowboys in Texas. You know what I mean? Like People know Cajun.
SPEAKER_03:I mean, I've lived in San Diego for five years when I was in the military in the early days, and people would hear, Oh, you're from New Orleans? You Cajun? You you eat Cajun food? Yeah, I mean, uh yeah, I eat Cajun food.
SPEAKER_00:You see, it is just but I mean it's it's become like this commercial identity and this it's it's a it's a weird thing now. Yeah.
SPEAKER_02:And I I understand You want to spread your accessible to everybody.
SPEAKER_00:To me, it was like about how country and poor you like the people who are more country and more poor were more Cajun. And then it became more about what your last name is and how well you speak French, and you know, I mean, we uh you didn't go to the the Cajun French immersion school, you know what I mean? In in Quebec. You went to the the regular cage, you know. It's like it's too about what your name is and all this stuff, you know, and like I'm from Church Point and my my grand my papa cooked the craklings at the at the uh buggy festival in the big, you know what I mean, in the big cult looking thing, you know, black iron pot that looks like a witch's cauldron. At least it did when I was a kid. Maybe it wasn't that big, but to me he looked like a like he looked like Mamaro, like he had this giant black cauldron, you know, and he made his cracklens in it. And uh, you know, my my grandpa uh barely spoke on the other side, barely spoke English. My grandma on one side barely spoke any English. I thought that was, you know, I was caging up. I didn't know I had to actually stop what I was doing and learn French instead of uh C and Python and Linux and Java. You know what I mean? Like I thought I had I had a grandfather. Right, right.
SPEAKER_03:I got a side of my family. that's cajun. My uh a grandma on my mom's side could barely speak English. And they they were from down the bayou. No, they were a little more a little north of the Chaffelai Basin, um Ville Platte. Oh yeah. Was where some of the some of that side of the family was from. And when I I don't know how old you are, but I'm in my early 50s in Slidell, up through seventh or eighth grade, we could take French in school. So I I took it and I could communicate with her. I mean it was different. It's a different kind of French. You know, very basic you know a very basic nine year old I could communicate with her.
SPEAKER_00:And then that's what it's they weren't educated in either language. You know I mean it's not like they learn English so they could access education.
SPEAKER_03:So of course their French is gonna sound like you know and there's there's some of them with my my aunt they weren't allowed to speak French in the home because the way they were shunned in in the schools like the the non-Cajun kids would discriminate against them and treat them poorly. You know you go to school without shoes on your feet they made fun of you you know and that's how some of that culture that's how that's how they were raised they didn't they didn't know any different and they were happy. They were happy and they were healthy but they weren't they they couldn't speak it in that generation the dad wouldn't let them speak it at home because the way they would get treated at school so it kind of the French kind of started dying out in in at least in that part of the family.
SPEAKER_00:Yeah I mean sorry I digressed. No it's pretty much in every family it just became to the point where I mean no opportunities for you because you speak a language because you have an accent even you know if if your accent limits your opportunities I mean kind of call it what it is is racism and it's the you know whitewashing of America you know I lost my Southern accent and I moved to California accent so what's the point you know yeah right and that's the thing I think but also like as far as that goes I think a lot of stigma at least locally was broken because uh some of the most educated people that I know have thick accent that came from families that were poor but because they were either uh academic or sports wise you know they excelled in the school system and from then they went into the educational system and you know a lot of people uh become public figures around here is because they're coaches or you know then from there you join whatever the the the lions club or the this club or the that league of extraordinary gentlemen.
SPEAKER_02:Ash if I can jump in here can you tell us about some of the different shows on your channel?
SPEAKER_00:So okay so uh right now I'm I'm pretty much it just stuck in develop like currently I'm just making Bro Force which is I used to call it GI Bro, but now I want to be completely intellectually distinct from any other property and stuff. I'm even like who used to be Cobra Commander is now like that faction is now called Cold Blood. So Cobra Commander is now Cold Blood Commander well commander cold blood and I think I'm just gonna completely change him to uh Baron Baghead and like it'll be like he'll have like a black Saints themed uniform and instead of a hood it's a it's a paper bag because I think that just get over better and it just separates it completely because he ends up looking more like Frylock for some reason than uh than Cobra Commander. And it's kind of like you know so yeah so now I'm doing Bro Force and like I'm I'm kind of pulling out all the stops to where to break up the acts and stuff I'm putting in all of the gratuitous toy commercials and stuff in the little breaks so you'll see you know toys for my McGuffins and and Klotman diamonds and all my you know what I mean I have these recurring jokes and that I've been doing for years these little repetitive things. Right. You know I think it's important to do those things. So uh yeah it's like one of them is like Major Brush trailer back here in in in the Lafayette era you had nine four and a half KSMB and they had the giant jam box and it was a trailer that they made look like a big boom box. And the DJ would be inside you know where the radio dial is that little strip you know that it was it looked like it had the degrees of the dial right it was the booth and the DJ was inside there and it was the giant jam box and it was every festival and thing and it's so the villain one of the villains major bruh which is a vehicle for my uh Phil Swift Phil Swift me coming I'm Phil Swift man this is this is I'm gonna sell you some uh flesh seal and your Cajun Navy and all those jokes in this voice. Which I find how people think is something to do with Adam Sandler or something but it was really like uh knock two teeth out on the side and like I just started doing a character and all the air would just escape on the side. So the cat uh Phil Swift has a little bit of a speech impediment the actual guy that I'm dubbing over. I have a character named Major Bruh and he has a uh he lives in a trailer it's a FEMA trailer but he made it into a uh a boom box and the outside of it you know has the speakers and the dials and stuff on it. So anyway one of the toy commercials is you can buy the boom box and it's a working CD player and you get over at the top and put your CDs in has all the action figures. It's hilarious you know that and that's I think like that's what I use American hack AI stuff for is to make those crappy commercials because that's I'd run that through Sora that idea and it gives you the commercial you know what I mean like whereas in the animation it's more of like a labor of love and I'm sitting there you know crafting every three seconds of it you know but through Chinese AI.
SPEAKER_02:Gotcha. It's been a pleasure talking with you ash wow it's been that long right yeah we it's been that time bro it went quick we good we good at this job although when you said that you had you speak for a living and have trouble doing it I wanted to say you should see us we always joke about that if Brian stumbles over his words he says I speak for a living you've said it once or twice too me too yeah I'm sorry I just speak about anything I do so no it was a great show we had a great talk loved hearing about your projects and your and your process and you know and AI is a tool I don't think we're gonna get rid of it but it seems to me that it's only a tool for you where you're not like trying to steal things. You know what I mean? So I I still struggle with the thought of AI being used but mostly it's I don't want it to steal actors or um actors' voices or images. I want to make sure that animators still have their jobs. I want people to get paid and it for just to be a tool and I don't want corporations to just use it to get rid of all of us. Yeah well and I think you are not trying to get rid of us I think you they're right yeah we think you're doing it.
SPEAKER_00:Yeah but I used it you know to help this person achieve this dream of theirs you know and so do you have do you have stuff that's accessible now that we can watch now that we can link to in the in the show notes for people to go check out yeah I have episodes of Bro Force out there on the uh yeah just on on the top of my social media and my uh youtube and uh I'll be working on that more the thing is so you know confidentially uh or not confident just FY the whole thing the AOC and the public access thing it's trying to stay open month to month at this point they're like you know so it's kind of hard you don't know you you know you know that you're this is supposed to be this way and you're supposed to be able to point people to this thing and it's supposed to be you know your stuff is supposed to be presented this way but it might take them a month to get around to you know so my the pilot I mean not the pilot but the first episode the first hour of this season which is supposed to be like the showcase you're supposed to be able to watch that on demand on AOC and it's not up there as of now so I will let everyone know when you can watch my show on demand on cable and streaming but as for right now you just have to catch it five nights a week on cable and streaming AOC.
SPEAKER_02:Just follow you on the Cajun Nerd Experiment on Facebook. Social media it might be Ash the Cajun Nerd on Instagram we will put all those links when we post and then YouTube Cajun Nerdmedia Cajun Nerdmedia is your YouTube thanks for joining us and have a good one man good talking to you ash
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