Well, ladies and gentlemen, can I please have your attention?

Greetings, you're listeners. This is Jonah Goldberg, host of our Remnant Podcast, brought to you by the Dispatch and Dispatch Media.

Today, we have a first-time guest, which is another one of these weird, why the hell wasn't he on earlier kind of guests?

We've talked a couple times on the phone, I believe, and we've been Twitter sort of compadres, but I don't think we've ever met face to face, and we're still not, we're not only doing it digitally, but I'm excited to have them on.

It's Tom Nichols, he's a professor emeritus from the War College, something like that.

And he's a columnist for the Atlantic, and you missed us discussing the proper way to desandify and depoupify clams, which we talked about before we got started, which, if you send me an email, I will give you the Nichols recipe.

And other than that, welcome to the Remnant.

Thanks, Jonah. It's nice to be with you. Good to see you.

Good to see you. And we're to see you on succession, I thought that was odd.

I still, yeah, it was pretty weird to see myself on succession. I couldn't, I was watching the episode, and I thought, now this isn't happening, this is just too weird.

It was even weirder than doing it in the studio, because you say, well, you know, you're in the studio, and we've both been in a lot of TV studios, and occasionally, you know, well known actor walks by you, but to see it on TV, my wife just kept looking over at me and going,

OK, this is just too weird. Yeah, also the, the, I mean, I don't, I don't know anything about where they shot succession or all that kind of stuff, but generally speaking, union Hollywood type productions, have just a whole different standard than TV journalistic productions in terms of make up and lighting and all those kinds of things, and it's always going to weird to see the pros do.

Sort of cinematic, even though it was for TV for HBO versus like, you know, your typical green room in Washington kind of TV.

But it was a strange melding of those two worlds, because all of the scenes, you know, in my, we should be honest with people, my screen time on succession could be measured in like a half life of an unstable atom, you know, in seconds.

People, you played a pundit on, played a pundit on succession, that's all called me up one of the producer coming, so while we need a kind of cranky right wing middle aged white guy pundit, and I said, sir, I'm your man.

They, so I was there for like three weekends of work. I mean, I, I spent like the better part of a, you know, every weekend for about a month, going back and forth in New York, but we shot it at CNBC in New Jersey.

Yeah, because of course on the weekends, when the markets closed, you know, it's pretty empty place. And so they converted that whole main bullpen that you see on CNBC into ATN news for election night.

And so it, you know, there were the trailers and the very professional like they first time I ever did make up where they actually cut my hair so that it would keep matching, you know, pre and all that stuff.

It was pretty cool. I mean, I got a really nice haircut, you know, for every weekend so that I was always looking the same way. Then, you know, we went, we went on a, on the floor of a newsroom.

And it was all the stuff you know, they might you up, they stick the thing in your ear, they, you know, everybody banters around the table.

So it was a kind of that's, that's why it wasn't really totally real to me until I saw Connor Roy look up at a screen while he was talking and he was looking at me talking about the election.

And I was like, wow, this really wasn't TV show. This really did happen because a part of it really did feel like election night in a newsroom, you know.

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