Welcome to the Season 2 Finale of Retromade! Today, we wrap up the long journey through writing and directing works of John Hughes in the 80s & 90s.

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Hello, hello, I'm Katie, and welcome to the

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Season 2 finale of "Retro Made."

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Today, we wrap up the long journey

through the writing and directing works

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of John Hughes in the '80s and '90s

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Let's first go through

the numbers of the season.

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We covered 30 movies, eight that

John Hughes wrote and directed, and

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22 that he wrote but did not direct.

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I was lucky enough to have

25 guest co-hosts join me.

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Thank you to you all.

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Somebody had to come on and bring some

class to the show, so thank you all.

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You all know who you are.

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I cannot thank you enough

for joining me this season.

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Now, we covered John Hughes' works in the

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there were only three years that were

not actually represented in the season.

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1999, because his last movie that

we covered, that he wrote, and

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produced was in 1998, in the '90s.

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But also there was no movie

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But he made up for that because

there were three movies released

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in a single year, and there were

three years that that happened.

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So the following years

had three movies released.

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1983, "Mr.

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Mom," "Vacation," and "Nate and

Hayes," AKA "Savage Islands."

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Also 1985 was a big one.

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That was "The Breakfast Club," "Weird

Science," and "European Vacation."

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And then 1991, "Career Opportunities,"

"Dutch," and "Curly Sue."

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There's another group of three.

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John actually had uncredited

cameos in three movies.

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Does anybody remember?

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Definitely The Breakfast

Club as Brian's dad.

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That's probably the one you all know.

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But also the National Lampoon's Class

Reunion, which none of you probably saw.

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But if you listen to the episode, you'll

remember that I had said that he played

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the girl with the paper bag on her

head that ended up being the murderer.

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And then also in Ferris Bueller's Day

Off, he is the man running between cabs.

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Now, of those 30 movies that we

covered, let's just quickly talk through

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them in the order of release date.

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The season did not go in order, obviously.

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What I did was when my guests

came on, I gave them the choice

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of what movie they wanted to

select, so it did not go in order.

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So here we are.

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In 1980, we have The Secret

Life of Nikola Tesla.

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Then in '82, Class Reunion,

National Lampoon's.

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In '83, Mr.

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Mom, Vacation, Nate and Hayes.

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1984 was Sixteen Candles.

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Then '85, The Breakfast Club,

European Vacation, and Weird Science.

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'86, there were two movies, Ferris

Bueller's Day Off and Pretty in Pink.

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Also two movies in 1987, Some

Kind of Wonderful, as well as

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Planes, Trains and Automobiles.

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Two more in '88, She's Having

a Baby and The Great Outdoors.

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Two more in '89, Uncle Buck

and Christmas Vacation.

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One in 1990 with the big

blockbuster that was Home Alone.

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'91, Career Opportunities,

Dutch, and Curly Sue.

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'92 had two movies, Beethoven!

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and Home Alone 2: Lost in New York.

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Dennis the Menace was in '93, and then

'94 also two movies, Baby's Day Out

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and Miracle on 34th Street, the remake.

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'96 we had the live action, remake

of 101 Dalmatians, and then two

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in '97, Flubber and Home Alone 3.

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And then lastly, the one we just covered

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no one probably saw, Reach the Rock.

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Okay.

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I'm sure you all have favorites.

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I'm sure that I brought some…

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I hope anyway, that I brought some of

these to your attention, and if you

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haven't seen them, and they are at

least somewhat easy to find, that you

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have, opened your viewership to some

of these lesser-known Hughes movies.

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Or maybe you didn't realize that

some of these were Hu- Hughes movies.

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We'll get to that.

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So ranking-wise, it's kind of difficult.

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I think from a…

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Again, best movie versus favorites

are, are a little different.

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In this case, I think my favorite is

also the best, "The Breakfast Club."

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But then followed very closely in terms of

my favorites is "Weird Science," and then

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I would say "Ferris Bueller's Day Off"

third, and then followed closely by "Mr.

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Mom" and "Home Alone."

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So that's kind of my top five.

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Least favorites, uh, if you've been

paying attention to the season at all, you

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know that I absolutely hated "Flubber,"

so that is 100% my least favorite.

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And then, I guess a little

bit surprisingly, uh, because

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"Reach the Rock" actually had,

a fairly good, I wanna say 6.6

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if I remember correctly, IMDb rating.

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Probably based on very few, ratings.

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But while it's not the worst movie

I just feel like from an enjoyment

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perspective, I put this as my second

least favorite, because if you asked

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me to re-watch any of the 30, I

would pick, aside from "Flubber," I

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would pick that one second to last

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So I would probably rather, if I

had to, even some that I didn't

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love, I would rewatch some of

the others over Reach the Rock.

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So those are my favorites

and least favorites.

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The highest rating from an IMDb

perspective, we have two that have a 7.8

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IMDb rating, and that is of

course The Breakfast Club and

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then Ferris Bueller's Day Off.

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Uh, actually, I'm sorry, There

was three that had a 7.8,

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also Home Alone.

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Hmm, the worst, let's see.

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There's two movies that have

a tied for the, the worst

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IMDb rating, which is a 4.6,

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and that is Class Reunion, National

Lampoon's, and Home Alone 3.

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So there we go.

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That's what I thought.

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That's what IMDb thought.

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If you guys have thoughts, I'm sure

we all agree on some of them, but

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there might be surprises out there.

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Does anyone share my rankings exactly?

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Or were there any surprises for you guys?

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Any that you did not think you

were gonna like and you ended

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up enjoying, or vice versa?

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More so, as we talked through in

the episodes, I was starting to

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discover a lot of running themes, some

observations, and some connections.

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So I wanted to talk through

those with you guys today.

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Definitely the Chicago of it all.

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This is a living, breathing character.

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Hughes created this idealized

romantic mythos of this windy city.

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His lens cast a spell that made the

snow-draped suburbs, the towering skyline,

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and iconic landmarks like Wrigley Field,

the Art Institute of Chicago, obviously

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the skyline and Michigan Avenue.

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He made them feel like the ultimate,

this magical landscape of American life.

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And he spent essentially two decades

directing what was essentially the

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most beautiful, heartfelt tourism

campaign ever, and it worked.

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It is likely no coincidence that

Chicago is my favorite American city.

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Anyone else think that, uh, John

Hughes maybe had a hand in that, maybe?

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A little bit?

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Speaking of which, advertising plays a

fairly significant role in Hughes' movies.

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So Hughes pulling from his own

background in advertising, as we've

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talked about in some of the e- episodes.

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He used to be an ad man

in the '70s, I wanna say.

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And so we see this pop up in a few

different ways in Hughes' movies,

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one of which obviously is the careers

that some of the characters have.

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So Caroline in Mr.

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Mom, Neal in Planes, Trains,

and Automobiles, and Jake

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in She's Having a Baby.

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There's also pretty heavy-handed

product placement in a lot of movies.

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Just a quick example would be

Pepsi in Home Alone, and a lot

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of memorable catchphrases in

Hughes' movies, so memorable

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catchphrases, slogans, and taglines.

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There's so many famous lines of dialogue

that Hughes structured in like a

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brilliant, very sticky advertising copy.

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So it's, it's designed to

live in your head forever.

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For example, "Life moves pretty

fast," from Ferris Bueller's Day Off.

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And again, this I think is another example

that I didn't realize, but perhaps he

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also planted a seed in my young brain

since this is what I do for a living now.

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I will say that, uh, this was,

this is a kind of a running

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trope in '80s movies seemingly.

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There's a lot of advertising and

marketing in movies from the '80s,

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and it is shown to be far more

glamorous than it actually is.

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So yeah wish I'd known that.

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No, I'm just kidding.

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I…

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It is what it is.

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Uh, but music is also

huge in Hughes movies.

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A little bit pulling from his ad

background in the way that he used music,

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so his- he's got a jingle mindset, it

seems, so using music in similar ways that

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you would in a jingle or in, in ads to

evoke emotion and get your point across.

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So some scenes in these movies seems

like they're treated like high-end

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commercials a little bit, pairing

these really stylized imagery with

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infectious, unforgettable audio, quote

unquote, "jingles," shall we say.

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Um, a- again, a lot of these

memorable lines, the use of music,

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the use of a single musical cue,

like "Simple Minds" in The Breakfast

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Club or "Yellow" in Ferris Bueller.

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It was used to instantly broadcast

a character's internal unspoken

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feelings to us as the audience.

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The soundtracks in Hughes movies

were definitely not something that

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he thought of in post-production.

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He, uh, apparently famously wrote scripts

with headphones on, but this totally

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makes sense because he lets music clearly

dictate the, the emotional rhythm and

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pacing and structure of his, a lot

of his scenes, like I just mentioned

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for examples, the "Simple Minds" in

The Breakfast Club or a lot in Ferris

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Bueller, just to name a few examples.

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And I would say this is, again,

more so early on in his career.

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He rejected traditional sweeping Hollywood

orchestra, orchestral scores in favor of

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more underground British New Wave or punk

rock alternative pop so he's creating

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a very distinct brand that captured

the very specific anxious heartbeat

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of 1980s youth culture, and that was,

synonymous with Hughes movies, like I

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said, more so earlier in his career.

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So music was really big.

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He was a big rock fan, and

we'll get to that in a little

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bit with another category.

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But It's not all roses.

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There's a common theme of the negative

portrayal of quote unquote "career women."

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Hughes very clearly championed a, a

highly traditional neoconservative

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family structure, portraying

women who opt out of marriage or

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motherhood as cold, emotionally

bankrupt corporate sharks who must be

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humbled and saved by a family unit.

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You've heard me talk about this.

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I will let it go now.

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But also there's a maybe not so great

is maybe a bit of racism by omission.

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It wasn't just that there were no people

of color in his movies, it was that

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the rare times that they were included

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Instead of giving them depth or like

human characteristics, he traded

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them for more structural stereotypes

like Long Duk Dong, in Sixteen

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Candles, Or it's like a caricature.

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For example, the caricature

bars of Weird Science.

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Also, he did name the male characters in

She's Having a Baby, Jefferson and Davis.

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Uh, we'll get into some more name

stuff in a little bit, but I just had

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to bring that up because, you know,

we have to take the good with the bad.

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We have to take the bad

with the good, I should say.

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But another theme that we see throughout

the vast majority of his movies, almost

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all of them incorporate classism, right?

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So he seems obsessed with this

whole idea of being from the

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wrong side of the tracks, and this

form of wealth gap in the '80s.

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In the '90s, he pivots to a more

literal version in terms of displacement

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and poverty, this disparity, more

so in the '90s movies like The

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Pigeon Lady in Home Alone 2, Curly

Sue, Dutch, we see some of that.

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So I don't think I need to say any more.

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Everybody's aware of the classism

that is so prevalent in Hughes movies.

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But let's get back to

names 'cause that's fun.

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I don't know why I find character

names in movies or just the way that

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names come about really interesting.

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Maybe it's just me, but i- a lot

of them were extremely deliberate

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character names in, in Hughes movies.

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A lot of times he would pull from

his own life, local Chicago history,

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or using them kind of, as shorthand

for the character's personality.

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One theme is, Chicago

architecture and street names.

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So I think we might have talked

about this in The Breakfast Club

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episode, but I can't quite recall.

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But Claire Standish and John Bender

are two characters in The Breakfast

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Club, and he named these after

major iconic streets in the city.

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So On LaSalle Street, there is

the historic Standish Hotel area,

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and then there's Bender Court,.

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And so this is anchoring those

characters directly to Chicago's

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geography because Chicago.

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Also, the McCallister family in "Home

Alone" comes from McCallister Avenue,

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which is a prominent street in the

North Shore Chicago suburbs near

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where Hughes lived and also filmed.

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We talked about this pretty recently in

the "Some Kind of Wonderful episode."

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There was-- He brought, again, a lot

of his, his love of rock and roll

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here, so some inspiration for the

names came from the Rolling Stones,

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so Keith, Watts, and Amanda Jones.

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This is the central love triangle,

the characters in this love triangle.

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So it's a big Easter egg

for rock fans, in the know.

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So he clearly named Keith after

Keith Richards, and Watts, who the

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character plays drums, after Charlie

Watts, the drummer of Rolling Stones.

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And also Amanda Jones is pulled

directly from the Rolling

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Stones song, "Amanda Jones."

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And I did not know that song was

a Rolling Stones song previously,

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which was a surprise to me

because I like the Rolling Stones.

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But I thought that the song

was written for the movie.

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No, no, vice versa.

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So I thought that was super fun.

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And then, as you would imagine, he's

pulling from real-life people that

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he knows, classmates, et cetera.

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So Duckie in "Pretty in Pink" was based on

a real person that he went to high school

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with at Glenbrook North High School,

where he went by the nickname Duckie.

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Also, a lot of the names like

Johnson and Baker, these kinda

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default names that aren't…

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They're just pretty generic.

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He frequently would pull from

his high school yearbooks.

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So Brian Johnson in "The Breakfast

Club," Samantha Baker, "Sixteen Candles."

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This also helped to give those

characters a very authentic,

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unglamorous Midwestern realism.

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And then we have to discuss his pseudonym.

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I think it only came up in the

"Beethoven" episode, but he uses

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it in, in some future movies, that

we don't cover on this season.

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But his pseudonym comes

from classic literature.

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So when he wanted to distance

himself from some commercial work

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that he was maybe less proud of, he

used the pseudonym Edmond Dantes.

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And this is the main character

from "The Count of Monte Cristo."

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So he used that to write scripts

like, like I said, from "Beethoven"

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and then later, uh, like "Drobit

Taylor" and "Made in Manhattan."

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So those are Edmond Dantes' works.

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And this is a bit also just to signal…

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I mean, he, again,

everything is purposeful.

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This is signaling that

he felt like a prisoner

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of

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his own Hollywood success maybe.

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Maybe?

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Maybe not.

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I don't know.

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Uh, and then there's also a very, common

running theme in more so his later

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movies, incompetent petty criminals.

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Comes up a lot.

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So this serves a few purposes, right?

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Slapstick punching bag.

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The fact that they're incompetent and

they're petty criminals, offers this low

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stakes threat, so we're not in fear that

somebody's gonna actually be harmed.

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It's a bit of a scapegoat, I guess.

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He, he usually writes them as uneducated

blue-collar outcasts, which is in

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stark contrast to the wealthy suburban

families that they try to disrupt.

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So I think there's something

to be said there as well.

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Now, we cannot forget some of

the recurring characters that

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we see casting favorites in this

universe that Hughes has built.

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So his original muses, of course, are

Molly Ringwald and Anthony Michael Hall.

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And then we also see a lot of John Candy,

and, uh, we can always take more of John

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Candy Macaulay Culkin, Edie McClurg, Ally

Sheedy, Larry Hankin, John Ashton, Paul

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Gleason, Lyman Ward, Robert Prosky, Neil

Flynn, Fred Thompson, Eddie Bracken, Joan

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Plowright, William Windom, and Ben Stein.

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I'm sure there's more, so if I'm

forgetting someone, please let me know.

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But those are the ones that I could

think of, just running through

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the movies and some commonalities.

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So clearly some favorites

that he liked to work with.

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Unfortunately, there's not

really any awards to talk about.

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No, no major award nominations unless

you count the Stinkers Bad Movie Awards.

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Uh, he was nominated in both

'93 and '97 for Dennis the

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Menace and Flubber respectively.

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But I did think perhaps we could talk

about A movie that we didn't talk about

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on the season because it didn't qualify.

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John Hughes did not write or direct

this movie, but he did produce it,

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and it has tons of, Hughes alumni.

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The movie that I'm referring

to here, it's adjacent in the

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universe, and we'll talk about why.

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So it's called Only the Lonely from 1991.

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It also must be out of print

because it was hard to watch.

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So I, I don't think it's currently

on streaming, but maybe some of you

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remember seeing it from back in the

day or perhaps have an old copy of a

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VHS or, or DVD or something like that.

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But I watched it recently for

the first time it stars John

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Candy Who plays a Chicago cop,

including the accent, Ally Sheedy.

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Uh, and she plays the daughter

of a mortician, and she,

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at, at the mortician…

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The funeral home.

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I was like, "What is it called?"

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The mortician shop.

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The funeral home, she does the makeup

of the people in their caskets.

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Now, Jim Belushi plays Candy's

partner, and remember he was in Curly

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Sue, also from 1991, the same year.

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And some other people from the same world

are screen legends Maureen O'Hara, and

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she's doing an Irish accent in this.

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And the reason that she's somewhat

related to the universe is that she

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played Dory in the original Miracle

on 34th Street, and we talked about

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her a little bit in, in the remake.

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And then also screen legend Anthony Quinn

is in this, and he's doing a Greek accent.

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So we've got a lot of accents

happening in this movie.

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We also get, briefly, but we

get Macaulay and Kieran Culkin,

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they play Candy's nephews.

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And then this, you might be

wondering, who wrote this?

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Who directed this?

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It is in fact somebody

very close to the universe.

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Anyone have any guesses?

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Or maybe you know.

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It's Chris Columbus.

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He wrote and directed this,

so it's very adjacent.

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So it, it almost qualifies to be

in the season, but it doesn't.

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I can't believe I hadn't seen it.

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It's good.

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It's not great, it's good.

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Now what did we not get?

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Because he was such a prolific writer,

kind of notoriously so, but we could have

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had some of these and we did not get.

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Projects that he wrote but

never came to fruition.

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There are several, and I'm not

gonna talk about all of them.

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We don't have time for that.

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But there are a few that came up in

discussions throughout the season also.

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But here are some that I personally

thought sounded interesting, and

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I kinda wish we would've got.

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Or would've been interesting

to see how it came together.

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A live-action Peanuts film.

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So apparently Warner Brothers acquired

the film rights to make this, a

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live-action Charlie Brown film with

Hughes set to both produce and write,

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and that was supposed to be in 1993.

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Then we have Tickets.

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This is about teens who wait overnight

for free tickets to a farewell concert.

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I can see him doing a lot with this.

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That would've been '96.

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And then The Grigsbys Go Broke is about

a family, a wealthy family, who loses

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their fortune, forcing them to move

to the other side of the tracks again.

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And because this is like s- so

John Hughes, I just thought it

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would've been interesting to see

what he does with that as well.

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That would've been two- 2003.

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But I saved the best for last.

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It would've been in '91.

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It's called Bartholomew v.

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Neff That's my dog yawning, sorry.

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This would have been a vehicle that

would have starred Sylvester Stallone

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and John Candy as feuding neighbors.

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I am pissed that we didn't get this movie.

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I want it.

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I can't quite picture those

two together, uh, but love John

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Candy, love Sylvester Stallone.

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Put them together, feuding neighbors.

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What is not to love?

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Anyone else even heard

of this Bartholomew vs.

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Neff?

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I can't believe we didn't get it.

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I don't know.

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If somebody can get their hands on

it and make it come to light let's

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resurrect this screenplay here.

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Unfortunately, John Hughes cannot do

that because sadly, he did pass away f-

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at a very young age from a heart attack.

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He passed on August 6th, 2009.

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He was only 59.

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Ugh.

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Last season, we had to talk about

Patrick dying so young as well.

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These people don't even make it to 60.

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Legends, I tell you.

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All right, we can't let this finale go

by without talking about what I learned.

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What did we learn through this journey?

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A lot, I will tell you.

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I certainly was not an

expert when I started this.

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I didn't even really have a particularly

close attachment to John Hughes.

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I just knew and loved several of his

teen movies that seemed synonymous

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with, the Brat Pack era and the 1980s.

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So I loved the idea of this

shared universe in fictional

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Chicago suburb called Shermer.

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I even used it in the

subtitle of the season.

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I knew that he had some other

family-oriented movies that kind of

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went into the '90s that I also liked,

like Home Alone, so I thought, "Perfect.

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This is a perfect fit for the show.

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It'll be a fun little venture."

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Well, it turns out I was unwittingly

undertaking a much larger and more

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surprising odyssey through his work.

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Look, I still don't claim to be any

kind of authority on John Hughes, even

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after covering 30 of his films, doing

a whole season that lasted a long time.

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I've been doing this for a long time now.

405

But I will tell you in doing that, I

definitely picked up on some motifs

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through doing the season, so let's

talk through what some of those are

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There are some unexpected

but very clear evolutions.

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The '80s characters in John Hughes' films

seem to be trapped by social structures.

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While the '90s movies that he made

became much more literal by trapping

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characters, like literally trapping

characters inside houses and toy

411

stores or city streets, et cetera.

412

So that is a clear evolution.

413

We also have, uh, the

misunderstood adult villain.

414

Now this I find really, I

don't know, interesting because

415

now I'm an adult, right?

416

So we, we, we look back on these movies

with a little bit of a different lens.

417

So we have Principal Rooney in

Ferris Bueller, Vice Principal

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Vernon in The Breakfast Club.

419

They seem like pure

villains to kids, right?

420

Re-watching as an adult reveals something

very different, that these men seem

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to be really tragic characters that

are burnt out on life, and it's just

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kind of a terrifying reminder to the

teens of what happens when you let the

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world crush your spirit, as happens.

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A- as w- we'll talk about this

in a little bit, but this, this

425

seems to be hard to not have happen

as you, as you get older, right?

426

We're always, like, looking

back on teenagers or young

427

adults like, "Aw, how cute."

428

You know?

429

They haven't been crushed

by the world yet, right?

430

Or life.

431

Adulting is hard, you know?

432

It really is.

433

So we find these characters that as

kids we thought were the villains,

434

quote unquote, and now that we

find them much more relatable.

435

So I don't know what that says about us.

436

But I think it's sadly

at least somewhat true.

437

You know, it's too bad we

gotta get old, stallion, right?

438

And this is eloquently and simply

stated by Allison in The Breakfast Club.

439

She says, "It's unavoidable.

440

It just happens.

441

When you grow up, your heart dies,"

reflecting the group's fear of

442

becoming like their parents and

losing their unique identities.

443

Oy.

444

We'll get-- we'll talk a

little bit about that in, in a

445

second also wow, that's heavy.

446

But again, like, isn't…

447

I think, I don't know, man.

448

Yeah, a little bit.

449

Again, but that's his

earlier works, the '80s.

450

A lot of this nuance is gone,

completely evaporated, into the '90s,

451

trading this very complex, flawed

authority figure like Rooney and

452

Vernon for cartoonish, indestructible

punching bags like the Wet Bandits

453

So this leads to the next

point that became so evident

454

as I was going through this.

455

Again, this evolution from character

study to blueprint maker, and

456

it's, like I said, it hit me in

the face 'cause it's so obvious and

457

prevalent as we go through his works.

458

When he directed his own scripts in

the '80s, he focused very heavily on

459

dialogue, long pauses, facial expressions,

and those character-driven soundtracks.

460

But when he stopped directing and focused

solely on writing and producing in the

461

'90s, his scripts became blueprints

for directors to execute high-concept

462

action, losing the quiet human

moments that defined his early work.

463

And this is the tragic irony, right?

464

It seems that the very skills he learned

465

package nostalgia, hook an audience,

and repeat a winning formula, are

466

exactly what swallowed his artistry

in the '90s, transforming him from

467

a director who used commercials to

sell cinema into a corporate writer

468

who used cinema to sell a product

469

John Hughes seemed to have transitioned

from a soulful director capturing

470

the authentic heartbeat of youth into

a formulaic hit factory recycling

471

his own tropes for a paycheck.

472

And isn't that the ultimate irony given

Allison's quote that we just talked

473

about in The Breakfast Club about it

being inevitable that your heart dies?

474

What do we think about this?

475

When I first kicked off this season

of "Fresh Homage," I set out in

476

search of pure, comfortable nostalgia.

477

What I actually uncovered across

John Hughes' massive '80s and '90s

478

filmography was something far more

complicated: the portrait of a

479

brilliant, deeply flawed filmmaker.

480

Hughes didn't just write movies.

481

He built an enduring cinematic universe

out of high-gloss advertising slogans,

482

infectious British New Wave beats,

and of course, a romanticized vision

483

of Chicago that permanently changed

how an entire generation viewed the

484

American Midwest, myself included.

485

He gave a profound, serious voice to

the quiet emotional architecture of

486

teen angst, proving that the small-scale

heartbreaks of high school were,

487

in fact, worthy of the big screen.

488

Yet, as I traced his career into the

489

where his passion seemingly dissolved

into that goddamn formulaic factory that

490

I talk about all the time in the shows.

491

So he's trading raw human character

studies for indestructible,

492

cartoonish slapstick.

493

Looking at his legacy with

modern eyes also forced me to

494

confront some glaring blind spots.

495

From a blindingly white suburban universe

that practiced a quiet racism by omission

496

to a rigid conservative worldview that

routinely penalized independent women, but

497

even with those deep structural flaws, the

magic of his peak work refuses to fade.

498

Hughes understood the baseline human

desire to be seen and understood, and that

499

is exactly why these films still hold a

mirror to our lives now, decades later.

500

I do wanna give a massive heartfelt thanks

to every single one of you for joining me

501

on this wild, nostalgic ride through the

highs and some lows of Shermer, Illinois.

502

Exploring these classics together has

completely transformed the way that

503

I view cinema, how I watch movies,

how I view them, the lens a much

504

more critical eye, both good and bad.

505

And on a personal note, it permanently

cemented my own real-world love

506

affair with the city of Chicago.

507

While I am turning the page on this

chapter, "Retromade" is going to take a

508

little intermission, allowing me to step

back before deciding where our little

509

pop culture time machine might head next.

510

Please make sure to stay subscribed though

so that you will get notifications if

511

and when the new episodes drop, please.

512

Now, if you love dissecting these

films with me and wanna help

513

keep the tape rolling, please

consider supporting the show.

514

You can make a massive difference right

now by hitting that follow button if you

515

haven't already, if you're new to the

show somehow listening to this episode.

516

Also, leave me a five-star review

on Apple Podcasts or Spotify.

517

You can share your favorite

episode with a movie-loving friend.

518

And if you wanna show a little extra

love and appreciation for the season, a

519

small monetary tip does go a long way.

520

You can do that through the last

link in the show notes or directly

521

at retromade.captivate.fm/support.

522

Oh, and take a page out of the

Hughes playbook and remember,

523

life moves pretty fast.

524

If you don't stop and look around

once in a while, you could miss it.

525

Thank you all for listening, and

until next time, be kind, rewind.