INTRO

[mouth sounds of ye olde film being loaded into a projector, and then the crank is turning, and the 3-2-1 countdown beeps that then morph into the 21st Century Fox Intro song]

Max: Uh, Cami, we’re gonna talk – hello. How are you doing?

Cambria: Hey! That was awesome. I like that.

Max: Yeah, hi.

Cambria: You didn’t have me in the first half, and then you had me.

Max: Well, you came in, and then you started adding to it in ways that I hadn’t even imagined. It really showed the power of collaboration.

Cambria: Absolutely.

Max: How you really add.

Cambria: Yeah.

Max: Yeah.

Cambria: This is a–it’s a team. It’s a team effort.

Max: Because we’re a team.

Cambria: This Can of Worms.

Max: How you doing?

Cambria: I’m good!

Max: How was your winter break?

Cambria: It was really, really fun. Some family, some travel, some– some holidays.

Max: You guys go to a baseball stadium?

Cambria: No, we didn’t, but don’t worry, that’s for summer, because it’s not baseball season right now.

Max: That’s a great point.

Cambria: Yeah.

Max: Yeah.

Cambria: Yeah, we like to go when usually the teams are playing.

Max: What?

Cambria: So we’re probably gonna go to like, Toronto this summer, Blue Jays.

Max: Blue Jays! That’s crazy.

Cambria: I’m very excited.

Max: That’s insane. There’s a movie that I saw quite recently that features the Blue Jay Stadium in a significant way, a movie that I’m probably going to force you to go see whenever it comes out.

Cambria: Oh, great. What is it?

Max: It’s called Nirvana the Band the Show the Movie. You’ll find out about it later, but now that we’re talking about movies–

Cambria: Oh!

Max: I thought we would just jump right into the topic at hand today, which is about the Sundance International Film Festival. Cami, do you know what that is?

Cambria: Sundance International Film Festival?

Max: That’s what I said. Do you know what that is?

Cambria: I’ve heard the name Sundance before.

Max: In what context?

Cambria: I don’t know. I just know, I’ve heard it.

Max: As the festival?

Cambria: I think so.

Max: Well, it’s a, it’s a film festival here in the United States of America. It’s one of the biggest film festivals, probably one of probably two or three biggest film festivals in the world, up there with like New York– in the, sorry, the U.S.– up there with, like, the New York Film Festival and probably one of the most important film festivals in the world.

Cambria: Well, that’s awesome!

Max: Here in Utah!

Cambria: Here in Utah?!

Max: About 40 minutes away in Park City.

Cambria: Oh, that’s so close and cool!

Max: Isn’t it always weird when you find out that your state is, like, important for something?

Cambria: Does something really cool, and then you don’t know about it?

Max: For such an isolationist state as Utah that there’s some weird, like, things that cross the border.

Cambria: Yeah, for sure. That’s super cool.

Max: Yeah, it’s been running for about 40 years as is, and I wanted to talk a little bit about the festival–

Cambria: That’s awesome!

Max: –as we get ready for it. I go to Sundance basically every year. I love going to it.

Cambria: Well, yeah, you’re a film– you’re a film guy.

Max: I’m a film student. I love just giving myself, like taking two weeks out of my life and just going to see movies I’d never watch in my normal life, I’ve never watched more than one movie a day, but at Sundance, sometimes I’ll get the energy up to go see like, some like, three up to at some points.

Cambria: Okay, cool.

Max: And it’s always fun.

Cambria: How many films are in the festival? Is it– so it’s a yearly thing, do they…?

Max: Many. Like, there’s 50…

Cambria: Okay. So it’s not like, you go and like, These are the three films of the festival. It’s like, No, these are the many films. And you can see some of them.

Max: You’re trying to go see as many of the good ones as possible. And a lot of them are like, Oh, this filmmaker has a new film coming out. So you kind of know what to be excited about. And sometimes, festival will start, and something that nobody had ever heard of gets, like, good critical praise. And you’re like, wait a second, I’m hearing a lot of stuff over here. And you go to the screenings and you see a lot of the same people who are getting the same information as you. So like, Yeah, I heard about this one. I’m gonna try and catch it there. It’s very fun. Like, event. It’s cool. It’s cool. So firstly, the Sundance Film Festival did not actually start as the Sundance Film Festival.

Cambria: Okay.

Max: It started as the U.S. Film Festival, which was showing movies here on the University of Utah campus.

Cambria: Here?

Max: Yeah, and to talk a little bit about this history, last year, when we originally intended for this episode to come out–

Cambria: In 2025?

Max: Well we missed our deadline, I talked to Sam Dunn, who’s a professor here at the University of Utah.

[Interview]

Sam: My name is Sam Dunn, and I’ve been here at the University for about 45 years in various capacities, I’ve had a lot of different jobs working for Sundance. I’m really one of the oldest Sundance figures around. There’s only a few people who actually work for Sundance anymore that have been around longer than me. It originated in what used to be Orson Spencer Hall on campus. That was torn down about 10 years ago and replaced by another building. But there on the north end, right across from the Student Union, there was a big lecture hall seated about 300 or so called Orson Spencer Hall, and that’s where the Sundance Film Festival, or what became later in 1985-86 the Sundance Film Festival, that’s where it started.

[In the studio]

Max: 1985 it was acquired by the Sundance Institute, which is a nonprofit organization created by Robert Redford. Do you know Robert Redford, Cami?

Cambria: Well, that name sounds remarkably familiar.

Max: From–  why is it familiar?

Cambria: I don’t know.

Max: I know at least one movie you’ve seen of his. He was in his last film ever made was Avengers: Endgame, where he played Alexander Pierce, who’s the bad guy in the Winter Soldier?

Cambria: And– and that’s correct. And every time I hear his name, I’m like, Oh, I know. I’ve heard that name, and I see his face. I’m like, Man, I wish I remembered what that guy’s name was.

[Interview]

Sam: So Redford had all these connections. And again, when the Sundance organization that was established in 1981—called the Sundance Institute—when they took over the festival, and I think it was 85 or 86, there was a lot of help there for this Sundance version of the United States Film Festival that really didn’t exist before.

[In the studio]

Max: This is where filmmakers like, ooh, all the, all the, all the Gen X white guy filmmakers were coming from here. You think of a Gen X white guy filmmaker. They probably came from Sundance.

Cambria: Okay.

Max: So like Kevin Smith, Quentin Tarantino, the Coen Brothers, all these Gen X white guy filmmakers, along with many others. Similarly to the Sundance International Film Festival, the Sundance Institute also hosts the Sundance Labs, which is a kind of yearly workshop for filmmakers to come in. And as I just said, workshop their material.

Cambria: I love that. Workshop is the best.

Max: Yeah. Crazy filmmakers came from these workshops, people like Alfonso Cuarón, who– do you know Alfonso Cuarón?

Cambria: No.

Max: He’s a, he’s a Mexican filmmaker. He did Harry Potter 3 was one of his movies and Gravity.

Cambria: Oh, cool!

Max: As well as many others. Ryan Coogler.

Cambria: Okay, I know him.

Max: He’s huge. He started off in the Sundance Lab for Fruitvale Station.

Cambria: He’s great. Shout out Sinners.

Max: Gina Prince-Bythewood, who did Love & Basketball, among many others. Carrie Fukunaga, Paul Thomas Anderson, Quentin Tarantino, as I mentioned, Miranda July, the Daniels. You know, the Daniels?

Cambria: Multiple Daniels?

Max: Yeah, they’re two Dan– two guys named Daniels.

Cambria: Like Craig?

Max: No, the two guys named Daniel–

Cambria: Like Daniel Craig?

Max: –they did– uh… probably. They did Everything Everywhere All at Once.

Cambria: Oh! Yeah, yeah, yeah. Sure, sure.

Max: Huge stuff. And they’ve been hosting this for years and years and years, and since the 90s, Sundance has continued to grow in acclaim.

[Interview]

Sam: Redford’s focus was to foster the making of independent film, and that really remains the stated goal of Sundance, to discover new talent and to help them make their own films outside of the studio system in Hollywood.

[In the studio]

Max: Now, have you been to Park City? Really?

Cambria: I must have. I think I have been ever… not that I remember.

Max: Okay.

Cambria: Which is, I’ve lived here for many years, so perhaps that’s embarrassing.

Max: You should go. And if you ever go, you’ll find that Sundance is quite a small place, and the festival has been growing exponentially since the 90s. And whenever the festival takes place, it kind of puffs out Sundance– Park City in a major way.

Cambria: Makes sense.

Max: Makes sense. I never go there–

Cambria: You never go to Park City?

Max: For the Sundance, no. The traffic’s always bad–

Cambria: Where do you go?

Max: But– well, okay…

Cambria: Oh, okay, sorry..

Max: Sorry, you’re just jumping ahead.

Cambria: Yeah, my bad. My bad. No, no–

Max: I know I didn’t give you the script beforehand.

Cambria: You want to get that clean?

Max: What?

Cambria: No, we could go back. I just didn’t ask that question.

Max: I don’t go– I don’t go to Park City for Sundance. I never do because it’s so crowded. But people I know do, people from all over the world come rent out hotels, meet celebrities, walk around Main Street, go to the Egyptian Theater, where so many of the great movies have premiered. Have a grand old time.

Cambria: That’s awesome. It sounds really fun.

Max: It is very fun. And I’ve actually talked to a filmmaker who last year his movie premiered in the U.S. Dramatic Competition for the festival.

Cambria: Ooh!

[Interview]

Cole: My name is Cole Webley. I’m a director. I’ve just finished my first film called Omaha. It’s premiering at Sundance in competition at the U.S. Dramatic Category.

[In the studio]

Cambria: I’ve heard of that one.

Max: Yeah, I’ve seen it.

How was it?

Max: Twice. It’s a good movie.

Cambria: That’s awesome.

Max: Yeah.

Cambria: Shout out to Cole.

Max: Shout out to Cole.

[Interview]

Cole: Wow, I mean, I’ve been going to the festival for 20 years. You know, I’ve been in Utah since 2004 and there’s been a few years that I was working and wasn’t able to attend. But I have waitlisted. I have kicked around Main Street. I have tried to get into movies for 20 some years, and I’ve been going and seeing them. So this has been the Holy Grail. It’s something that I think will probably be no matter where my career goes, equal to or the brightest spot of my career. You know that my first film premiered at Sundance, where I grew up watching films.

[In the studio]

Max: Now this is all the stuff we intended to talk about last year, when we originally intended for this episode to come out, including the fears we had– not fears– the, what do you call when you have a weather… weather… The predictions we had about what the future of Sundance held. At the time we originally were intending for this episode to come out, it was right around when last year’s Sundance was when things were still up in air about whether Park City would still be the location for Sundance.

Cambria: Oh!

Max: Their contract was up. They’re bidding for new locations, and at the time, I think it was Cincinnati, Ohio, Boulder, Colorado, and Park City, Utah, were the top three choices for where to host Sundance in the future.

[Interview]

Cole: Well, of course, I’m hoping it stays, and I’m scared that it won’t.

Sam: It’s kind of a brand. I hear rumors just like everyone else, and some of the rumors are founded and some aren’t.

Cole: Yeah, I think that it’ll be a real shame if it leaves, because of the history that, you know, that Park City and main street of oak and the and the things that we’ve created, or the history of the film festival has imbued into that city and to our state.

[In the studio]

Max: We were pretty hopeful that Sundance would stay in Utah.

Cambria: And did it?

Max: No.

Cambria: Oh, no. Wait, wait! So it’s been in Utah for 40 years?

Max: 40 plus, yeah.

Cambria: And then finally, it like, what the contract was up? And then they’re like, Okay, we’re– it’s leaving, now.

Max: There’s a lot going on here. In their press report, which, oh my gosh, I have so many tabs open in their press report Sundance on March 27th, 2025, Sundance Institute announced, after a thoughtful and thorough process to identify the future location of the Sundance Film Festival. Today, the nonprofit Sundance Institute’s Board of Trustees– blahblahblah– proud to announce that Boulder, Colorado will become the festival’s home beginning in 2027 next year.

Cambria: Boulder?

Max: Boulder offers a small town charm with an engaged community, distinctive natural beauty and a vibrant art scene, making it the ideal location for the festival to grow.

Cambria: I guess.

Max: Now, many looked at this and was like, Ah, cool, new location. Freshen up a bit. Other people were not okay with this and saw this pretty vivid, vividly as a political move. This bid, their actual decision, came out pretty soon after Governor Cox’s ban on Pride flags in classrooms, of which some members of the Board of Trustees came out and said that was a bad move.

Cambria: Yeah.

Max: And Governor Cox reacted to this final decision with a completely normal reaction of like, I hope they stay out. We’ll make our own festival whatnot. Governor Cox, normal guy.

Cambria: Uhhhh. Yeah.

Max: Completely normal guy.

Cambria: Regular, basic.

Max: And Utah Senator Daniel McCay, upon hearing this news, tweeted out—this is a senator, one of the people who like, run our government–

Cambria: Right.

Max: He tweeted out, “Bye Felicia… Sundance promotes porn. Sundance promotes alternative lifestyles. Sundance promotes anti LDS themes. Sundance does not fit in Utah anymore.”

Cambria: So just to clarify, he opened that with “Bye, Felicia”?

Max: He started with “Bye Felicia”, yes.

Cambria: Okay.

Max: Which, let’s, let’s look at this one by one. Sundance promotes porn. I’ve seen some Sundance movies with penis.

Cambria: Sure.

Max: Can I say penis in this program?

Cambria: That’s a good question. I don’t know.

Max: So, yeah. So, yeah.

Cambria: So, yeah, probably.

Max: My– So, Sundance promotes porn. There’s nudity in the movies, but I would not say it’s pornographic.

Cambria: No, bodies– so the thing about bodies is that people have them.

Max: Yeah.

Cambria: And that’s– that would– that’s what I say on that.

Max: Along with supporting porn, apparently, Sundance promotes alternative lifestyles, which seems to me like a dog whistle to represent many types of things.

Cambria: Yes. It does.

Max: Many types. I think that’s sort of like a Rorschach test. You can kind of take ‘alternative lifestyle’ and lay it over anything you’re not used to, and that’s an alternative lifestyle.

Cambria: Anything that you don’t like or don’t approve of can be an alternative lifestyle.

Max: We should just fill that with anything right now, like owning 17 cats. Alternative lifestyle.

Cambria: Wearing tie dye shirts. Alternative lifestyle.

Max: Wearing tuxedo– Canadian tuxedos every day. Alternative lifestyle.

Cambria: Wearing only tuxedo shirts when you’re going to fancy events. ALternative lifestyle.

Max: And this is all that Sundance promotes.

Cambria: All of these things.

Max: They promote all of these things. The last thing he said was, Sundance promotes anti LDS themes.

Cambria: Hm.

Max: I don’t know about. I guess there’s some like gay people in the movie sometimes. I don’t know that’s the best… Needless to say! The Utah politicians took this announcement not– they were not normal about it, as people often are not.

Cambria: Thank goodness for Boulder, Colorado.

Max: So all of this kind of compounded when, in September 16th, 2025 in his Sundance home in the in the mountains, Robert Redford passed away.

Cambria: Oh.

Max: Yeah.

Cambria: Rest in peace.

Max: So he would not live to see Sundance move out of the Sundance and into Boulder, Colorado. So, yeah.

Cambria: So is Park City just gonna be lame every year now?

Max: Well, it’s still gonna be just as expensive to live in. Some people were saying, like, No guys, Sundance is, I checked multiple like, red– like, Park– r/Park City, r/Sundance Reddit threads. Because oftentimes that is a good way to find, like, like, actual like, community interpretation, at least community from the people who are chronically online. And some people were saying, like, Oh, it’s good, because Sundance is the reason Park City is so expensive to live in. And then everyone was naturally like, No, it’s not. Do you live here? I don’t live in Park City. So I don’t know what the socio economic life being there is. But I know it’s expensive because it’s a mountainous, beautiful villa. I know that all the housewives and the Real Housewives of Salt Lake City actually live in Park City, but that’s besides the point. So the festival this year, this is the last year Sundance will be hosted in Park City and Salt Lake, which, as I mentioned before, I don’t go to the festival in Park City. I go to the festival here in Salt Lake. I usually get the student pass, the Student Salt Lake Pass, which basically gives me unlimited access to see whatever movie I want in Salt Lake City.

Cambria: That’s awesome.

Max: It’s very cool. And for the past couple years, not last year, but the past couple years beforehand, and this year, I would get a ticket, which is a couple hundred bucks. But I rationalize it because I don’t go to concerts, so I use that—except for this year—but I usually don’t go to concerts, and that money went– goes into just seeing like 12 to 15 movies in like, a couple weeks.

Cambria: That’s awesome.

Max: Sometimes 20, I don’t know, yeah, you got to see at least 10 for it–

Cambria: To be worth it?

Max: For it to be worth it, your individual tickets this year are about $30 that you can get at various box office locations or online. I’d recommend you do this, because there are a lot of really cool movies coming out, new movies from Olivia Wilde, Andrew Stanton, friggin all the names are– Gregg Araki. There’s a Charli– There are a couple Charli xcx movies premiering at Sundance.

Cambria: (as Charli xcx) Charli xcx.

Max: Yeah. Whoa, is she here?

Cambria: She’s always in the studio with us.

Max: Yeah.

Cambria: That was her one cameo.

Max: Correct.

Cambria: She says that she’ll give one reading of her name, and then that’s it.

Max: Yeah, there– I have a couple notes.

Cambria: Okay, let’s hear’em.

Max: Well, notably, one note for people like me who are going to the festival in Salt Lake City. In previous years, they’ve shown Salt Lake City movies, two screens at the Broadway, multiple screens at the Larry H Miller Megaplex in the Gateway, the Grand Theater at Salt Lake Community College, which houses like 2000 people, and the Rose Wagner Theater. This year, they have two screens in the Broadway and the Rose Wagner Theater.

Cambria: Ooh, that’s less.

Max: That’s way less. They were able to buy out basically the majority of the megaplex in previous years and just have all their screens ready playing movies. And it was freaking awesome. I loved it. But yeah, this year they just have three screens in Salt Lake City, which I–

Cambria: That… seems like not enough.

Max: I don’t want my bias to creep in, but I believe it is, like an like, an incredible misstep. And I’m mad because I paid before I knew that. Usually, a couple years ago, you would have the opportunity to see– multi opportunities to see a movie in Salt Lake. Of course, it’s going to show a lot more times in Park City, just because they have more screens, and that’s where the deal is. But in Salt Lake, you’d get at least two chances, most of the time, at least two chances to see a movie that’s getting a claim. This year, every movie, I think every one– there might be a couple exceptions to that– every movie showing in Salt Lake once. Which sucks.

Cambria: Once again, that feels like not enough.

Max: It’s not enough, especially for me, because I got a busy schedule coming up, and I’m just really upset because there’s some that I can’t see in the one time they’re showing I’m just gonna miss them. And I feel really bad, because I spent a lot of money on this.

Cambria: Yeah.

Max: It’s not cool. And I have some conspiracy theories about the Larry H Miller Megaplex. Why they’re unable to buy out any theaters. Larry H Miller is a local company. I wonder if there’s any bad blood with the Utah split there. That’s just, I mean, that’s purely hearsay.

Cambria: Speculation.

Max: Absolutely speculation. I don’t want to pretend that the views held by the Can of Worms podcast are representative of the Chronicle’s student– they have opinion– they write whatever they want, really, we can say whatever we want, right?

Cambria: Yes, it’s, it’s– yeah.

Max: Except we can’t say that a [BLEEP] thing against a [BLEEP]

Cambria: No!

Max: The bits gonna be, I’m gonna bleep out the first one and the second one’s gonna be bleeped out too.

Cambria: Okay.

Max: Where’s the snow? Where’s the snow, Cami? Sundance happens at about 20 days upon our recording this.

Cambria: There is no snow.

Max: There’s no snow.

Cambria: No snow. It is fully January. It’s a little it’s a little cold, no snow.

Max: What are we supposed to do with all these filmmakers who are coming to Sundance, spending half their time skiing?

Cambria: Sled instead? Down the mud?

Max: Sled instead is really fun.

Cambria: Thanks.

Max: Now I might whine and moan about the movies playing at Sundance, but I spent, I already spent $300 to go see movies at Sundance. So I’m alrea– I’m gonna go see some movies, and I recommend that you do too, because it’s the last year that we’re going to have it, and I believe this is an exceptional opportunity to see movies that you wouldn’t normally see and to connect with people while you’re going to see them.

[Interview]

Cole: This one as like a place for filmmakers to come and escape the noise of the Easton. West Coast, which are beautiful places, and I spend so much time there, but to come and distill it down to nature, a mountain and films, I just love that.

Sam: It’s done a lot for Utah film, you know. And I’m glad to see local filmmaking prosper. There should be more of it. And if Utah doesn’t appreciate Sundance, they need to really get an attitude adjustment on this issue, because it’s a treasure for local filmmaking here in Utah.

[In the studio]

Max: So I’m going to talk a little about some movies that I’m hearing less people discuss, like the like the big ones that I said earlier, and this is a list produced by our very own K-UTE Radio.

Cambria: Hey!

Max: Yeah, I’m just doing connection, and I’m going to show some of the movies that they have been talking about. First one is Nuisance Bear.

Cambria: I like that.

Max: In movie Nuisance Bear, a polar bear is forced to navigate the human world of tourists, wildlife officers and hunters, and its ancient migration collides with modern life. When a sacred predator is branded a nuisance, it becomes unclear who truly belongs in this shared landscape.

Cambria: Wow.

Max: Nuisance Bear. And the best part about any film festival is that you don’t get to see a trailer or anything. The only thing you get is a single still. So Cami, why don’t you come over here to look at the stills we got here.

Cambria: Hold for movement.

Max: Nuisance Bear.

Cambria: (far away from the mic) It’s a bear.

Max: It’s a bear.

Cambria: That is a bear.

Max: All right. Next one, Antiheroine, singer songwriter and actor, Courtney Love. Do you know Courtney Love?

Cambria: (still far away) I’ve heard the name.

Max: All right. Has an impact on rock and pop culture. Now sober and set to release new music for the first time in over a decade, Courtney is ready to reveal her story, unfiltered and unapologetic. I believe that’s a documentary. HOLD ONTO ME. 11 year old, Iris learns her estranged father, Aris. Wait, where did I get– oh, yeah– Aris and Iris– is back in town for his own father’s funeral. What begins as a stubborn attempt to reconnect slowly unfolds into a fragile bond, fun. Father-daughter movie. Let’s keep let’s keep– The Best Summer. Immersive POV camera footage reveals electric performances, candid interviews and intimate backstage life with Beastie Boys, Sonic Youth, Foo Fighters, Pavement, Rancid, Beck, The Amps, and Bikini Kill, an all out axis view inside an era defining moment in music. The Moment. I actually just– this is the Charli xcx movie.

Cambria: (so far away from the mic) I can tell.

Max: Why? Because Charli xcx is in the…?

Cambria: (still far) Cause Charli xcx is right there.

Max: A rising star navigates the complexities of fame and industry pressure while prepping for her arena tour debut. Now, the pop star is Charli xcx and the arena tour is Brat. I believe this is a mockumentary about her life.

Cambria: (SO far) That’s awesome.

Max: So not real. The Gallerist, directed by Cathy Yan. Yeah, I just knew that off the dome. It doesn’t even say that. A desperate gallerist conspires to sell a dead body at Art Basel Miami.

Cambria: (forgetting that this is an audio podcast) That’s awesome. I like that. That’s kind of fun.

Max:And all in the– in the still, we got Keira Knightley and Jenna Ortega.

Cambria: Is that Keira Knightley?

Max: I believe that’s Keira– look at that.

Cambria: That’s Natalie Portman, bro.

Max: Well, they look the– wait a second.

Cambria: (still quiet but louder because of outrage) That’s crazy. That is not Keira Knightley.

Max: You want to say that on mic?

Cambria: Yeah, that’s not Keira Knightley. That is definitely Natalie Portman in a blonde wig.

Max: I think I’m right.

Cambria: No, you are not.

Max: I think I’m right, and isn’t the whole point of the Phantom Menace–

Cambria: That is Padme Amidala.

Max: No, no. It’s the woman who’s paid to look it’s Padme Amidala. They look the same.

Cambria: No! No, that is not Keira Knightley as Padme Amidala, that is Natalie Portman!

Max: These sound like so much fun. We got all these types of movies. And even though I’m not gonna be able to see the new Gregg Araki movie from the festival, I still got all these other fun movies to check out.

Cambria: (finally back at her mic) Yeah, it’s a great spread. They seem interesting. I’m intrigued by the bear. Will it be a bear on screen?

Max: I think so.

Cambria: That’s awesome.

Max: Yeah.

Cambria: And Natalie Portman.

Max: Yeah, it was Natalie Portman.

Cambria: We know. I know. Did it hurt?

Max: No, it didn’t.

Cambria: Did it hurt when I told you to look it up, and I was right, Max?

Max: No, it didn’t.

Cambria: Okay, good.

Max: Okay, cool. So it’s too late to buy the Salt Lake Pass, I fear, because those sell out so darn quickly. But it’s still, there’s still probably some time to get individual passes. Even though there are three screens, there’s still time to get individual passes, maybe to go to Park City, celebrate the festival while we still have it, because this thing has been so important, not just to the film industry as a whole, because it has been, if it weren’t for Sundance, I don’t know what the state of the film industry would be today. It’d be drastically difficult. It also affected just Utah. It’s an important figure in our history in the past half century, and it ends this year. So be a part of it.

Cambria: Be a part of it.

Max: Be a part of it. Check it out.

Cambria: Check it out. Go see (bad impression of Charli xcx) Charli xcx and Natalie Portman.

Max: I think Charli–

Cambria: (bad accent) Charli xcx.

Max: People say–

Cambria: (still accent) Charli, Charli xcx.

Max: Okay. Can Charli… Charli?

Cambria: (you guessed it, accent—just assume she does it til the end) Charli xcx.

Max: No, Charli, Charli, can I talk?

Cambria: (as Charli xcx) Yeah.

Max: Can you close the episode off and let people know what they should do with Sundance? Cambria: (as Charli xcx) Yeah.

Max: Is there an auto tune?

Cambria: Wait, is there? That’d be awesome.

Max: Maybe there’s a– try it now.

Cambria: (as Charli xcx but the voice filter is changing through settings ie high voice, echo, low voice, robot) You want to guess… [laughter]

[voice filter settles on robot. Cambria starts singing Daft Punk]

Max: Keep it going. Keep it going. Keep it going. Keep it going.

Cambria: (as Charli xcx in robot filter) *singing a parody of Charli xcx song Guess* You want to guess the film that I’m starring in.

[Max starts beatboxing. Cambria, still as a robot, joins, then continues robot singing as Max speaks]

Max: Thank you for listening to Can of Worms. Go to the Sundance International Film Festival. Watch movies! Support indie film! Support the Broadway!

[beatboxing fade out]

[end theme jingle]

Cambria: ( robot voice) Can. Of. Worms.

END