He was not registered, so the votes were never counted, but he thinks he was leading the pack. And the promise he ran on ended up happening anyway, without him ever taking office.

Dylan Wallace is a content creator based in London, Ontario who ran a mayoral campaign built on one very specific promise, and who also makes music alongside his videos.

Dylan opens up about wanting to make videos since 2016, about watching FaZe Clan and the Paul brothers, and about how nobody handed him a spark, he just wanted to do it. He talks about liking fast-cut formats that leave you wanting more, and about actively hating editing now after doing it for so long, and the maths of hiring somebody else to do it instead. He gets candid about not wanting to be a prankster, finding the genre too limited and too saturated, and preferring content that is just him and his friends being who they already are with a camera running. He explains what he would have done if he had actually won, why losing turned out better for both parties, and how it led to a meeting with the actual mayor. He also talks about starting in music at thirteen with a response track, planning a comeback show, and the meet-up where forty people turned up because of him.

What comes up:

- A campaign that started as a joke on a bus

- Why he moved away from prank content entirely

- What he would have done in office for exactly one day

- The meeting where he found out the promise was happening

- Forty people at a meet-up, and what that felt like

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Eleven years of walking around with a face that belongs to somebody else. He talks about what that does to a normal day, why he underdresses on purpose, and the one accessory that gives him his life back.

Ty Jones is a professional Ed Sheeran lookalike from England who has been doing the work for eleven years, appearing at events around the world.

Ty opens up about being a teenager when a music platform put a certain artist in front of his whole school, and how his hair and clothes at the time meant everyone assumed he was living some kind of secret double life. He talks about being left-handed and never getting round to a guitar because every one that came through his hands was strung the wrong way, and the two years of lessons he has finally put in. He gets candid about the years of mixing this with a job at a bingo hall, jetting to LA and being back at work the next day, and the reality that fifty pounds a day and six filming days a year is not a living. He describes meeting the man himself and finding it genuinely disorienting, being followed to his hotel room in Saudi Arabia and having food sent up every few minutes, and the hat he wears to the shops because it gives him a strange but real sense of security. Ty also talks about fishing as the exact opposite of the job, competing on a televised obstacle course, and the diabetes diagnosis that closed off the career he actually wanted.

What comes up:

- The viral photo that was not him, and the man who had to deny it

- Being left-handed, and eleven years without a guitar

- LA one day, the bingo hall the next

- A hotel in Saudi Arabia and a door that would not stop knocking

- The hat, and the reason he never leaves without it

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Two careers running in parallel for two decades, told without polish, and it ends with him correcting a piece of casting trivia that has followed him around the internet since 2016.

Ray Olubowale is a Nigerian Canadian actor, boxing coach and three time Canadian professional heavyweight champion, known on screen as the Axeman in the Resident Evil films, and for roles in Pixels, Suicide Squad and Transporter: The Series.

Ray opens up about being an athlete since he was five and coming to boxing late, at twenty two, after missing an Olympic qualification and finding himself with no goal left to chase. He talks about the background work he started at eighteen and treated as a lark, including the day a director handed his character a name on camera without him understanding what that meant for his status. He gets candid about entering an open class tournament with four fights to his name against opponents who had over a hundred, and about the age rule that kept him out of the 2004 Olympic trials by a matter of weeks. Ray walks through the specific way boxing films cast their fighters, the two heavyweight biopics he ended up in on either side of a nine year gap, and what it is like to swing a ninety pound prop axe for two minutes without stopping. He also describes eight hours of one actor improvising a scene the crew could not shoot cleanly, and finally clears up the DC role the internet has had wrong for years.

What comes up:

- Coming to boxing at twenty two with no experience

- Four fights against opponents with over a hundred

- The rule that cost him an Olympic trial by weeks

- A ninety pound axe, swung for two minutes straight

- The casting rumour he has been correcting for years

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One of the most recognisable records of the nineties, told by the person who sang the part everyone can hum and has spent thirty years explaining he sang.

L.V is the singer born Larry Sanders, a member of South Central Cartel and the voice on the hook of Gangsta's Paradise, the 1995 record he made with Doug Rasheed and Coolio.

L.V opens up about growing up in South Central Los Angeles and what the genre was actually called where he lived, which was not the word the rest of the world uses for it. He talks about where his name comes from, which involves a singer he listened to constantly and the vocal range he can cover. He gets candid about the people who taught him to sing, starting with a blues harmonica player who lived down the street and invited him over, and two school music teachers he still names decades later. L.V walks through the making of the record, why it ended up on somebody else's album, and what the label told a young artist who did not yet know what to argue with. He also reflects on the advice Russell Simmons repeated to him, what he actually thought when he first heard the Weird Al version, the gang intervention work he does at home, and the shape of hip hop now that his own son is producing it.

What comes up:

- Who actually sang the choir on the record

- Why the song came out on somebody else's album

- The blues musician down the street who started it

- What he thought of the parody, then and now

- The gang intervention work he still does at home

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Before there were animation schools, there was one boy in Connecticut with a three hole punch, some dowel rods and a pane of glass, working out from first principles what the entire industry had already solved.

Steve Hickner is an American animator and director at DreamWorks Animation, best known for directing The Prince of Egypt and Bee Movie, with more than forty film credits and work on Who Framed Roger Rabbit and The Little Mermaid.

Steve opens up about reinventing the entire craft of animation alone in West Hartford, Connecticut, because there was one book in the library and no internet, building his own peg system out of a three hole punch and dowel rods, and turning his dining room table into a lightbox with a pane of glass. He talks about the mentor who gave him his first job and carried him for years, and the phone call from London years later to thank him before it was too late. He gets candid about arriving at NYU and realising the students around him spoke a language about film he did not, and the daily habit he built to close that gap. He explains the shift he felt walking onto Roger Rabbit, a room that talked about we and ours instead of I and mine, and why that single change in language decided the next three decades of his career. Steve also lays out what a director actually does all day, why he would rather make a decent film everyone loved making than a great one everyone hated, and why he left the studio on a Friday and started teaching on the Monday.

What comes up:

- Building an animation setup from scratch with no reference material

- The mentor he got to thank on a phone call from London

- Realising at film school that everyone else spoke a language he did not

- We and ours instead of I and mine, and what it decided

- Leaving on a Friday, teaching on the Monday

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A nine hour audition that finished at two in the morning, for a universe she had not seen a single frame of, and the conversation stays with the parts of a huge set that a press day never bothers to ask a kid about.

Lexi Rabe is the young actor behind Morgan Stark in Avengers Endgame and a role in Godzilla King of the Monsters, and the ninth child in a family where, by her count, everybody acts.

Lexi opens up about a family where acting runs all the way back and where her dad only recently got the title, after one show, one commercial, and one film. She talks about being handed the whole run of Marvel films by her mother so she would know what she was auditioning for, and then becoming a genuine fan afterwards. She gets candid about what actually kept a young actor going through long days on set, which turns out to be the food, and about the fake cockroach she used to scare grown men in the last week of shooting. Lexi walks through the improvised line she is still known for, the makeup artist she and her family called the wizard, and the day he was not there. She also reflects on meeting Millie Bobby Brown and being surprised by how kind everyone turned out to be, and on the promise made in Endgame that she decided to collect on at a premiere.

What comes up:

- Watching every Marvel film to prepare for an audition

- Nine hours of auditioning, finishing after midnight

- The fake cockroach and the week she scared the crew

- The makeup artist the family called a wizard

- Collecting on a promise made in the film itself

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Two years in Los Angeles, an agent in the last month, and almost nothing to show for it. Then he came home, rebuilt a circle of people, and everything he had been chasing started arriving at once.

Tristan Spohn is an actor who appears as Two in the flashback sequences of Stranger Things, and has since appeared in FBI, after starting at a performing arts high school in Dallas.

Tristan opens up about being a shy kid who found that having a script to say broke the ice, and about acting becoming a safe way to explore vulnerability that men are usually steered away from. He talks about a high school role where his entire job was to be dragged across the stage dead and then dragged back off again. He gets candid about failing in a major way in LA, going broke, shutting down, and how the thing that pulled him out was rebuilding a community rather than changing a location. He describes booking his first lead in community theatre and remembering what it feels like to be somebody's choice, and the Jim Carrey line about failing at what you love that reframed everything. He walks through the very specific sequence, promoted at a moving company, offered a general manager job the next day, and an audition arriving right after, that ended with a booking two weeks later. Tristan also talks about what a huge set actually feels like once you are on it, the pandemic protocols, on-set school rules that separated the cast by age, and what he took from watching everyone work.

What comes up:

- A script as an icebreaker for a kid who could not talk to people

- Two years in LA where the acting never actually happened

- The line about failing at what you love, and what it changed

- A promotion, a job offer and an audition in the same week

- What a huge set actually feels like once you are standing on it

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Sixty five takes across thirteen hours, one commercial, one billion viewers at the same time, and a lunch break where he was told not to eat any garlic. Twenty two years of background work explained by the person who has done the most of it.

Jesse Heiman is an actor known as the world's most famous extra, with background work in more than two hundred television shows and dozens of films across twenty two years, including Spider-Man, Old School, The Social Network, Transformers and Chuck.

Jesse opens up about moving to Los Angeles wanting to write and direct, needing income, and a roommate who suggested he sign up with a casting agency because anybody can do that. He talks about the professionalism the job actually requires, why you never ask for a selfie or an autograph on set, and why treating it as work rather than fandom is what keeps you booked. He gets candid about the sitting around, the four in the morning calls on ranches with no signal, and the difference between a production that treats background well and one that hands you a box lunch. He explains that extras are actors too, that he builds a small backstory for whoever he is playing, and reveals the two words the industry teaches you to mouth in a conversation you are not actually having. Jesse also breaks down how reoccurring background roles happen, the Super Bowl commercial that took sixty five takes across thirteen hours, and what he is still chasing after all of it.

What comes up:

- Why you never ask anyone on set for a photo

- Sixty five takes, thirteen hours, one commercial

- The two words every extra is taught to mouth

- How a background role turns into a reoccurring one

- Saying no to a very big director and being asked back anyway

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Two guests who went viral off something small, an impression that turned into a trend across an entire fanbase and a Halo theme sung inside a grain silo, talking about what that actually felt like rather than the version that gets written up.

Nathaniel, who goes by Chaloloo, is a musician and video creator whose Moist Critical impression kicked off the Moistverse trend in November 2021, and Jasper Lucas, who posts as Johnny Boy, is a singer whose Halo theme videos have gathered close to twenty six million views.

Nathaniel opens up about making videos since middle school, starting with a fake outrage rant demanding another Shrek movie, and why music is the medium he keeps coming back to. He talks about people telling him for years that he looked like Charlie White, his girlfriend mistaking a thumbnail for him, and how easy that voice turned out to be to find. He gets candid about the day he found out Charlie had made a whole video about it, and about deciding not to build a life on one impression. Jasper walks through growing up on a farm with a guitarist father and a singer mother, starting the silo videos at fourteen, and going back years later to a neighbour's eight hundred ton silo that was looming over him. He also reflects on the lockdown that pushed the video into millions of views, the YouTube money that paid for his first real music setup, and the goal of writing one song in every genre before he retires.

What comes up:

- The impression that turned into the Moistverse

- Finding out the person you impersonated made a video about you

- Why he refused to let one bit define him

- Singing into an 800 ton silo at sixteen years old

- The YouTube money that funded a whole music career

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Two questions turn up in his inbox more than any others, and neither has an official answer. He takes both of them seriously anyway, including the one about a parent who never appears in a single frame.

John Morris is the voice of Andy across the entire Toy Story franchise, from the first film through Toy Story 4, and also voiced Santa Boy and additional voices in The Nightmare Before Christmas.

John opens up about acting classes and workshops in the Bay Area, getting an agent through a showcase, and moving from commercials into a feature where he would create a character with his voice. He talks about the first round of that audition being nothing but a recording of him playing, and how the way he engaged with his toys and did every voice himself was exactly what they were looking for. He gets candid about learning about the cast members he had worked with the same way everybody else did, through the news, and about the friend of one of them who explained how he steps into a voice somebody else originated. He talks through what he actually kept from all of it, the bound and signed scripts, the anniversary statue, a figure from Japan, and why he has more of that than anything else. John also fields the two questions fans always send him, one about what Andy went on to do and one about a parent who never appears on screen, and answers both honestly, including the parts he does not know.

What comes up:

- Bringing every X-Men figure to an audition and being right

- Being recorded playing, rather than reading, in round one

- The scripts, the statue and the figure he actually kept

- What he thinks Andy studied, and why

- The missing parent, and his honest answer about it

Note: a microphone fault affected part of this recording. Those sections were repaired and moved to the end rather than cut.

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