Catch up on Team Coco videos in minutes

Conan O'Brien expresses his immense excitement and honor at interviewing Mick Jagger, calling it a 'bucket list' moment. He recounts the surreal experience of being invited to London for the interview, highlighting his long-standing admiration for Jagger and The Rolling Stones.

Aaron Bleyaert establishes a strict rule for trilogies: all films within the core series must be counted, preventing cherry-picking of only the best installments. This means franchises with numerous entries, like Star Wars or Fast & Furious, are problematic if not all films are considered good. The discussion highlights the difficulty in defining a 'trilogy' when a franchise expands significantly beyond three films, leading to debates about what constitutes the core narrative.

Bergen humorously recounts brief dating experiences with both a young Donald Trump, whom she found to be ostentatious, and Henry Kissinger, whom she describes as charming and intelligent company. These anecdotes offer a glimpse into her social life during her younger years.

Danny McBride humorously begins by stating he feels 'thrilling' to be Conan O'Brien's friend, a playful misstatement that sets a lighthearted tone for the interview. Conan playfully questions this choice of word, suggesting it implies a lack of genuine personal connection and more of a performative stance.

Writing a book, especially one as personal as 'World's Worst Mom,' presents unique challenges. Sona Movsesian found the word count daunting for her first book and discovered that writing about motherhood is more vulnerable than writing about her previous role as an assistant, fearing judgment from her children.

True fortune in life stems not from luck but from a conscious choice to seek and acknowledge the good that already exists. This perspective encourages individuals to contribute positively, humming a 'kind note' that makes a difference, thereby embracing a philosophy of gratitude and purposeful living.

Conan O'Brien admits to a lack of genuine interest and knowledge regarding the World Cup, making it a challenging topic for the podcast, especially given the recording's distance from the actual event. He acknowledges that neither he nor his co-hosts are well-versed in soccer, leading to a humorous attempt to discuss it with limited expertise.

The core debate revolves around defining what constitutes a 'duo' in film. The hosts establish that romantic couples are excluded, emphasizing that duos must work together towards a common goal, even if they start as adversaries. This distinction separates 'couples' from 'duos,' setting the stage for their selections.

Norton reflects on Marlon Brando's early activism for civil rights and Native American rights, admiring his courage and bluntness, but also notes Brando's later disillusionment with his craft and fame, which led him to disparage his own art and lose faith in its power.

Conan O'Brien and Josh Groban discuss a viral video of a robot kicking a child. O'Brien expresses fascination with the robot's subsequent retreat, questioning if it felt shame, while Groban humorously suggests the child might have 'had it coming.' The conversation touches on the dark nature of such content and how algorithms can surface disturbing videos, leading to a discussion about online bullying and the anonymity of modern interactions compared to past forms of harassment.

Henry Winkler reveals that his early struggles with dyslexia and his parents' disappointment led him to feel like a failure and an outsider, despite his later fame. He felt like a 'kid looking in the glass,' not truly part of the success he was experiencing. This internal struggle persisted for decades, even as he achieved widespread recognition.

Conan O'Brien muses on hypothetical scenarios for his final days, including taking up smoking for the 'cool factor' or experiencing heroin, contrasting these with more conventional 'last meal' fantasies. He even conceptualizes a 'Death Row' restaurant where patrons can order their final meal before a simulated execution, which ultimately leads to a valet handing them their car keys. This dark humor explores the human fascination with the forbidden and the absurdities of life and death.

Timothy Simons recounts the bizarre and enduring legacy of a commercial he worked on early in his career, which gained notoriety and even inspired erotic fanfiction. The commercial's unexpected cultural footprint, spanning 15 years and multiple media retellings, highlights how art can take on a life of its own, often in unforeseen ways. This phenomenon underscores the unpredictable nature of cultural impact and the subjective interpretations that can arise from creative works.

Conan O'Brien and his team revisit a past incident where Sona Movsesian called Conan a "little bitch" during a cornhole game. Initially, Conan believed Sona would never use such harsh language, but footage revealed she did so twice. Sona defends her actions by stating she was drinking and competitive, suggesting that alcohol loosens inhibitions and can reveal true feelings, even if forgotten later. This incident serves as a humorous exploration of competitive dynamics and the effects of alcohol on behavior.

John C. Reilly created his performance art show, 'Mr. Romantic,' as a way to spread love and empathy in a weary world. The show features him as a character who travels the world in a steamer trunk, seeking to fall in love with someone in the audience each night. This concept aims to unite the audience and create a present moment free from past or future concerns, offering a form of pure theater that has given his life meaning.

Conan O'Brien laments the state of his hair in podcast photos, realizing he no longer combs it as he did for his TV show, leading to a wilder, 'mood hair' appearance. He humorously questions whether he needs to control it or accept it as his current look.

Lisa Ann Walter recounts stepping into a lead role in a play with only one day's notice due to the original actress's breakdown. She successfully performed the dual role, saving the summer season for the Y Mills Theater and the town's economy, demonstrating remarkable quick-thinking and adaptability under extreme pressure.

Matt Gourley discusses his extended paternity leave, highlighting the magical experience of bonding with his older daughter and the ease with which his youngest daughter, Nell, has adapted. He contrasts this with Conan's brief paternity leave, which was only 20 minutes for his first child and four for his second, leading to humorous banter about fatherhood and time off.

Andrew McCarthy's new book, 'Who Needs Friends?', directly addresses the pervasive issue of male loneliness and the struggle to build genuine connections in a world that often prioritizes superficial interactions. He admits to being someone who often skirts the edges of connection, finding solace in solitude but recognizing its potential to veer into isolation. This introspection fuels his exploration of what it means to be truly connected.

Sona Movsesian, Conan's assistant, discusses her recent appearances on 'Good Day LA' to promote her upcoming book, 'World's Worst Mom,' detailing her experiences raising her children and her transition to live television.

Ted Danson humorously describes Woody Harrelson as a 'whimsical' free spirit who operates on his own schedule, often arriving late, and is difficult to reach by phone, implying a unique and somewhat chaotic approach to life and commitments. This sets a lighthearted tone for the podcast, highlighting the dynamic between the two hosts.

The episode opens with a discussion about producer Eduardo calling Conan O'Brien a 'little bitch.' While initially surprising, Conan and the team conclude that Eduardo's unique position and personality made the insult feel authentic and even fitting, creating a safe environment for candid remarks. This highlights the dynamic of trust and rapport within the podcast's production team. The moment was so fitting that it felt like stepping into a perfectly comfortable bath.

Ted Danson reflects on the vast difference in career length between himself and Valerie Bertinelli, noting that 'Cheers' started in 1982 while 'One Day at a Time' premiered in 1975, giving him a significant head start in the industry. He humorously points out the 13-year age gap, suggesting they wouldn't have attended the same high school. This highlights the longevity and evolution of careers in television.

Conan O'Brien and his producer Sona Movsesian engage in a playful argument about who does more favors. Sona accuses Conan of taking advantage of her willingness to help, while Conan counters that he rarely asks for favors and that her job entails assisting him. David Hopping chimes in, suggesting Conan does favors for everyone. This sets a lighthearted, self-referential tone for the podcast.