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[0:15] Mike Abrams: Welcome to The Wrong Cat Died, the podcast breakdown of the Cat Statutory. I'm your host, Mike Abrams, and today we have another amazing guest. He was a swing on the fifth national tour, a US national tour of Cats in 2009. And you can currently see him in the ensemble of SPAMALOT, which is a hilarious show. I highly recommend seeing if you are in New York. So welcome, Michael Fatica, and thank you for joining me.

[0:33] Michael Fatica: My gosh, thank you for having me. I'm so excited to talk about Cats. Cats in SPAMALOT, the duo I never thought, you know, besides Maria, I didn't think we were going to get that deep into this, but I love that there's kittens all over the SPAMALOT crew here for you all. But let's start at the beginning. I always got to start at the beginning. So you saw this and you went on in 2009. So I think right after school, you said, before we were chatting, but when was the first time you actually saw the show?

[1:02] Michael Fatica: You know, I remember watching them. I have a very visceral memory of watching the filmed version, that original movie version that we all saw growing up in my loft in my hometown. I don't remember if it was high school or college, but it was definitely sometime in my teens. And I remember watching it about 30 minutes in, sort of taking a break to get some food, coming back, returning to it, being a bit confused by it. And I didn't experience the movement of it until I was in college. There was an alumni of my college. I went to Florida State University. An alumni had been on the national tour, I think in 2003, and they rolled through Florida. So he came and did a masterclass with us. And he taught us a bit of the Jellicle Ball.

And I loved the movement of it. So then my classmates and I all got together and watched it, possibly under the influence of some special beverages one might have in college. And we watched the whole thing and geeked out. And that's where my love for Cats began.

[2:02] Mike Abrams: That probably made it so much better is to watch it with a college influence. And, you know, I agree because I didn't see it growing up. I didn't see it until I was after the show really started. I never watched it. And so hearing that a group got together, had a little rowdy, Rocky Horror style show, which is what I thought the 2019 movie needed to turn into. But so you did you get to so you obviously didn't get to do it. You really are introduced to it. Not like super young as a kid where it was like part of your dance class, but in this masterclass at Florida State, and then you right after college book.

[2:38] Michael Fatica: Yeah. So a lot of times from Florida State, some students will fly up. I'm sure this is true for every college, but we would fly up to New York if there was an audition for a national tour or something that might provide some longevity. And a few of us went for a weekend. I think we did the Hairspray National Tour and the Cats National Tour, probably April 2009. And yeah, I was luckily cast as a swing. So I swung for four roles, the kittens. This is for Mistoffelees, for Mungo Jerry, Tumble Brutus, and Pounceable. I'm sure you've probably talked about this a million times on podcasts, but the original version of casting the show, they will do like a swing will cover sort of the short people or the tall people. So I'm five, six. So I'm slotted right into the sort of kitten swing.

[3:28] Mike Abrams: Okay. So when you get the role and I'm fascinated by swings, just blow my mind to begin with, but I'm fascinated by on this tour, which had been going on for a while at that point, right? This is a refreshing year after year. How much as a swing are they telling you of story and arc and everything you need to know about all the characters you're going?

[3:45] Michael Fatica: Oh, okay. Well, they really put you through the full process and the full ringer. I'm very thankful for this, actually, because I approach musicals sort of from an actor's perspective. I've done a lot of musicals, but I think it's such a treat when you get to play a character from the top of the show to the end of the show. And you've gotten Cats, you're playing one of these characters. Maybe there's a step out or so, but most of the time you're these, you're a character throughout. So you actually get a beginning, middle, and end. And we rehearsed, I think for a week or so with only the new cats. I think there were probably nine of us that were new to this tour and the rest are all returning.

And those who were swinging, we focused on one character. So I started learning Mistoffelees first and I did his track throughout the full rehearsal process. So I was ready to go for Mistoffelees by our second or third week. And Richard Stafford was the director who was teaching us the show, who has been an alumni of Cats on Broadway tours. He's done it for years and years and years. So we talk about all the interpersonal relationships in the cats. We'd start every day with Felinity, which I don't know if you've spoken about yet, but it's essentially 30 minutes of crawling around on the floor doing cat improv.

[4:52] Michael Fatica: Just being a cat. Learning. Yeah, you kind of learn how your body moves as a cat, as a dancer, as an actor. He would do exercises, for instance, saying, if you're a cat who feels they have power in the tribe, stand up. Or if you're a cat who feels that they're scared of confrontation, hide in the corner. You can learn your cat's hierarchy within the tribe. We really went right into the story of it all, which I think made it really special coming from college because college actors are just immersed in the art and learning and trying to express themselves. It's not quite become a job yet in the sense of like, oh, I have to make money and have to do this. For an experience right out of college, it felt so fresh and so exactly where my mind was. I wonder if I was to do it now, whether I would roll my eyes at Felinity practice. But at the time, I was like telling everybody and so psyched about learning how to be a cat.

[5:44] Mike Abrams: That's awesome. Yeah, I think the idea of Felinity is wild in itself. But then when you think about your job in general, it's not like, I don't want to say not the norm because what job is the norm, but it's so different than a lot of people's work. And so to be able to say like, I'm going to go spend 30 minutes, an hour, just learning how to be a cat, to then be able to go be a cat on stage for two and a half, three hours. It's just not the world most people live in, but I think it's such a cool part of what you all do. So I want to hear a little bit about, you said that you started as Mistoffelees and you obviously have this spoken truth of what we know is told to you by Richard or whoever, but then you have to kind of add to it. So do you remember what kind of conversations you and your nine new cast members or just the cast in general had about adding to the backstories? What was told versus what did you add as an influence?

[6:36] Michael Fatica: That's a great question. I think for Mistoffelees, we understand that he has magical powers in some way and there's sort of magic that's glittered over the whole arc of the show. Obviously, you're invented with the fact that these cats can sing and speak and do all these things that cats can't normally do. So in terms of the magic Mistoffelees, they give you the premise that the fact that he can do special things, but they don't tell you how or why. So we definitely were speaking about like, okay, what do cats do normally that feel magical? When a cat can fall from a second story floor and land on their feet, it doesn't feel like something that I as a human could do or can fathom how to twist my body in order to do that.

So we did definitely play with where does the magic come from? How do you physicalize that? Is it real magic? Are the cats just all hyped up on themselves and they can't imagine it? I think most of the thing that we invented ourselves, though, were the relationships. We know that Mistoffelees and Skimbleshanks are older and wiser cats and they have a little bit of history with the club. But I remember our Skimbleshanks and I were really close friends. So we would say like, okay, these two were born in the same corner and we went to the same alleyways to steal food, go to the same bodegas. We all make up little stories with ourselves. But I think that what they gave us were the things on the paper in terms of who knows who and who knows who's been attacked by who, who slept with who, who likes who. But we definitely created plenty of little backstories.

[8:15] Mike Abrams: Okay. So what was the, let's go into that. What were the told relationships as you have to play these no matter what? And then what were some of the fun ones that you all, that doesn't really change the plot, but you kind of added?

[8:27] Michael Fatica: Well, we definitely, I mean, the things we know are like, you know, Macavity has had relationships with a lot of the women. So like Leder, he's, you know, probably had relations with her that were not something that she wanted. Or Mombalurina. And we know that Tumble Brutus takes Victoria's virginity during the Jellicle Ball. Things like that. A lot of the teenage stuff, but you know, it was more, honestly, it was more the boys who would have fun with this. But we'd say like, Mistoffelees and Pounceable may have been dating. Or like, we said, like, I think Skimbleshanks is like, maybe Tumble Brutus is Skimbleshanks' son, but he's ashamed of him.

[9:05] Mike Abrams: Wow. Okay.

[9:05] Michael Fatica: I think all the little kitten girls were all pretended they were like the mean girls from like Regina George's gang. I think they had like Victoria and Cillabub and Rumpelteazer were like Katie and Regina.

[9:16] Mike Abrams: We didn't even just, they were like a little girl clique that we, because they're together a lot in the show. So they would like act out against the other cats and stuff just to do something funny.

[9:24] Mike Abrams: So I've heard some of those. I've definitely heard the Tumble Brutus and Skimbleshanks. But wait, hold on. We got to go a little deeper into that mean girls one. So who's the mean girls and how do we rank this one?

[9:35] Michael Fatica: I think we had, it was Cillabub, Rumpelteazer, and Victoria. And Victoria was the Regina George and Rumpelteazer was Gretchen Wieners and Cillabub was Katie Heron.

[9:48] Mike Abrams: Okay. So I've got Cillabub is Katie. And then you said Victoria was Regina?

[9:56] Michael Fatica: Victoria, Regina George. Yeah. Cause she's secretly a mean girl.

[10:00] Mike Abrams: Yeah. Well, I mean, and then she has her turn around redemption at the end.

[10:04] Michael Fatica: So that's kind of like her getting hit by the bus and then she comes back.

[10:08] Mike Abrams: Okay. And then you said Rumpelteazer is Gretchen.

[10:11] Michael Fatica: I have not heard Rumpelteazer is pretty annoying.

[10:13] Mike Abrams: Yeah. I have not heard that one. I love, I love that as just being able to have the three of them as the plastics kind of roaming around the stage all, all night and then wreaking havoc. It does fit. I mean, it really does kind of work.

[10:28] Michael Fatica: Um, that's fun. I, so the three of them are together and then is there a way to expand, expand that? Who's, uh, who's Aaron Samuels in that situation?

[10:39] Michael Fatica: I mean, probably Tumble Brutus, right? Cause he gets with Victoria.

[10:42] Mike Abrams: I guess it's true. Um, okay. I've not thought Mean Girls through on this, but now I'm now my head's spinning on the ways to cast Cats as Mean Girls, cause we're going to cast Cats in the SPAMALOT later. We're getting there eventually.

[10:56] Mike Abrams: Um, so I think one thing that's interesting is I know you mentioned when we were chatting before that you actually only did a portion of the year. Cause usually, you know, the, the tour, you do like a one-year contract, but you had, you only did a few months of, as a swing. So tell a little bit about what that scenario was like and how you kind of, I guess, really prepared for this role, but then also knowing it was a shorter contract than what most of these year long tours would be.

[11:16] Michael Fatica: Yeah. So I had been cast in this national tour, probably April 2009 as a youth. And then, uh, through my senior showcase that spring, I've been cast as LeFou in the Beauty and the Beast national tour that was starting. Um, this, you know, we have a joke in New York that every, every road leads back to either the Beauty and the Beast national tour or the Cats national tour. Everyone has done one of them. Um, so there's like a network of people that have splayed.

[11:51] Michael Fatica: I was a Swing on the US National Tour 5 of CATS, and it was such an incredible experience. I remember watching the 1998 movie in college and being completely captivated by it.

[12:21] Michael Fatica: The tour was unique because we worked on various backstories for the characters, which really helped us connect with them on a deeper level. It was fascinating to explore the motivations and histories of each Jellicle cat.

[12:51] Michael Fatica: Performing in Central and South America was a highlight for me. The audiences were so enthusiastic and passionate about the show, which made every performance feel special.

[13:21] Michael Fatica: One of the fun aspects of being a Swing is that you get to learn multiple roles, so you're always on your toes. It keeps things exciting and fresh, and you never know what to expect each night.

[13:49] Michael Fatica: In SPAMALOT, there's this moment during the Broadway number where we can do whatever choreography we want from a Broadway show, and I always choose to do the Jellicle Ball. It's a fun nod to my time in CATS.

[14:13] Michael Fatica: I love how the two shows can connect in that way, and it’s a great way to pay homage to the characters and the choreography that I hold dear.

[14:41] Michael Fatica: The energy in SPAMALOT is so different, but it’s equally rewarding. The humor and the audience's reactions create a unique atmosphere that I really enjoy.

[14:51] Michael Fatica: I think the blend of comedy and musicality in SPAMALOT is something that keeps it fresh and entertaining for both the cast and the audience.

[15:11] Michael Fatica: It’s also interesting to think about how we can cast SPAMALOT characters as CATS. For example, I think King Arthur would make a great Munkustrap, and maybe Sir Lancelot could be a fun Rum Tum Tugger.

[15:39] Michael Fatica: There’s definitely a playful spirit in both shows that allows for that kind of imagination and creativity.

[16:07] Michael Fatica: Speaking of creativity, there’s a fun CATS Easter egg in SPAMALOT that I love to point out. It’s a little nod that fans of CATS will definitely appreciate.

[16:35] Michael Fatica: I think it’s those little moments that really connect the two shows and create a sense of community among the fans.

[16:50] Michael Fatica: Overall, my journey through these productions has been incredibly fulfilling, and I’m grateful for every experience.

[17:10] Michael Fatica: I think being part of such iconic shows has shaped me as a performer and as a person, and I look forward to what’s next.

[17:38] Michael Fatica: The camaraderie among the cast members is something I cherish. We all support each other, and it creates a family-like atmosphere.

[18:07] Michael Fatica: I’ve made lifelong friends through these experiences, and it’s amazing to see how we all grow and evolve as artists.

[18:32] Michael Fatica: I think that’s one of the most rewarding aspects of being in this industry—building those connections and sharing our passion for theater.

[19:01] Michael Fatica: I’m excited to see where my journey takes me next, and I hope to continue sharing my love for musical theater with audiences everywhere.

[19:31] Michael Fatica: Thank you for having me on the podcast. It’s been a pleasure to share my experiences and thoughts about CATS and SPAMALOT.

[20:01] Michael Fatica: I hope listeners find inspiration in the stories we’ve shared today and continue to support the arts in any way they can.

[20:31] Michael Fatica: Remember to follow your passions and keep exploring the world of theater. There’s so much to discover!

[20:45] Michael Fatica: And don’t forget to check out SPAMALOT if you haven’t already. It’s a fantastic show that I know you’ll love.

[21:13] Michael Fatica: Thanks again for this opportunity to chat about my journey and the shows that mean so much to me.

[21:41] Michael Fatica: I look forward to connecting with fans and fellow theater lovers on social media. You can find me on Instagram at @michaelfatica.

[22:09] Michael Fatica: Let’s keep the conversation going and celebrate the magic of theater together!

[22:39] Michael Fatica: Until next time, keep dreaming big and believing in the power of storytelling through music and performance.

[23:03] Michael Fatica: Thank you!

[23:43] Michael Fatica: You know, I think the first time I saw the movie was in college, and I was just blown away by it. I mean, I had heard about it, but I had never seen it. And then when I saw it, I was like, "What is this? This is amazing!"

[24:13] Michael Fatica: The choreography, the music, everything about it just captivated me. And then, of course, when I got the chance to be in the show, it was like a dream come true.

[24:23] Michael Fatica: On the tour, we really worked on developing the backstories for our characters. It was so important to us to bring depth to the roles we were playing.

[24:33] Michael Fatica: I remember we had discussions about who our characters were, what their motivations were, and how they interacted with each other. It really helped us connect with the material on a deeper level.

[24:43] Michael Fatica: Performing in Central and South America was such a unique experience. The audiences were so enthusiastic, and it was incredible to see how the show resonated with them.

[24:53] Michael Fatica: I remember one night in Costa Rica, the audience was just so alive. They were singing along and cheering, and it made the performance feel electric.

[25:03] Michael Fatica: And then, of course, there's the fun of being a swing. You have to be ready to jump in at a moment's notice, and that keeps you on your toes.

[25:13] Michael Fatica: I loved the challenge of it. You never know when you might have to step into a role, and that keeps things exciting.

[25:23] Michael Fatica: In SPAMALOT, there's two eight counts during the Broadway number where we can do whatever choreography we want from a Broadway show, and I do the Jellicle Ball.

[25:33] Michael Fatica: It's such a fun nod to CATS, and I love that I can incorporate that into my performance.

[25:43] Michael Fatica: The audience always gets a kick out of it, and it's a little Easter egg for the fans of both shows.

[25:53] Michael Fatica: I think it's important to keep those connections alive, especially in a world where so many people love musical theatre.

[26:03] Michael Fatica: And speaking of connections, I think it would be fun to cast SPAMALOT characters as CATS characters.

[26:13] Michael Fatica: For example, I think King Arthur would make a great Munkustrap.

[26:23] Michael Fatica: He has that leadership quality, and you can see him rallying the other cats together.

[26:33] Michael Fatica: And then you have Sir Lancelot, who I think would be a fantastic Rum Tum Tugger.

[26:43] Michael Fatica: He has that charisma and flair that would really fit the character.

[26:53] Michael Fatica: It’s fun to think about how these characters would interact in a different context.

[27:03] Michael Fatica: And then you have the Lady of the Lake, who I think would be a perfect Grizabella.

[27:13] Michael Fatica: She has that depth and emotional range that would really bring the character to life.

[27:23] Michael Fatica: It’s interesting to see how these characters can cross over and still resonate with audiences.

[27:33] Michael Fatica: I think that’s one of the beautiful things about musical theatre; it’s all about storytelling and connection.

[27:43] Michael Fatica: And whether it’s CATS or SPAMALOT, there’s always a way to find those connections.

[27:53] Michael Fatica: I love being part of that world and sharing it with others.

[28:03] Michael Fatica: It’s what keeps me passionate about performing and creating.

[28:13] Michael Fatica: And I think that passion is what draws audiences in, too.

[28:23] Michael Fatica: They want to feel that connection, and when we can give that to them, it’s magical.

[28:33] Michael Fatica: I’m just grateful to be a part of it all.

[28:43] Michael Fatica: And I hope to continue sharing that passion with audiences for years to come.

[28:53] Michael Fatica: It’s what drives me, and I can’t imagine doing anything else.

[29:03] Michael Fatica: So, if you ever see me in SPAMALOT, just know that I’m probably doing a little Jellicle Ball in there somewhere!

[29:13] Michael Fatica: It’s my way of keeping that spirit alive.

[29:23] Michael Fatica: And I hope it brings a smile to someone’s face.

[29:33] Michael Fatica: That’s what it’s all about, right?

[29:43] Michael Fatica: Bringing joy and connection through the art of performance.

[29:53] Michael Fatica: I’m just so lucky to be able to do what I love.

[30:03] Michael Fatica: And I can’t wait to see where this journey takes me next.

[30:13] Michael Fatica: There’s always something new to explore and discover in this world of theatre.

[30:23] Michael Fatica: And I’m here for all of it!

[30:33] Michael Fatica: So, thank you for having me on the show and letting me share my experiences.

[30:43] Michael Fatica: It’s been a pleasure!

[30:53] Michael Fatica: And I hope to see you all at the theatre soon!

[31:03] Michael Fatica: Remember to keep supporting live theatre and the arts.

[31:13] Michael Fatica: It’s what keeps our community thriving.

[31:23] Michael Fatica: And we need that now more than ever.

[31:33] Michael Fatica: So, thank you again for this opportunity to chat.

[31:43] Michael Fatica: I really appreciate it!

[31:53] Michael Fatica: And I look forward to what’s next in this incredible journey.

[32:03] Michael Fatica: Let’s keep the magic of theatre alive together!

[32:13] Michael Fatica: Until next time, take care!

[32:23] Michael Fatica: And remember, always follow your passion!

[32:33] Michael Fatica: It will lead you to amazing places.

[32:43] Michael Fatica: Thank you!

[32:53] Michael Fatica: Bye for now!

[33:03] Michael Fatica: And I hope to see you all soon!

[33:13] Michael Fatica: Keep shining bright!

[33:23] Michael Fatica: And let’s keep the spirit of theatre alive!

[33:33] Michael Fatica: Thank you for having me!

[33:43] Michael Fatica: It’s been a joy!

[33:53] Michael Fatica: Until next time!

[34:03] Michael Fatica: Take care, everyone!

[34:13] Michael Fatica: And keep the love for theatre in your hearts!

[34:23] Michael Fatica: Bye!

[34:33] Michael Fatica: Thank you!

[34:43] Michael Fatica: Bye for now!

[34:53] Michael Fatica: And see you at the theatre!

[35:03] Michael Fatica: Thank you!

[35:13] Michael Fatica: Bye!

[35:35] Michael Fatica: But I've always kind of challenged it a little bit in the sense of, is there somebody that needs redemption every year? Like, this is an annual process. Is there another Grizabella out there that is going to need it? Is someone going to have a really bad year? And I keep thinking, if you're going to do this as an annual tradition in a tribe, is that consistent enough of a reason? And so we're not given answers on this. But I've kind of always thought a little bit is, who's the most worthy and needing? Which would be less about redemption, but more of about, okay, the needing could be they're almost at the end of their life, like Gus. Or your Demeter argument is, this baggage is almost too much to handle.

Let's let you go up and come back and start fresh and have this fresh. And so there's the biggest need there. And you can make that argument. And I've kind of liked that a little bit more than redemption. Because I kind of think if you bring Grizabella back, who's next year's redemption story? So that's kind of my main one, is either need. I also like the idea is Old Deuteronomy might be teaching a lesson each year, and it could be a different lesson every year. So this year could be compassion, and next year could be redemption, and it could be this. So there's a lot of ways to look at it, but you're only given one. So you have to make your assumptions based off of that.

[41:21] Mike Abrams: I love that. I love that with cats, anybody can walk away with literally any story that they want to leave. It's the cool part about this kind of show, it's all up to interpretation. So you can pretend you know who everyone has relationships with on stage, or if you know any of the facts, you can follow them. But it's fun to just leave with whatever theme you've taken. I think that's cool. I love it. Well, you are the second Demeter vote. I'm just going to quickly check here, because I'm pretty sure the first Demeter vote was from a Demeter, which is very common for me to get votes for somebody separate, and it's like, oh, no way. No, it was not. I take that back. It was from Jenny Anydots, who voted for Demeter. It was Eloise Kropp. Has Demeter as her choice?

[42:57] Michael Fatica: Well, Eloise Kropp was in Spamalot at the Kennedy Center, so we are also in the Spamtown. We are also in the Spamtown together. Did you all talk about this?

[43:04] Mike Abrams: We did.

[43:07] Michael Fatica: Okay. I'm here for any non-Grizabella vote. My goal is to have her not be leading, and enough people to eventually get a different version of the show produced. Hey, let's start talking to producers tomorrow.

[44:21] Mike Abrams: That's my goal. I've talked. My goal, again, I'm going to say it every time to end these episodes, just so if I say it enough, I'm hoping I can manifest it into reality. But I want an Edwin Drew-style regional production. I want an audience vote and a different cat every night based on who brought it that night, or whatever the crowd interprets as their Old Deuteronomy decision. It's totally possible.

[44:46] Michael Fatica: And we have to write the remix of Memory for a Redeemed Cat style.

[44:49] Mike Abrams: I don't think you have to, because I think you can still get all the way to Memory, and then when you have the receiving line, you just pause, because she can still have the redemption arc, bring her back, and just welcome her to the family. She doesn't have to be the choice at that point. She can just be welcomed back, and you can still have the same story. But then at that point, then you turn to the audience and say, who should go to? Now, I think Grizabella will still get a good amount of votes, because an audience is going to have just heard Memory. Someone's going to have just belted Memory beautifully, I'm sure. And so there is that lasting impression. But I do treat this like an X Factor or American Idol.

And yeah, the person who ends the show usually does well, but someone might have brought it in the third or fourth spot, too. Or their family and friends just might be in the crowd that night, and so they're going to get the vote. And I want that to happen, and it's totally possible. We have the technology. We can strap a different person each night onto that. It's doable. I just need somebody to buy into the reimagined cats.

[45:50] Michael Fatica: Well, I cannot wait to see your version of cats.

[45:53] Mike Abrams: I can't do anything else to produce that. I couldn't tell you what Copeland looks like. I've heard the name. I couldn't help anybody cast it. I couldn't sing it. But I have that one part. I can help figure out that one piece.

[46:06] Michael Fatica: That's great.

[46:07] Mike Abrams: Well, this has been super fun. How can people stay in touch with you, keep up with all the stuff you're doing?

[46:12] Michael Fatica: You can find me on Instagram at MichaelFatica. That's M-I-C-H-A-E-L-F-A-T-I-C-A. I'm the most active there, so I'd say find me there.

[46:22] Mike Abrams: Awesome. And we'll link to How to Go See Spamalot. If you're in the city in New York, definitely go see it. It is an absolute blast of a time. And now you know which cat is which character, so you're going to be ready to go. And we have an Easter egg to go find that eight count of Copeland during the Broadway song. You're going to have to go find that now.

[46:41] Michael Fatica: I'm going to have to come back to see it just to see that moment.

[46:44] Mike Abrams: We'll just get everyone in the show who knows cats to do something for you. Try to get, yeah. If I come back, I want you to get Alex, too, to do a cats-themed improv for that for one night.

[46:55] Michael Fatica: Great. We will.

[46:56] Mike Abrams: We're going to make it. I love it. This has been so fun, so thank you for being an amazing guest.

[47:01] Michael Fatica: Thank you for having me.

[47:02] Mike Abrams: And thanks, everyone, for listening to this episode of The Wrong Cat Died, the podcast breakdown of the cat satirphy. To follow along, you can subscribe on Apple Podcasts, Spotify, or anywhere else that has a podcast. Follow us on Twitter, Instagram, TikTok, and threads at TheWrongCatDied or check out our website at thewrongcatdied.com.