played by all cast members — framing the sketches. Predicting future political and social events, both in Yugoslavia and abroad, became another staple of the second series — with Murphy's law governing these forecasts where the worst outcome is usually the one that ends up occurring. Finally, many, including Karajlić and Nadrealisti executive producer Terzić, talked about the second series sketches being infused with satirical techniques from the works of Radoje Domanović such as Vođa and Kraljević Marko po drugi put među Srbima. The shooting dragged on for months throughout late summer and fall 1989. It was not without issues, including director Mandić essentially quitting early on due to creative differences with the guys before he got persuaded to continue on via intervention by executive producer Terzić who even enlisted Emir Kusturica's help in this regard. Mandić's relationship with the main on-camera performers Nele and Đuro was apparently so fraught initially that Đuro at one point even began lobbying for Mandić to be replaced with Goran Gajić, an old friend of the New Primitivism guys whom Đuro had shot The Fall of Rock and Roll with earlier that year. Mandić came back into the fold soon after quitting as the two sides found a modicum of common ground creatively. Airing Once it started airing in late fall 1989, the series achieved critical praise though it took several episodes for the general public to catch on. Once that happened, the series exploded all over SFR Yugoslavia with risque sketches that relied on absurdity as the starting point becoming widely quoted classics. Most also provided many thinly-veiled hints and winks in reference to the current political and social situation. A very popular sketch featuring "Swedish workers escaping their politically unstable homeland and seeking refuge in Yugoslavia only to find low-skill jobs for local ruthless small-business bosses", in addition to providing uproarious laughs through well-crafted dialogues, parodied the decades-long drain of Yugoslav nationals to Western Europe in search of better employment opportunities. Another classic sketch, featuring Rade Pendrek, an exemplary and obedient forty-year-old street cop, having a nightmare about waking up in a country where uniformed intellectuals round up disobedient cops to university halls in order to forcibly correct their misbehaviour by having professors aggressively read Nietzsche and play Mozart to them as worker riot-squads armed with shovels roam the streets outside breaking up police protest rallies, humorously hinted and winked at a