1 00:00:00,720 --> 00:00:04,080 Speaker 1: I Am all In again. 2 00:00:06,559 --> 00:00:12,240 Speaker 2: Oh that's just you. 3 00:00:17,760 --> 00:00:22,320 Speaker 1: I Smell pop Culture with Eastern Allen, an iHeart radio podcast. 4 00:00:22,520 --> 00:00:25,640 Speaker 1: Hey everybody, it's Eastern Allen. This is the I Smell 5 00:00:25,680 --> 00:00:30,200 Speaker 1: Pop Culture edition of I Am all In, a podcast 6 00:00:30,240 --> 00:00:32,800 Speaker 1: hosted by Scott Patterson. He is not here right now. 7 00:00:32,960 --> 00:00:35,200 Speaker 1: I am here. You're stuck with me. My name is Easton. 8 00:00:35,320 --> 00:00:39,040 Speaker 1: Scott Herzer has ordained me to host this episode here. 9 00:00:39,080 --> 00:00:41,400 Speaker 1: Here's what we're gonna do. We're going to explore the 10 00:00:41,440 --> 00:00:45,680 Speaker 1: pop culture references, the moments, the legends that are referenced 11 00:00:45,680 --> 00:00:48,800 Speaker 1: in Gilmour Girls, and we're gonna go so deep. We're 12 00:00:48,840 --> 00:00:50,839 Speaker 1: gonna get to know these people. We're gonna hear the 13 00:00:50,880 --> 00:00:53,640 Speaker 1: stories that make them pop culture icons. We're going to 14 00:00:54,640 --> 00:00:57,200 Speaker 1: find out who they are, how they became, who they are, 15 00:00:57,640 --> 00:01:00,040 Speaker 1: what they created. It's so much fun. We're having the 16 00:01:00,080 --> 00:01:04,120 Speaker 1: time of our lives over here. This week is so special. 17 00:01:04,360 --> 00:01:05,720 Speaker 1: I know I say that every time, but this week 18 00:01:05,760 --> 00:01:07,959 Speaker 1: I really really mean it. Okay, this is a really 19 00:01:07,959 --> 00:01:11,200 Speaker 1: special guest we have this week because this person wasn't 20 00:01:11,400 --> 00:01:14,680 Speaker 1: just a pop culture reference on girl More Girls or 21 00:01:14,680 --> 00:01:19,120 Speaker 1: her role she was in Gilmore Girls. She was in 22 00:01:19,160 --> 00:01:21,520 Speaker 1: one of the best moments of Gilmore Girls. If you 23 00:01:21,560 --> 00:01:25,600 Speaker 1: ask me, here's what we're doing. We're talking to mary 24 00:01:25,640 --> 00:01:30,360 Speaker 1: Lynn Rice Cub. She was Chloe O'Brien in twenty four. 25 00:01:30,560 --> 00:01:32,479 Speaker 1: I know you love twenty four. I love twenty four, 26 00:01:33,400 --> 00:01:35,600 Speaker 1: but she was also in Gilmore Girls. We'll talk about 27 00:01:35,640 --> 00:01:37,080 Speaker 1: that in a second, but first I got to tell 28 00:01:37,120 --> 00:01:40,280 Speaker 1: you what these references are. There's two references to twenty 29 00:01:40,360 --> 00:01:43,479 Speaker 1: four that we have found in our research, going back 30 00:01:43,520 --> 00:01:46,119 Speaker 1: and rewatching the entire show before we did this episode. 31 00:01:46,880 --> 00:01:54,680 Speaker 1: In season seven, episode nineteen, laurale I says, be right back, Yeah, 32 00:01:54,720 --> 00:01:56,880 Speaker 1: you know how Jack Bower should torture terrorists make them 33 00:01:56,920 --> 00:02:00,000 Speaker 1: go car shopping with their exes. Jack Bauer is, of course, 34 00:02:00,400 --> 00:02:04,040 Speaker 1: the main character in twenty four, which is a drama 35 00:02:04,160 --> 00:02:09,560 Speaker 1: thriller that was told in real time. I remember when 36 00:02:09,560 --> 00:02:12,240 Speaker 1: this came out. It was such an exciting thing, like 37 00:02:12,280 --> 00:02:14,720 Speaker 1: it was like this this is going to be The 38 00:02:14,760 --> 00:02:17,160 Speaker 1: season is twenty four episodes, and each episode is an 39 00:02:17,160 --> 00:02:20,239 Speaker 1: hour of the day, and it's the craziest day you 40 00:02:20,280 --> 00:02:24,120 Speaker 1: could ever imagine. Twenty four started in two thousand and 41 00:02:24,120 --> 00:02:31,160 Speaker 1: one and ran until twenty ten, with eight seasons. A 42 00:02:31,200 --> 00:02:35,840 Speaker 1: couple mini series in there, an iconic show. I mean, 43 00:02:35,840 --> 00:02:38,840 Speaker 1: if you haven't seen twenty four, you gotta watch it. 44 00:02:38,840 --> 00:02:44,079 Speaker 1: It's really like legendary. Key for Sutherland again in the 45 00:02:44,120 --> 00:02:48,520 Speaker 1: Star twenty four was mentioned also in Gilmore Girls. When 46 00:02:48,560 --> 00:02:52,760 Speaker 1: we let's fast forward to a year in the Life Fall, 47 00:02:52,960 --> 00:02:55,720 Speaker 1: the Netflix revival, Luke and Laurli are working on the 48 00:02:55,720 --> 00:02:57,280 Speaker 1: guest list for their wedding and we find out that 49 00:02:57,400 --> 00:03:00,560 Speaker 1: Lucas friends with key for Sutherland, the star of twenty four, 50 00:03:01,040 --> 00:03:04,040 Speaker 1: and Laura Le says, the real key for Sutherland Chloe. 51 00:03:04,040 --> 00:03:05,720 Speaker 1: The Canisters are already armed. 52 00:03:05,800 --> 00:03:06,040 Speaker 3: Damn it. 53 00:03:06,639 --> 00:03:08,359 Speaker 1: I can't do these lines, Scott. I can't be in 54 00:03:08,400 --> 00:03:13,280 Speaker 1: Gilmore Girls. This is embarrassing. But the Chloe that Lurlai 55 00:03:13,360 --> 00:03:18,720 Speaker 1: references in that moment is played by mary Lynn Rice Cub. 56 00:03:19,160 --> 00:03:22,399 Speaker 1: She is so funny. She is a comedic actress. She's 57 00:03:22,400 --> 00:03:27,320 Speaker 1: so funny. But she was the counter Terrorism Units analyst. 58 00:03:27,639 --> 00:03:31,239 Speaker 1: Get this, everybody, she was in twenty four. The only 59 00:03:31,560 --> 00:03:33,760 Speaker 1: other person who was in more episodes of twenty four 60 00:03:33,880 --> 00:03:36,600 Speaker 1: is Key for Sutherland. It's Key for Sutherland, and then 61 00:03:36,800 --> 00:03:40,080 Speaker 1: Marylyn Rice Cub as Chloe. She was in one hundred 62 00:03:40,120 --> 00:03:43,800 Speaker 1: and twenty five episodes of twenty four. It's really incredible. 63 00:03:44,080 --> 00:03:46,520 Speaker 1: So we're gonna talk to mary Lynn here in a second. 64 00:03:46,560 --> 00:03:48,960 Speaker 1: But I think you already know where I'm going with this. 65 00:03:49,080 --> 00:03:51,800 Speaker 1: Mary Lynn was in two episodes of Gilmore Girl. She 66 00:03:51,840 --> 00:03:56,560 Speaker 1: played two different characters. One of the characters was She 67 00:03:56,800 --> 00:04:01,280 Speaker 1: appeared alongside our beloved Sean Gunn in film by Kirk, 68 00:04:01,640 --> 00:04:03,880 Speaker 1: one of the best moments in Gilmore Girl's history. She 69 00:04:04,040 --> 00:04:07,280 Speaker 1: played Kirk's girlfriend in that short film, that black and 70 00:04:07,320 --> 00:04:09,520 Speaker 1: white film, What do you have to offer? 71 00:04:10,240 --> 00:04:10,440 Speaker 3: Who? 72 00:04:11,840 --> 00:04:13,640 Speaker 1: I love your daughter? What do you have to offer her? 73 00:04:14,520 --> 00:04:17,720 Speaker 1: That is Marylyn Rice Cub in that short film. We're 74 00:04:17,720 --> 00:04:19,480 Speaker 1: gonna talk to her all about it. She also returned 75 00:04:19,520 --> 00:04:22,039 Speaker 1: in season six as the Town True as one of 76 00:04:22,279 --> 00:04:25,480 Speaker 1: the Troubadours. When there's the town is overrun by Troubadours, 77 00:04:25,520 --> 00:04:28,120 Speaker 1: she is playing at guitar. She sings about her eighty 78 00:04:28,200 --> 00:04:31,240 Speaker 1: nine volvo. It's an original song. It's a great moment. 79 00:04:31,360 --> 00:04:33,680 Speaker 1: We're so excited to talk to Marylyn Rice Cub. It's 80 00:04:33,720 --> 00:04:36,480 Speaker 1: the Icemail Pop culture podcast. Hi, mary Lynn, thank you 81 00:04:36,520 --> 00:04:37,640 Speaker 1: so much for doing this. 82 00:04:38,440 --> 00:04:40,240 Speaker 3: Thanks for having me. This is exciting. 83 00:04:40,920 --> 00:04:43,200 Speaker 1: So there's so much to get into. I mean, twenty 84 00:04:43,240 --> 00:04:46,680 Speaker 1: four your stam Up Special We're gonna be talking about 85 00:04:46,680 --> 00:04:48,600 Speaker 1: that so much great stuff, But we have to get 86 00:04:48,600 --> 00:04:51,240 Speaker 1: this out of the way. First of all, Gilmore Girls. 87 00:04:51,440 --> 00:04:53,240 Speaker 1: You are in Gilmore Girls. You're in two episodes of 88 00:04:53,279 --> 00:04:57,600 Speaker 1: Gilmore Girls. Yeah, but the first one, season two, you 89 00:04:57,680 --> 00:05:01,720 Speaker 1: started alongside Sean Gun in a film by Kirk, one 90 00:05:01,760 --> 00:05:03,720 Speaker 1: of the greatest moments in Gilmore Girl's history. I got 91 00:05:03,720 --> 00:05:05,360 Speaker 1: to know how that happened, how'd that come together? 92 00:05:06,440 --> 00:05:11,680 Speaker 2: Yeah, that is the one that people randomly will recognize me, 93 00:05:11,760 --> 00:05:14,400 Speaker 2: and it shows me how big of fans of Gilmore 94 00:05:14,440 --> 00:05:21,040 Speaker 2: Girls there are. Amy Sherman Palladino was always a long 95 00:05:21,160 --> 00:05:25,520 Speaker 2: time I mean I say was always because we know 96 00:05:25,680 --> 00:05:28,719 Speaker 2: what she became, you know, but at the time the 97 00:05:28,839 --> 00:05:34,640 Speaker 2: Gilmore Girls was fairly new, and she was a showrunner, 98 00:05:34,640 --> 00:05:39,000 Speaker 2: but she was also she's always been a massive comedy fan, 99 00:05:39,160 --> 00:05:42,600 Speaker 2: and so she was really well acquainted with all of 100 00:05:42,680 --> 00:05:45,040 Speaker 2: us in the local LA scene. 101 00:05:45,240 --> 00:05:47,200 Speaker 3: And you know, I just. 102 00:05:47,240 --> 00:05:51,000 Speaker 2: Feel lucky enough to be in her orbit and that 103 00:05:51,080 --> 00:05:52,960 Speaker 2: she would ask me, And I mean that part was 104 00:05:53,000 --> 00:05:56,960 Speaker 2: pretty weirdly tailor made for me a film with Kirk, 105 00:05:57,760 --> 00:06:03,160 Speaker 2: it made sense. It really needed some follow up. What 106 00:06:03,240 --> 00:06:04,280 Speaker 2: happened to the two of them? 107 00:06:04,920 --> 00:06:09,000 Speaker 1: Yes, I want to know what happened. Like, so, when 108 00:06:09,520 --> 00:06:12,320 Speaker 1: when Amy came to you to be in it, like 109 00:06:12,440 --> 00:06:15,000 Speaker 1: was it did she say like, Hey, we're doing this 110 00:06:15,040 --> 00:06:18,080 Speaker 1: like weird kind of like experimental film, we want you 111 00:06:18,120 --> 00:06:19,320 Speaker 1: to be in. How is it pitched to you? 112 00:06:20,000 --> 00:06:23,839 Speaker 2: Oh gosh, I don't even remember whatever it was. I'm 113 00:06:23,880 --> 00:06:26,159 Speaker 2: sure it was some version of what you just said 114 00:06:27,279 --> 00:06:30,200 Speaker 2: of like trying to explain it. But then you know 115 00:06:30,360 --> 00:06:34,480 Speaker 2: that was in my wheelhouse of like something that was 116 00:06:34,760 --> 00:06:37,839 Speaker 2: performance already, that was funny, that was not funny, that 117 00:06:37,960 --> 00:06:41,520 Speaker 2: was awkward. I mean, I don't think she explained it 118 00:06:41,640 --> 00:06:44,479 Speaker 2: much more than kind of how you just tried to 119 00:06:44,560 --> 00:06:45,320 Speaker 2: describe it. 120 00:06:45,400 --> 00:06:48,440 Speaker 3: And I'm trying to remember. 121 00:06:49,320 --> 00:06:52,640 Speaker 2: I think I remember being a little bit nervous because 122 00:06:52,640 --> 00:06:57,599 Speaker 2: it was so weird and open ended for that show 123 00:06:57,720 --> 00:07:00,360 Speaker 2: in terms of like wait, what is this? 124 00:07:00,520 --> 00:07:03,280 Speaker 3: How does this fit in? And there really was no 125 00:07:03,400 --> 00:07:04,239 Speaker 3: answer to. 126 00:07:04,080 --> 00:07:07,200 Speaker 2: That, nor could there have been, But as an actor, 127 00:07:07,880 --> 00:07:11,120 Speaker 2: you get that anxiety of like, wait, how does this 128 00:07:11,160 --> 00:07:13,440 Speaker 2: fit into the world, fit into the story? 129 00:07:13,520 --> 00:07:14,680 Speaker 3: Am I hitting the right tone? 130 00:07:14,720 --> 00:07:16,680 Speaker 2: It's like all that went out the window because it 131 00:07:16,720 --> 00:07:20,080 Speaker 2: was just such a weird, odd, you know, and it 132 00:07:20,200 --> 00:07:23,680 Speaker 2: felt weird and odd and it's like, oh, okay, that's how 133 00:07:24,200 --> 00:07:27,480 Speaker 2: it was supposed to be, and yes, great, you're happy. 134 00:07:27,600 --> 00:07:28,200 Speaker 3: I'm happy. 135 00:07:28,840 --> 00:07:32,320 Speaker 2: I'm glad that you know that it was as awkward 136 00:07:32,400 --> 00:07:35,840 Speaker 2: as it felt to do and weird and like like 137 00:07:36,040 --> 00:07:37,640 Speaker 2: non secretary and. 138 00:07:38,160 --> 00:07:42,480 Speaker 3: What if you say it works, you're the boss. And 139 00:07:43,200 --> 00:07:47,920 Speaker 3: of course it was what it needed to be exactly. 140 00:07:48,080 --> 00:07:51,160 Speaker 1: It hit everything that I just me personally if we 141 00:07:51,160 --> 00:07:52,960 Speaker 1: were making this just for Easton. It hit everything that 142 00:07:53,000 --> 00:07:56,280 Speaker 1: I love. I love awkward things, I love non sequiturs, 143 00:07:56,360 --> 00:07:59,800 Speaker 1: I love stuff like that. So I was just on 144 00:07:59,840 --> 00:08:02,360 Speaker 1: the edge of my seat. I wanted more Have you 145 00:08:03,120 --> 00:08:06,560 Speaker 1: done a lot of like student films that were kind 146 00:08:06,560 --> 00:08:07,680 Speaker 1: of like that, have you done? 147 00:08:07,720 --> 00:08:08,360 Speaker 3: Actually? Yeah? 148 00:08:09,120 --> 00:08:11,320 Speaker 2: And a word to what you just said, I love 149 00:08:11,480 --> 00:08:13,840 Speaker 2: like awkward non sequord That makes me think of like 150 00:08:14,040 --> 00:08:20,440 Speaker 2: the brilliance of Amy is that she knows that and 151 00:08:20,480 --> 00:08:23,640 Speaker 2: she's able to insert it within the narrative of this 152 00:08:23,800 --> 00:08:28,520 Speaker 2: already in progress show. But she gives it to us 153 00:08:28,600 --> 00:08:31,640 Speaker 2: on a platter of like, well, you know this character, 154 00:08:31,760 --> 00:08:34,160 Speaker 2: and of course he would be the He's the perfect 155 00:08:34,200 --> 00:08:38,360 Speaker 2: person to make something like this, and then you know 156 00:08:38,360 --> 00:08:40,640 Speaker 2: what I mean, Like she sees the audience's point of 157 00:08:40,720 --> 00:08:44,360 Speaker 2: view to just your point to enjoy on that level 158 00:08:44,440 --> 00:08:46,880 Speaker 2: of like all the townspeople being like, okay, well that 159 00:08:47,040 --> 00:08:51,240 Speaker 2: was a film by Kirk, Like it was just beautifully 160 00:08:51,240 --> 00:08:53,400 Speaker 2: done and the black and white and the casting of 161 00:08:53,440 --> 00:08:58,000 Speaker 2: it is hilarious and weird. And yes, I have been 162 00:08:58,160 --> 00:09:01,720 Speaker 2: in student films like that, and I have. 163 00:09:02,160 --> 00:09:06,120 Speaker 3: You know, I came up in art school. 164 00:09:06,160 --> 00:09:08,640 Speaker 2: I went to art school and I studied performance art, 165 00:09:08,880 --> 00:09:12,920 Speaker 2: so and there there was a lot of crossover between 166 00:09:12,960 --> 00:09:15,800 Speaker 2: people who were straight narrative storytellers. 167 00:09:15,840 --> 00:09:18,640 Speaker 3: But it's, you know, a place where you can blur. 168 00:09:18,559 --> 00:09:21,720 Speaker 2: These lines and not have a script fully formed, not 169 00:09:21,800 --> 00:09:23,959 Speaker 2: even have an idea that's fully formed, and go ahead 170 00:09:24,000 --> 00:09:28,679 Speaker 2: and commit that to film or commit that to a performance, 171 00:09:28,760 --> 00:09:31,679 Speaker 2: even if it's like a gesture or like some kind 172 00:09:31,720 --> 00:09:35,520 Speaker 2: of half assed thing that seems like way deeper than 173 00:09:35,559 --> 00:09:36,200 Speaker 2: it really is. 174 00:09:38,040 --> 00:09:40,840 Speaker 3: Yeah, I was very versed in that. 175 00:09:41,800 --> 00:09:43,840 Speaker 1: Wow, so you have a bad like you say, a performance? 176 00:09:43,880 --> 00:09:47,800 Speaker 1: Are I love that? Did that? Like when you got 177 00:09:47,800 --> 00:09:49,920 Speaker 1: into comedy? Did how much did that? 178 00:09:50,000 --> 00:09:50,080 Speaker 2: Like? 179 00:09:50,160 --> 00:09:53,560 Speaker 1: Train? Like, I mean I must have prepared you for 180 00:09:53,559 --> 00:09:55,559 Speaker 1: for like getting on stage and making people laugh, but 181 00:09:55,920 --> 00:09:59,080 Speaker 1: also like I'm just curious how that training kind of 182 00:10:00,120 --> 00:10:01,760 Speaker 1: worked into your comedic career. 183 00:10:02,800 --> 00:10:05,640 Speaker 3: Uh, thank you for asking you are you are on point? 184 00:10:05,760 --> 00:10:06,840 Speaker 3: Because I was. 185 00:10:06,920 --> 00:10:09,760 Speaker 2: I went to school for painting, and I it's a 186 00:10:09,880 --> 00:10:13,200 Speaker 2: very personal you know, as we all should. All of 187 00:10:13,240 --> 00:10:19,360 Speaker 2: our paths hopefully are personally, you know, psychologically and emotionally, 188 00:10:19,520 --> 00:10:23,960 Speaker 2: and you know what you desire oriented if we're lucky enough. 189 00:10:24,000 --> 00:10:25,880 Speaker 2: I got to kind of follow that path by going 190 00:10:25,880 --> 00:10:28,160 Speaker 2: to art school to be a painter because I didn't 191 00:10:28,160 --> 00:10:30,360 Speaker 2: want to just go get a job and I didn't 192 00:10:30,480 --> 00:10:34,520 Speaker 2: make it any big colleges and so I loved it, 193 00:10:34,600 --> 00:10:38,280 Speaker 2: but I painting I was sort of imploding, you know. 194 00:10:38,480 --> 00:10:41,880 Speaker 2: So I started performing and I did acting in high 195 00:10:41,920 --> 00:10:44,200 Speaker 2: school and as a child, and I really loved it. 196 00:10:44,240 --> 00:10:46,400 Speaker 2: I just didn't think it was the thing that you 197 00:10:46,480 --> 00:10:48,680 Speaker 2: go to school for. So I was like, oh, painting, 198 00:10:48,760 --> 00:10:55,080 Speaker 2: that makes sense. But then painting is such a solitary thing, 199 00:10:55,200 --> 00:10:58,119 Speaker 2: and I didn't really understand a lot of the critiques 200 00:10:58,240 --> 00:11:00,920 Speaker 2: and the way that people were building themselves up as painters. 201 00:11:00,960 --> 00:11:03,880 Speaker 2: It just wasn't like I sort of had this like 202 00:11:04,120 --> 00:11:06,120 Speaker 2: energy that was busting to get out of me and 203 00:11:07,280 --> 00:11:09,240 Speaker 2: connection and I think I, you know, I was sort 204 00:11:09,280 --> 00:11:12,720 Speaker 2: of destined, and so I started doing performance art, but 205 00:11:12,840 --> 00:11:17,040 Speaker 2: a lot of that stuff mine was always comedic, but 206 00:11:17,120 --> 00:11:18,760 Speaker 2: I didn't realize it was comedic. 207 00:11:19,120 --> 00:11:21,160 Speaker 3: But I also was just. 208 00:11:21,480 --> 00:11:24,200 Speaker 2: You know, a weird art school kid, so I didn't 209 00:11:24,240 --> 00:11:30,600 Speaker 2: have the presence of mind to articulate socially or otherwise 210 00:11:31,960 --> 00:11:33,360 Speaker 2: like a stand up comic. 211 00:11:33,640 --> 00:11:36,080 Speaker 3: I didn't relate to what a stand up comic was. 212 00:11:36,960 --> 00:11:40,559 Speaker 2: So when I started doing performance art, I almost then 213 00:11:40,640 --> 00:11:44,079 Speaker 2: started making fun of performance art, and that's what pushed 214 00:11:44,080 --> 00:11:47,280 Speaker 2: me out of the art world and into the comedy world. 215 00:11:47,320 --> 00:11:50,040 Speaker 2: So I just was able, long winded way of saying, 216 00:11:50,200 --> 00:11:53,600 Speaker 2: I was just able to take an organic path with that, 217 00:11:53,800 --> 00:11:56,200 Speaker 2: and a lot of the early performances that I did, 218 00:11:56,240 --> 00:11:59,679 Speaker 2: I did not understand why people were laughing, but I 219 00:11:59,760 --> 00:12:02,160 Speaker 2: knew who I was funny, so it was fine figuring 220 00:12:02,200 --> 00:12:04,800 Speaker 2: out how I was funny, and I got. 221 00:12:04,640 --> 00:12:08,360 Speaker 3: To do that through, you know, being a character on stage. 222 00:12:08,520 --> 00:12:12,360 Speaker 1: It's so beautiful. I love like that style of exploring 223 00:12:12,520 --> 00:12:15,160 Speaker 1: how you're expressing yourself and how you're finding the type 224 00:12:15,160 --> 00:12:15,920 Speaker 1: of art you want to make. 225 00:12:16,559 --> 00:12:19,679 Speaker 2: I feel very lucky that I was able to follow 226 00:12:19,760 --> 00:12:23,040 Speaker 2: that path like that. I really do, because if I had, 227 00:12:23,600 --> 00:12:25,920 Speaker 2: you know, shown up with the stack of headshots like 228 00:12:26,120 --> 00:12:29,839 Speaker 2: it wouldn't taking that trying to take the straight path 229 00:12:29,920 --> 00:12:33,880 Speaker 2: that sometimes you're forcing something that you're not ready to do, 230 00:12:34,040 --> 00:12:37,640 Speaker 2: or it's it's not really aligned with where you're coming from. 231 00:12:37,720 --> 00:12:43,080 Speaker 2: And I think that's so important for anyone that's in 232 00:12:43,360 --> 00:12:48,120 Speaker 2: art of any kind. You have to, you know, figure 233 00:12:48,160 --> 00:12:52,920 Speaker 2: out what you can really be aligned with. I don't 234 00:12:52,920 --> 00:12:55,199 Speaker 2: know any more specific way to say that. 235 00:12:55,880 --> 00:12:58,839 Speaker 3: No, No, it makes sense, true to it, I guess. 236 00:12:59,240 --> 00:12:59,520 Speaker 2: Yeah. 237 00:13:00,480 --> 00:13:04,120 Speaker 1: And you're speaking of making art. You when you return 238 00:13:04,200 --> 00:13:08,160 Speaker 1: to Gilmore Girls in season six, you're at the town Troubadour. 239 00:13:08,600 --> 00:13:11,559 Speaker 1: You're playing some music. You got a guitar on Uh 240 00:13:12,400 --> 00:13:14,320 Speaker 1: do you play guitar? Do you have a musical background? 241 00:13:15,120 --> 00:13:18,880 Speaker 2: No, I had a comedy band with a friend of 242 00:13:18,920 --> 00:13:19,880 Speaker 2: mine at the time. 243 00:13:20,720 --> 00:13:22,280 Speaker 3: She taught me how taught up. 244 00:13:22,280 --> 00:13:27,120 Speaker 2: She taught me like three chords and right, and so 245 00:13:27,280 --> 00:13:29,520 Speaker 2: we just played this Eagles song. 246 00:13:29,679 --> 00:13:32,080 Speaker 3: I think it was, I forgot what song it was, 247 00:13:33,080 --> 00:13:34,080 Speaker 3: over and over again. 248 00:13:34,120 --> 00:13:36,200 Speaker 2: Oh no, I think Ring a Fire was one of 249 00:13:36,280 --> 00:13:40,560 Speaker 2: the first, you know, these very awesome songs that I 250 00:13:40,640 --> 00:13:44,240 Speaker 2: only take three chords. And then we immediately started going 251 00:13:44,280 --> 00:13:47,880 Speaker 2: on stage, but it was more of a comedy act. 252 00:13:48,559 --> 00:13:53,160 Speaker 2: She became much better at guitar than I ever did, uh, 253 00:13:53,800 --> 00:13:57,800 Speaker 2: but I knew enough that I could, and even that 254 00:13:58,000 --> 00:14:01,400 Speaker 2: on Gilmore Girls, it was nerve wracking, you know, to 255 00:14:02,559 --> 00:14:05,880 Speaker 2: lay and sing is like so nerve wracking. 256 00:14:05,960 --> 00:14:09,439 Speaker 3: But thankfully I knew that I was only. 257 00:14:09,320 --> 00:14:11,480 Speaker 2: Gonna have to do it, you know, two to four 258 00:14:11,600 --> 00:14:13,960 Speaker 2: lines of that song, and that it'd be moving on. 259 00:14:14,040 --> 00:14:16,079 Speaker 3: And that was That's also. 260 00:14:15,880 --> 00:14:18,240 Speaker 2: Like the brilliance of it, because I was like perfect, 261 00:14:18,400 --> 00:14:21,400 Speaker 2: Like if I I mean definitely I would if I 262 00:14:21,480 --> 00:14:24,360 Speaker 2: was like a Troubadour that was in the whole episode or. 263 00:14:24,280 --> 00:14:26,880 Speaker 3: Had it like an arc, I would figure it out. 264 00:14:26,920 --> 00:14:29,920 Speaker 2: But that was the perfect amount of like, oh, okay, 265 00:14:30,480 --> 00:14:31,080 Speaker 2: I did that. 266 00:14:31,160 --> 00:14:34,320 Speaker 1: You know, now did you who wrote the song? I 267 00:14:34,320 --> 00:14:37,040 Speaker 1: want to know that you wrote the song? All right? 268 00:14:38,040 --> 00:14:40,400 Speaker 2: And she let me do it, and you know, again, 269 00:14:40,480 --> 00:14:43,240 Speaker 2: that's such a testament to her and her trust in 270 00:14:44,320 --> 00:14:48,840 Speaker 2: her vision and her trust in when she hires people 271 00:14:49,560 --> 00:14:52,240 Speaker 2: that she likes because she knows what she wants and 272 00:14:52,280 --> 00:14:55,240 Speaker 2: she knows what she likes and that in that instance, 273 00:14:57,120 --> 00:15:00,760 Speaker 2: that's what it called for and that's what she needed 274 00:15:00,800 --> 00:15:01,160 Speaker 2: and she. 275 00:15:01,400 --> 00:15:03,680 Speaker 3: Allowed me to do it. And it was so fun. 276 00:15:03,760 --> 00:15:07,080 Speaker 2: I mean I remember it to this day just you know, 277 00:15:07,120 --> 00:15:08,320 Speaker 2: it was kind of exhilarating. 278 00:15:09,600 --> 00:15:13,360 Speaker 1: It's such a great moment too, and hearing that about 279 00:15:13,400 --> 00:15:16,920 Speaker 1: Amy Sherman Palladino is so excited. Like we've interviewed a 280 00:15:16,960 --> 00:15:18,720 Speaker 1: few people that have been on the show, and they 281 00:15:18,760 --> 00:15:22,400 Speaker 1: always tell us like, she has such a specific vision 282 00:15:22,600 --> 00:15:24,960 Speaker 1: for what she's doing, but when she brings people in, 283 00:15:25,200 --> 00:15:27,880 Speaker 1: she trusts them to do their thing, and that's why 284 00:15:27,920 --> 00:15:29,240 Speaker 1: she brought them in. I just think it's such a 285 00:15:29,280 --> 00:15:32,280 Speaker 1: cool balance of like having a vision but also being 286 00:15:32,320 --> 00:15:36,480 Speaker 1: collaborative and bringing other people in that are creative and 287 00:15:36,760 --> 00:15:39,200 Speaker 1: have an idea. It's really cool about that. 288 00:15:39,280 --> 00:15:43,200 Speaker 2: And the nutshell is I mean, obviously her immense talent 289 00:15:43,320 --> 00:15:46,160 Speaker 2: and writing a thing, but but what you just described 290 00:15:46,200 --> 00:15:51,840 Speaker 2: I think is what makes you know, the most the highest, 291 00:15:51,880 --> 00:15:57,320 Speaker 2: the most iconic creators I think have that you know, 292 00:15:57,360 --> 00:16:01,400 Speaker 2: the specificity of vision and the confidence, but then also 293 00:16:01,480 --> 00:16:06,440 Speaker 2: the trust because it's such a like massive collaboration and 294 00:16:06,440 --> 00:16:10,040 Speaker 2: and just see over the years, like what she's created 295 00:16:10,120 --> 00:16:15,360 Speaker 2: it is just mind blowing, Like it's such a testament. 296 00:16:15,400 --> 00:16:18,360 Speaker 2: It's like, wait, what you did that, and then you 297 00:16:18,400 --> 00:16:20,480 Speaker 2: did it again, and then you did it and then 298 00:16:20,520 --> 00:16:24,480 Speaker 2: you're just like are creating the most gorgeous, you know, 299 00:16:24,960 --> 00:16:29,080 Speaker 2: just on all on all levels, on all layers, just 300 00:16:29,320 --> 00:16:32,680 Speaker 2: working at the highest, you know, integrity. 301 00:16:32,760 --> 00:16:34,600 Speaker 3: She's it's just she's my favorite. 302 00:16:34,880 --> 00:16:38,720 Speaker 1: It's it's tremendous. It's really sounding. I have to This 303 00:16:38,840 --> 00:16:41,280 Speaker 1: is like such a nerd question, but I want to 304 00:16:41,280 --> 00:16:44,880 Speaker 1: ask it because I'm curious. Do you think is the 305 00:16:44,920 --> 00:16:49,240 Speaker 1: troubadour character the same as the girl in the film? 306 00:16:49,480 --> 00:16:50,040 Speaker 3: Is that the same? 307 00:16:51,280 --> 00:16:55,120 Speaker 1: Okay, thank you for clearing that up. I just wanted 308 00:16:55,120 --> 00:16:57,800 Speaker 1: to ask, because there's out there. 309 00:16:57,720 --> 00:17:01,800 Speaker 2: If you could bend it and say she became he 310 00:17:01,840 --> 00:17:04,200 Speaker 2: went through some hard knocks and became a troubadour. 311 00:17:04,240 --> 00:17:09,120 Speaker 3: But no, those are two very different people, Okay, innocence 312 00:17:09,480 --> 00:17:15,240 Speaker 3: of the girl and Kirk's film, the purity of that. 313 00:17:15,160 --> 00:17:19,960 Speaker 2: Expression versus the grizzled I mean, the Troubadour is pretty 314 00:17:20,000 --> 00:17:22,200 Speaker 2: sweet and pure too, But but no, I would say 315 00:17:22,240 --> 00:17:23,600 Speaker 2: the Troubadour has seen some life. 316 00:17:23,960 --> 00:17:30,040 Speaker 1: Yes, absolutely lived some life. Did you that the short 317 00:17:30,040 --> 00:17:32,639 Speaker 1: film moment? The audio from it, like went viral on 318 00:17:32,720 --> 00:17:34,879 Speaker 1: TikTok a few months back. I don't know if you 319 00:17:34,920 --> 00:17:37,240 Speaker 1: saw that, the like, I love your daughter, what do 320 00:17:37,240 --> 00:17:37,959 Speaker 1: you have to offer her? 321 00:17:38,560 --> 00:17:39,240 Speaker 3: I saw it. 322 00:17:39,400 --> 00:17:42,679 Speaker 2: I posted a I did it, did one myself, but 323 00:17:42,720 --> 00:17:46,280 Speaker 2: that my friend found it and he. 324 00:17:48,119 --> 00:17:51,960 Speaker 3: What is the actor's name who has the show that Jordan. 325 00:17:54,200 --> 00:17:57,480 Speaker 2: Were saying, Brian Jordan Alvarez, a friend of mine is 326 00:17:57,520 --> 00:18:00,720 Speaker 2: a really huge fan of his, and he's like, so 327 00:18:00,840 --> 00:18:04,040 Speaker 2: I just kept seeing him do and I praised it 328 00:18:04,080 --> 00:18:06,880 Speaker 2: and he was like, good, then, oh, there you were, 329 00:18:06,960 --> 00:18:09,199 Speaker 2: and and so that's how I found out. And he's like, 330 00:18:09,280 --> 00:18:12,359 Speaker 2: you gotta you gotta post on this, and so I 331 00:18:12,440 --> 00:18:15,639 Speaker 2: did and it was super fun, like I felt like, 332 00:18:15,800 --> 00:18:17,960 Speaker 2: you know it, it was a it was a fun reveal. 333 00:18:19,119 --> 00:18:22,639 Speaker 1: Yes, it's so awesome. I uh, I just love that. 334 00:18:22,720 --> 00:18:24,720 Speaker 1: You're like, you're the center of that. It's so cool. 335 00:18:25,200 --> 00:18:28,120 Speaker 1: But you're also at the center of a world called 336 00:18:28,160 --> 00:18:31,640 Speaker 1: twenty four and we have we have to get into 337 00:18:31,680 --> 00:18:33,760 Speaker 1: twenty four. That is your that's a big connection to 338 00:18:33,760 --> 00:18:36,600 Speaker 1: Gilmore Girls too, and we're going to do that in 339 00:18:36,800 --> 00:18:38,879 Speaker 1: just a second. This is the I Smell Pop Culture Podcast. 340 00:18:38,960 --> 00:18:50,679 Speaker 1: We're gonna hear some great commercials. Everybody, one second. It 341 00:18:50,760 --> 00:18:53,359 Speaker 1: is I Smell Pop Culture on the IML and podcast. 342 00:18:53,359 --> 00:18:55,320 Speaker 1: My name is Easton Allen. We're hanging out with mary 343 00:18:55,400 --> 00:18:59,280 Speaker 1: Lyn Riis cub from twenty four from a short film 344 00:18:59,280 --> 00:19:03,119 Speaker 1: by Kirk a film by Kirk, but twenty four was 345 00:19:03,200 --> 00:19:05,159 Speaker 1: mentioned a couple times in Gilmour Girls. You know, we 346 00:19:05,200 --> 00:19:09,959 Speaker 1: love their pop culture references. But Chloe, Chloe O'Brien, your 347 00:19:10,000 --> 00:19:14,480 Speaker 1: character was specifically mentioned in the Netflix revival. It's in 348 00:19:14,640 --> 00:19:16,880 Speaker 1: fall and Luke and Lareli are working on the guest 349 00:19:16,880 --> 00:19:18,840 Speaker 1: list for their wedding and we found out that Luke 350 00:19:18,920 --> 00:19:23,639 Speaker 1: is friends with Keifer Sutherland. And to clarify, Laurel As, like, 351 00:19:23,680 --> 00:19:26,000 Speaker 1: you mean the real keeper Sutherland, Like Chloe, the canisters 352 00:19:26,000 --> 00:19:29,440 Speaker 1: are already armed, damn it. And like Lucas, I guess it's 353 00:19:29,440 --> 00:19:33,200 Speaker 1: a real key for Sutherland. So twenty four, I mean 354 00:19:34,000 --> 00:19:37,280 Speaker 1: it went incredible. Run. First of all, I look this up. 355 00:19:37,320 --> 00:19:40,159 Speaker 1: This is incredible. You're in the most episodes besides Keefer, 356 00:19:40,240 --> 00:19:43,639 Speaker 1: Like it's him, and then you wow, that's wild. What 357 00:19:43,680 --> 00:19:45,000 Speaker 1: one hundred and twenty five episodes? 358 00:19:45,240 --> 00:19:45,960 Speaker 3: It's unreal? 359 00:19:46,640 --> 00:19:51,800 Speaker 1: Unreal? Okay, so you joined in season three? How did 360 00:19:51,960 --> 00:19:54,080 Speaker 1: tell me? How that? How did you because you were 361 00:19:54,080 --> 00:19:57,240 Speaker 1: doing mostly comedy before this, Like, how did you get 362 00:19:57,240 --> 00:19:58,560 Speaker 1: into the world of twenty four? Into this? 363 00:19:58,640 --> 00:20:02,879 Speaker 2: Like Thrilla one of the producers had seen me in 364 00:20:03,680 --> 00:20:05,040 Speaker 2: a movie called Punch Trunk. 365 00:20:04,880 --> 00:20:07,840 Speaker 3: Love, and actually they are. 366 00:20:07,920 --> 00:20:10,880 Speaker 2: I don't know who told who, but they the producers 367 00:20:10,920 --> 00:20:14,440 Speaker 2: called me in and they said, we like your quality 368 00:20:14,520 --> 00:20:18,360 Speaker 2: in this movie, this kind of overbearing bossy, and we 369 00:20:18,480 --> 00:20:22,240 Speaker 2: don't really the part wasn't really written yet. On the page, 370 00:20:22,240 --> 00:20:25,520 Speaker 2: it was just yes, Jack, and they said, we just 371 00:20:25,560 --> 00:20:29,639 Speaker 2: wanted to meet with you. We like you for this role. 372 00:20:30,840 --> 00:20:32,880 Speaker 2: It's not written yet, but we're going to develop it. 373 00:20:32,920 --> 00:20:35,800 Speaker 2: And it was one of those things where I just thought, well, 374 00:20:35,880 --> 00:20:39,440 Speaker 2: that was amazing to just be recognized and call in 375 00:20:39,840 --> 00:20:40,240 Speaker 2: like that. 376 00:20:41,160 --> 00:20:44,920 Speaker 3: I didn't even necessarily think it was going to pan. 377 00:20:44,800 --> 00:20:48,440 Speaker 2: Out, because that's how everything goes, you know, some kind 378 00:20:48,480 --> 00:20:51,840 Speaker 2: of things that are a sure thing really are not. 379 00:20:52,240 --> 00:20:54,159 Speaker 3: And I was just happy to have the meeting. 380 00:20:54,240 --> 00:20:59,639 Speaker 2: And then it worked out, and I don't it just 381 00:21:00,080 --> 00:21:04,680 Speaker 2: started working somehow. I remember people being really annoyed. 382 00:21:04,240 --> 00:21:07,160 Speaker 3: With my character at first. 383 00:21:07,560 --> 00:21:09,520 Speaker 2: Because I was sort of seemed like I was getting 384 00:21:09,560 --> 00:21:11,280 Speaker 2: in the way and I was in know it all. 385 00:21:11,400 --> 00:21:14,960 Speaker 2: And then the episode I don't remember specifically what the 386 00:21:15,000 --> 00:21:18,840 Speaker 2: episode was, but they they wrote me they revealed that 387 00:21:18,920 --> 00:21:22,479 Speaker 2: I actually helped Jack. So up until that point I 388 00:21:22,560 --> 00:21:25,280 Speaker 2: was just like this, like oh, look, I'm trying. I'm 389 00:21:25,320 --> 00:21:28,040 Speaker 2: doing it, Like, why isn't anyone listening to me? And 390 00:21:28,080 --> 00:21:32,080 Speaker 2: then when it showed that I was working with him 391 00:21:32,119 --> 00:21:35,920 Speaker 2: and I did something to help him, that's when everything changed, 392 00:21:36,040 --> 00:21:40,760 Speaker 2: because people loved him so much that it suddenly gave 393 00:21:40,800 --> 00:21:44,720 Speaker 2: this annoying character this whole like, oh wait a minute, 394 00:21:44,840 --> 00:21:48,119 Speaker 2: we didn't know that about her, so it kind of 395 00:21:48,640 --> 00:21:54,600 Speaker 2: gave this fun layer to the character that was unexpected 396 00:21:54,680 --> 00:21:56,840 Speaker 2: that I think just was fun. 397 00:21:56,920 --> 00:22:00,399 Speaker 3: And then from that point on, we just like, you know, 398 00:22:00,680 --> 00:22:01,199 Speaker 3: roll with it. 399 00:22:02,200 --> 00:22:06,560 Speaker 1: Well, I'm glad that people came around on Chloe because 400 00:22:06,640 --> 00:22:08,479 Speaker 1: she's such a great character. 401 00:22:08,840 --> 00:22:10,240 Speaker 3: Well they were forced. 402 00:22:09,840 --> 00:22:11,800 Speaker 2: To because they're like wait, and then it got to 403 00:22:11,800 --> 00:22:14,000 Speaker 2: the point where it's like, well, he can't do that 404 00:22:14,080 --> 00:22:14,919 Speaker 2: without her, And. 405 00:22:15,119 --> 00:22:20,800 Speaker 1: Of course, do you consider yourself like a techie person? 406 00:22:21,200 --> 00:22:23,160 Speaker 1: Was like learning all the jargon hard for you? 407 00:22:23,560 --> 00:22:24,680 Speaker 3: Oh, it was really hard. 408 00:22:25,000 --> 00:22:28,879 Speaker 2: Yeah, I've told this story before where I on the 409 00:22:28,920 --> 00:22:31,520 Speaker 2: first day of shooting, I, you know, the show was 410 00:22:31,560 --> 00:22:34,520 Speaker 2: already massively popular, and as you had mentioned, I hadn't 411 00:22:34,520 --> 00:22:37,639 Speaker 2: really done any dramas and I got thrown on this 412 00:22:37,800 --> 00:22:42,159 Speaker 2: set and I'm a pretty quick study, and I felt 413 00:22:42,160 --> 00:22:43,960 Speaker 2: like I had a handle on it, and I did 414 00:22:44,000 --> 00:22:46,960 Speaker 2: for the first take, and then they go, you know, 415 00:22:47,000 --> 00:22:49,800 Speaker 2: it's a show like that has done like a film, 416 00:22:49,920 --> 00:22:53,959 Speaker 2: so there's long breaks while they relighte and you know, 417 00:22:54,000 --> 00:22:57,800 Speaker 2: everything shifts, but you're still in the same scene. So 418 00:22:57,840 --> 00:23:01,520 Speaker 2: we went back like twenty thirty minutes later, and the 419 00:23:01,560 --> 00:23:05,880 Speaker 2: stuff that I delivered once where you know, I had 420 00:23:06,119 --> 00:23:11,840 Speaker 2: limited experience in like little movies, live comedic sitcoms where 421 00:23:11,840 --> 00:23:15,080 Speaker 2: you're in front of an audience, and so you know, 422 00:23:15,160 --> 00:23:17,159 Speaker 2: I did that first take and I'm like, I nailed it. 423 00:23:17,240 --> 00:23:19,320 Speaker 2: Not that I didn't know there was gonna be like 424 00:23:19,400 --> 00:23:23,679 Speaker 2: other angles, but I just didn't realize that. My body 425 00:23:23,760 --> 00:23:27,080 Speaker 2: and my mind were like bye, Like we did it once, 426 00:23:27,320 --> 00:23:30,520 Speaker 2: like we're done, and like I lit it and I 427 00:23:30,600 --> 00:23:33,919 Speaker 2: showed up and it just would not come out of 428 00:23:33,960 --> 00:23:36,240 Speaker 2: my mouth, and I was and the you know, the 429 00:23:36,280 --> 00:23:38,520 Speaker 2: more it didn't come out, the worse it got. And 430 00:23:38,600 --> 00:23:43,080 Speaker 2: I just was like got really hot, like so humiliated, 431 00:23:43,200 --> 00:23:45,240 Speaker 2: and we had to take a break and I had 432 00:23:45,240 --> 00:23:48,320 Speaker 2: to go into the corner and like drill the line 433 00:23:48,440 --> 00:23:51,199 Speaker 2: over and over again and kind of like shake it 434 00:23:51,240 --> 00:23:54,359 Speaker 2: off and come back. We got through the day and 435 00:23:54,400 --> 00:23:57,800 Speaker 2: then at the end of the day, the director said, 436 00:23:58,040 --> 00:23:58,600 Speaker 2: don't worry. 437 00:23:58,640 --> 00:23:59,960 Speaker 3: That happens to everyone. 438 00:24:00,280 --> 00:24:02,840 Speaker 2: So I guess that's not And you know that the 439 00:24:02,960 --> 00:24:05,719 Speaker 2: show was like so intense in the plot, yeah, so 440 00:24:05,840 --> 00:24:09,359 Speaker 2: quickly that there were so many people over the years 441 00:24:09,359 --> 00:24:11,919 Speaker 2: that would come on for one episode, two episode, and 442 00:24:11,960 --> 00:24:12,919 Speaker 2: so you're you're all. 443 00:24:12,760 --> 00:24:14,359 Speaker 3: Of a sudden, it's like and go. 444 00:24:14,760 --> 00:24:17,480 Speaker 2: And so that made me feel a lot better that 445 00:24:17,560 --> 00:24:20,480 Speaker 2: I wasn't the only one that completely was like, oh, 446 00:24:20,600 --> 00:24:23,840 Speaker 2: because it doesn't your brain has nothing to hang on to. 447 00:24:24,880 --> 00:24:27,480 Speaker 3: So I developed well. 448 00:24:27,520 --> 00:24:30,800 Speaker 2: First of all, I was much more prepared in terms 449 00:24:30,920 --> 00:24:35,640 Speaker 2: of working on the memorization instead of being like, oh, 450 00:24:35,640 --> 00:24:38,840 Speaker 2: I'm a quick study. Because if something's like a natural 451 00:24:38,880 --> 00:24:41,400 Speaker 2: way of talking, I'm like, oh, that's a natural way 452 00:24:41,440 --> 00:24:41,919 Speaker 2: of talking. 453 00:24:41,960 --> 00:24:45,720 Speaker 3: But when it's something that you can't, you don't know, 454 00:24:46,640 --> 00:24:46,879 Speaker 3: you know. 455 00:24:46,920 --> 00:24:50,440 Speaker 2: So I started like drilling it beforehand so I would 456 00:24:50,440 --> 00:24:53,040 Speaker 2: be over prepared. And then if I really couldn't get it, 457 00:24:53,119 --> 00:24:56,240 Speaker 2: I developed like a mnemonic. I would just break up 458 00:24:56,320 --> 00:25:00,400 Speaker 2: the word by sound, and I would associate the sound 459 00:25:00,520 --> 00:25:02,080 Speaker 2: like you would do with my last name, like how 460 00:25:02,119 --> 00:25:05,000 Speaker 2: do you you know? Like it's right, it's rice, So 461 00:25:05,040 --> 00:25:06,800 Speaker 2: you pitt your like a rice and a cub. So 462 00:25:06,840 --> 00:25:09,240 Speaker 2: it would take these like technical words and just break 463 00:25:09,280 --> 00:25:12,840 Speaker 2: them down into sounds if I needed to, because sometimes 464 00:25:12,880 --> 00:25:16,119 Speaker 2: there would be speeches where it would be normal, normal, normal, 465 00:25:16,200 --> 00:25:16,800 Speaker 2: and then you'd. 466 00:25:16,640 --> 00:25:19,960 Speaker 3: Have to say like four or five like the thing. 467 00:25:20,000 --> 00:25:23,680 Speaker 2: And I can't even do like a fake example right 468 00:25:23,680 --> 00:25:25,760 Speaker 2: now because they're weird and hard. But you know what 469 00:25:25,840 --> 00:25:28,200 Speaker 2: I'm saying, like just a bunch of technical stuff where 470 00:25:29,080 --> 00:25:32,680 Speaker 2: if you're acting and you're in the moment again, your 471 00:25:32,720 --> 00:25:33,560 Speaker 2: brain can just. 472 00:25:33,440 --> 00:25:37,320 Speaker 3: Be like, mmm, does not I will not adhere to 473 00:25:37,440 --> 00:25:39,320 Speaker 3: this because the. 474 00:25:39,320 --> 00:25:41,879 Speaker 2: Weird thing happens when you're acting where you're like making 475 00:25:41,920 --> 00:25:44,280 Speaker 2: it real and then it's almost like it wants to 476 00:25:44,359 --> 00:25:47,920 Speaker 2: reject the words that it doesn't know. Even if you've 477 00:25:47,920 --> 00:25:51,200 Speaker 2: studied and you go, no, okay, this word actually means 478 00:25:51,280 --> 00:25:54,840 Speaker 2: this and you associate it with the thing. Sometimes that 479 00:25:54,880 --> 00:25:56,920 Speaker 2: didn't work. So yeah, I would break it down into 480 00:25:57,000 --> 00:25:58,200 Speaker 2: like sounds. 481 00:25:58,600 --> 00:26:02,560 Speaker 1: It's so fascinating because like I mean, I've never acted, 482 00:26:02,600 --> 00:26:05,280 Speaker 1: I likely will never act, but like it's it's such 483 00:26:05,320 --> 00:26:10,040 Speaker 1: a like muscle memory part of it. But you also 484 00:26:10,040 --> 00:26:13,480 Speaker 1: have to, like, you know, put in this creative expression thing. 485 00:26:14,160 --> 00:26:15,959 Speaker 1: And we hear about this on Gilmore Girls, a lot 486 00:26:16,000 --> 00:26:17,960 Speaker 1: because with Gilmore Girls, you have to talk very fast, 487 00:26:18,040 --> 00:26:19,280 Speaker 1: and there's like a lot of you know, you have 488 00:26:19,320 --> 00:26:21,160 Speaker 1: to and there's there's no improv you have to see 489 00:26:21,160 --> 00:26:25,240 Speaker 1: exactly what they wrote very fast. And so I'm wondering, 490 00:26:25,280 --> 00:26:29,520 Speaker 1: like in twenty four, could could you improve it all? 491 00:26:29,560 --> 00:26:32,159 Speaker 1: Could you go off script? Like how loose were they 492 00:26:32,200 --> 00:26:32,439 Speaker 1: with that? 493 00:26:33,400 --> 00:26:38,560 Speaker 2: Not really and you but honestly, I imagine it was 494 00:26:38,800 --> 00:26:40,359 Speaker 2: looser than you would think. 495 00:26:40,440 --> 00:26:43,280 Speaker 3: It would be interesting, like in terms of. 496 00:26:44,680 --> 00:26:46,280 Speaker 2: If you got if you didn't got to turn a 497 00:26:46,320 --> 00:26:49,840 Speaker 2: phrase wrong, or you maybe added a couple of words 498 00:26:50,240 --> 00:26:55,080 Speaker 2: and it made sense and felt right, they wouldn't care. 499 00:26:55,280 --> 00:26:57,640 Speaker 2: I mean, you're not improvising whole scenes on twenty four. 500 00:26:57,720 --> 00:27:03,440 Speaker 2: But sometimes things weren't like word per or very occasionally 501 00:27:04,560 --> 00:27:08,480 Speaker 2: sometimes you'd skip something and you like truncated something by accident, 502 00:27:08,640 --> 00:27:09,679 Speaker 2: and they're like great. 503 00:27:10,080 --> 00:27:12,280 Speaker 3: I mean, Keifer was somebody who really. 504 00:27:14,080 --> 00:27:16,720 Speaker 2: You know, it's a testament to how to be a 505 00:27:16,800 --> 00:27:19,480 Speaker 2: lead to the show because he was also very conscious 506 00:27:19,560 --> 00:27:23,560 Speaker 2: of like the movement of the show. I mean, the 507 00:27:23,600 --> 00:27:26,440 Speaker 2: directors and camera would do this, but he often would 508 00:27:26,480 --> 00:27:29,800 Speaker 2: take the lead on like let's drop those two lines 509 00:27:29,920 --> 00:27:34,040 Speaker 2: are expositional, you know, because sometimes from the writer's room 510 00:27:34,080 --> 00:27:36,919 Speaker 2: to the floor, the writers are like, we have to 511 00:27:37,080 --> 00:27:37,480 Speaker 2: say this. 512 00:27:38,160 --> 00:27:40,400 Speaker 3: It's like, okay, let's lose that one line and we're 513 00:27:40,440 --> 00:27:41,080 Speaker 3: on the move. 514 00:27:41,240 --> 00:27:43,840 Speaker 2: So I'm gonna be walking and I'm gonna be taking 515 00:27:43,880 --> 00:27:46,600 Speaker 2: the thing as I'm saying it. So he was always 516 00:27:46,600 --> 00:27:50,160 Speaker 2: a big proponent of like, how can we make this 517 00:27:51,320 --> 00:27:53,720 Speaker 2: if any you know, his instincts of like if it 518 00:27:53,880 --> 00:27:59,399 Speaker 2: feels like it's slow or not necessary, he and he 519 00:27:59,480 --> 00:28:02,040 Speaker 2: had the instinct and the power and the talent to 520 00:28:03,480 --> 00:28:04,800 Speaker 2: push that stuff through. 521 00:28:05,560 --> 00:28:08,720 Speaker 1: Wow, what was it? I mean, what's he like? What's 522 00:28:08,720 --> 00:28:12,760 Speaker 1: it like working with Keiper Siloly? You could be honest, 523 00:28:13,240 --> 00:28:14,679 Speaker 1: no one will hear this. You can just tell me. 524 00:28:15,720 --> 00:28:18,320 Speaker 3: I mean, he's amazing. 525 00:28:19,040 --> 00:28:23,840 Speaker 2: It's probably what you would imagine. It's probably what you 526 00:28:23,840 --> 00:28:26,679 Speaker 2: would imagine it's like working with him. He can be 527 00:28:26,800 --> 00:28:31,280 Speaker 2: very intense because I think like anytime you see him 528 00:28:31,320 --> 00:28:34,359 Speaker 2: speak in an interview, he's sort of you can see 529 00:28:34,440 --> 00:28:39,000 Speaker 2: all the components that make up him. He's intense, he 530 00:28:39,160 --> 00:28:41,280 Speaker 2: cares a lot, he wants it to be good. He 531 00:28:41,320 --> 00:28:45,360 Speaker 2: has integrity, but he also can be goofy and sensitive 532 00:28:45,440 --> 00:28:45,880 Speaker 2: and like. 533 00:28:45,880 --> 00:28:46,840 Speaker 3: To play around. 534 00:28:46,960 --> 00:28:50,720 Speaker 2: He also can be angry and passionate, and you know, 535 00:28:50,840 --> 00:28:54,080 Speaker 2: he's all these things, which is what makes him a superstar. 536 00:28:56,040 --> 00:28:58,920 Speaker 1: Now, this is something I like to ask people, and 537 00:28:59,120 --> 00:29:02,920 Speaker 1: this is a hard question, but like you twenty four, 538 00:29:03,040 --> 00:29:05,400 Speaker 1: you were such a big part of twenty four, so many, 539 00:29:05,640 --> 00:29:06,960 Speaker 1: so many episode. I mean, as we said BEFO one 540 00:29:07,000 --> 00:29:09,080 Speaker 1: hundred and twenty five episodes. Do you is there a 541 00:29:09,080 --> 00:29:10,600 Speaker 1: memory like when you look back on your time on 542 00:29:10,640 --> 00:29:12,400 Speaker 1: twenty four, is there a memory that like jumps out 543 00:29:12,440 --> 00:29:14,720 Speaker 1: at you right away, like like like wow, I can't 544 00:29:14,760 --> 00:29:16,880 Speaker 1: believe we did that, or like something you like to 545 00:29:16,880 --> 00:29:20,080 Speaker 1: revisit when you think about twenty four, like your I 546 00:29:20,120 --> 00:29:21,960 Speaker 1: don't want to say favorite memory, but like, is there 547 00:29:22,000 --> 00:29:25,160 Speaker 1: something that happened during the show that just you you 548 00:29:25,280 --> 00:29:27,520 Speaker 1: visit in your mind a lot. I'm most curious about that. 549 00:29:28,000 --> 00:29:30,400 Speaker 2: I Mean, I don't really think about it that much anymore, 550 00:29:30,520 --> 00:29:33,040 Speaker 2: but I. 551 00:29:31,960 --> 00:29:38,480 Speaker 3: I will say that coming out of twenty four it 552 00:29:38,600 --> 00:29:40,400 Speaker 3: was a big adjustment. 553 00:29:40,720 --> 00:29:43,600 Speaker 2: And I'm sure this is like this with anyone who's 554 00:29:43,640 --> 00:29:48,000 Speaker 2: been on a substantial show for a long period of time. 555 00:29:48,280 --> 00:29:53,960 Speaker 2: Is that it gets very hard to because there were 556 00:29:54,080 --> 00:29:57,040 Speaker 2: many many things in my memory like that if I 557 00:29:57,080 --> 00:30:01,760 Speaker 2: think about it now, because all the time on that show. 558 00:30:01,800 --> 00:30:03,320 Speaker 3: We were in weird locations. 559 00:30:03,400 --> 00:30:05,719 Speaker 2: Of course for me, I was indoor on the computer, 560 00:30:05,880 --> 00:30:07,720 Speaker 2: but I but I have a lot of memories of 561 00:30:08,920 --> 00:30:11,520 Speaker 2: hours and hours and hours that we would spend in 562 00:30:11,560 --> 00:30:14,400 Speaker 2: that you know floor, on that floor and the counter 563 00:30:14,480 --> 00:30:18,640 Speaker 2: terrorist unit, especially in those early days where it was 564 00:30:18,720 --> 00:30:21,520 Speaker 2: so new to me, the pacing of a drama and 565 00:30:21,640 --> 00:30:24,440 Speaker 2: the intensity of it, you know. So I have tons 566 00:30:24,480 --> 00:30:28,200 Speaker 2: of memories of like little moments of having to deliver 567 00:30:28,280 --> 00:30:31,280 Speaker 2: this exposition and we're in and we've got the screens 568 00:30:31,360 --> 00:30:34,560 Speaker 2: and we're just having these serious talks. 569 00:30:34,600 --> 00:30:36,160 Speaker 3: But then I also have many. 570 00:30:35,960 --> 00:30:41,840 Speaker 2: Memories of action stuff of being you know, out on 571 00:30:41,960 --> 00:30:45,680 Speaker 2: a dock with all these shipping containers or in just 572 00:30:45,680 --> 00:30:49,120 Speaker 2: just like in weird, crazy locations. 573 00:30:49,160 --> 00:30:51,240 Speaker 3: Like there was so much stuff about it. I was just. 574 00:30:53,200 --> 00:30:59,000 Speaker 2: Uh memorable and intense, and you know, it was serious, 575 00:30:59,040 --> 00:31:01,680 Speaker 2: but it also was it was fun because we all 576 00:31:01,760 --> 00:31:07,160 Speaker 2: loved it and we were all crowd to be on it. 577 00:31:06,520 --> 00:31:08,280 Speaker 3: You know, so there was an investment level. 578 00:31:08,880 --> 00:31:12,480 Speaker 2: It was special in that way where sometimes it was 579 00:31:12,480 --> 00:31:16,040 Speaker 2: hard and you got on each other's nerves, but everybody 580 00:31:16,080 --> 00:31:18,680 Speaker 2: cared about the show, and everybody was proud of the show. 581 00:31:19,240 --> 00:31:22,120 Speaker 1: It's such a It's one of those shows like that. 582 00:31:22,400 --> 00:31:24,920 Speaker 1: I think when you look at all of television history, 583 00:31:24,960 --> 00:31:27,000 Speaker 1: it really like I remember when it came out, was like, oh, 584 00:31:27,000 --> 00:31:29,160 Speaker 1: it's going to be told in real time, like every 585 00:31:29,160 --> 00:31:31,080 Speaker 1: episode it's an hour. I was like, oh, whoa, you 586 00:31:31,120 --> 00:31:33,720 Speaker 1: can do this? Oh my god. And they started thinking 587 00:31:33,760 --> 00:31:36,280 Speaker 1: about like what's going to be the most boring hour 588 00:31:36,320 --> 00:31:38,040 Speaker 1: of the day for this one, Like is there going 589 00:31:38,080 --> 00:31:39,600 Speaker 1: to be a part where everyone's just kind of sitting 590 00:31:39,600 --> 00:31:43,560 Speaker 1: around eating lunch or something like that. Yeah, now we 591 00:31:43,880 --> 00:31:46,360 Speaker 1: talk about like like Gilmore Girl's references twenty four, But 592 00:31:46,440 --> 00:31:50,200 Speaker 1: also this happened in real life Project Chloe at the 593 00:31:50,240 --> 00:31:52,360 Speaker 1: Department of Homeland Security. Do you know about this? 594 00:31:52,680 --> 00:31:53,080 Speaker 3: I do? 595 00:31:53,520 --> 00:32:01,200 Speaker 1: Yeah, what a program for drones to defend against infrared missiles. 596 00:32:01,400 --> 00:32:03,400 Speaker 1: How did that feel when you found out that you 597 00:32:03,400 --> 00:32:05,400 Speaker 1: were your character was named after a or there was 598 00:32:05,400 --> 00:32:06,720 Speaker 1: a program named after your character. 599 00:32:07,360 --> 00:32:08,400 Speaker 3: That was disturbing? 600 00:32:08,840 --> 00:32:12,160 Speaker 1: Yes, crazy, right, Yeah. 601 00:32:11,520 --> 00:32:14,480 Speaker 3: Very bizarre. And the extent that like. 602 00:32:16,960 --> 00:32:19,960 Speaker 2: People in the in the in the where that worked 603 00:32:19,960 --> 00:32:23,480 Speaker 2: in the government were crazy about twenty four Like that 604 00:32:24,960 --> 00:32:27,560 Speaker 2: I meant, I met a lot of people that had 605 00:32:27,600 --> 00:32:30,760 Speaker 2: the equivalent of our job that were like, yeah, we 606 00:32:30,840 --> 00:32:33,760 Speaker 2: don't things don't move that fast, you know. Actually at 607 00:32:33,800 --> 00:32:36,440 Speaker 2: the time, it's like we don't have the technology to 608 00:32:36,600 --> 00:32:43,080 Speaker 2: do even half the stuff, right, So it was fun 609 00:32:43,280 --> 00:32:49,600 Speaker 2: but kind of disturbing to know that that was named Chloe. I. 610 00:32:52,560 --> 00:32:54,600 Speaker 1: Mariy Lynn Rice Cub is with us. This is the 611 00:32:54,600 --> 00:32:56,640 Speaker 1: Ice Smell Pop Culture Podcast. We're going to take one 612 00:32:56,680 --> 00:32:59,160 Speaker 1: more quick break. We have more to get into. I 613 00:32:59,200 --> 00:33:01,880 Speaker 1: have a question for you about your past, and we 614 00:33:01,920 --> 00:33:04,440 Speaker 1: got to talk about your your new special road gig. 615 00:33:04,480 --> 00:33:06,920 Speaker 1: It's on YouTube. Stick around everybody, We'll be right back. 616 00:33:16,160 --> 00:33:18,560 Speaker 1: It is the Icewell Pop Culture Podcast. This is Easton 617 00:33:18,600 --> 00:33:21,120 Speaker 1: Allen hanging out with mary Lynn Rice Cub. I'm feeling 618 00:33:21,160 --> 00:33:23,520 Speaker 1: so confident in seeing your last name now I shout 619 00:33:23,520 --> 00:33:28,200 Speaker 1: it from the rooftops. So I read that you worked 620 00:33:28,280 --> 00:33:31,720 Speaker 1: at the movie theater inside the Beverly Center. Is that right? 621 00:33:32,040 --> 00:33:34,640 Speaker 3: That is true? I also worked at the Hard Rock Cafe. 622 00:33:34,720 --> 00:33:38,719 Speaker 2: But yeah, I worked at that movie theater and I 623 00:33:38,840 --> 00:33:40,840 Speaker 2: was not good good research. 624 00:33:41,000 --> 00:33:45,760 Speaker 3: I was not concession stand material, that is what I 625 00:33:45,920 --> 00:33:49,240 Speaker 3: told me. So I got. 626 00:33:49,000 --> 00:33:52,160 Speaker 2: Reduced to taking tickets because they didn't trust me at 627 00:33:52,160 --> 00:33:55,200 Speaker 2: the concession stand to interact with the public. 628 00:33:56,560 --> 00:33:58,760 Speaker 3: And more than just taking a ticket. 629 00:33:59,480 --> 00:34:01,200 Speaker 1: I had the exact same experience. 630 00:34:01,680 --> 00:34:02,360 Speaker 3: What do you mean. 631 00:34:02,720 --> 00:34:05,400 Speaker 1: I worked in a movie theater too, and I worked 632 00:34:05,400 --> 00:34:07,360 Speaker 1: my way to the concession stand. But I was that 633 00:34:07,640 --> 00:34:09,560 Speaker 1: I had to take the tickets and clean the theaters 634 00:34:09,600 --> 00:34:12,320 Speaker 1: and tell people like, uh oh, open water would be 635 00:34:12,920 --> 00:34:14,000 Speaker 1: up to your right theater five. 636 00:34:14,320 --> 00:34:19,040 Speaker 2: We both did that, Thank you cleaning the theaters. Who 637 00:34:19,160 --> 00:34:22,520 Speaker 2: knew there was like a real hierarchy at the movie theater. 638 00:34:22,719 --> 00:34:24,239 Speaker 1: Right, it was crazy like and then the people in 639 00:34:24,280 --> 00:34:26,759 Speaker 1: the box office forget about it. Those were like untouchable. 640 00:34:27,239 --> 00:34:30,040 Speaker 1: But did you ever find anything really weird when you're 641 00:34:30,040 --> 00:34:32,080 Speaker 1: cleaning a theater or like, like, what was the craziest 642 00:34:32,080 --> 00:34:33,560 Speaker 1: thing you found? If you can remember anything? 643 00:34:33,960 --> 00:34:34,520 Speaker 3: No, I don't know. 644 00:34:34,520 --> 00:34:37,440 Speaker 2: I don't know anything. I don't think that job lasted 645 00:34:37,560 --> 00:34:38,279 Speaker 2: very long for me. 646 00:34:38,400 --> 00:34:38,640 Speaker 3: Yeah. 647 00:34:39,120 --> 00:34:45,200 Speaker 2: I remember eating some leftover candy. Wow, right, you know 648 00:34:45,440 --> 00:34:48,719 Speaker 2: desperate times. Yeah, I get it, get candy and I 649 00:34:48,760 --> 00:34:50,720 Speaker 2: needed it to get through that shift. 650 00:34:51,600 --> 00:34:53,560 Speaker 1: I was jealous the people that worked in movie theaters 651 00:34:53,560 --> 00:34:56,160 Speaker 1: inside a mall, because I'd like the one I worked 652 00:34:56,160 --> 00:34:58,280 Speaker 1: at was in a shopping center. It wasn't the same. 653 00:34:58,400 --> 00:35:00,279 Speaker 1: And I loved fast times at Ridgemont High and I 654 00:35:00,280 --> 00:35:02,839 Speaker 1: wanted to be like that kid, you know, like, oh, 655 00:35:02,920 --> 00:35:05,080 Speaker 1: the girl at the pizza shop across the wall. You know, 656 00:35:05,239 --> 00:35:10,160 Speaker 1: I wanted that experience. But you have a new special out. 657 00:35:10,200 --> 00:35:13,200 Speaker 1: It's on YouTube. It's called road Gig. You filmed it 658 00:35:13,200 --> 00:35:17,279 Speaker 1: at Zanies. Tell us about this comedy special. What can 659 00:35:17,320 --> 00:35:19,239 Speaker 1: people expect from that? Why should they watch it? 660 00:35:19,960 --> 00:35:21,120 Speaker 3: Oh? 661 00:35:21,160 --> 00:35:23,040 Speaker 2: You know, I'm really proud of this special. I talk 662 00:35:23,080 --> 00:35:26,319 Speaker 2: a lot about I touch upon my career a little bit. 663 00:35:26,360 --> 00:35:28,560 Speaker 2: I talk a little bit about twenty four I talk 664 00:35:28,640 --> 00:35:32,360 Speaker 2: about being a parent, being a woman in the world. 665 00:35:33,640 --> 00:35:38,200 Speaker 2: It's a little raunchy. It's I had one night to 666 00:35:38,360 --> 00:35:41,239 Speaker 2: do it. One show. The audience did not know I 667 00:35:41,280 --> 00:35:43,840 Speaker 2: was doing a special. Wow, so and it was a 668 00:35:43,920 --> 00:35:48,720 Speaker 2: particularly they were a great audience, Like we really got rolling. 669 00:35:48,840 --> 00:35:51,080 Speaker 3: I feel like if you watch this, you'll feel like you're. 670 00:35:50,960 --> 00:35:53,680 Speaker 2: Hanging out with me, and you'll get to know me 671 00:35:53,840 --> 00:35:56,359 Speaker 2: and get to know stories that you can like sit 672 00:35:56,440 --> 00:36:00,880 Speaker 2: back and be like, Okay, that are you know, relatable 673 00:36:01,000 --> 00:36:06,319 Speaker 2: and unique. But also the audience piped up to talk 674 00:36:06,360 --> 00:36:09,720 Speaker 2: to me quite a lot, especially doing a taping. 675 00:36:10,800 --> 00:36:14,400 Speaker 3: I wanted to be like, this is my special. In fact, within. 676 00:36:14,160 --> 00:36:18,000 Speaker 2: The first minute there's a guy pointing at his friend 677 00:36:18,040 --> 00:36:20,399 Speaker 2: and I was like, yes, like he. 678 00:36:20,400 --> 00:36:24,160 Speaker 3: Has his hand raise I'm just starting. 679 00:36:23,680 --> 00:36:28,000 Speaker 2: The show, like okay, yeah, and we left it all in. 680 00:36:28,719 --> 00:36:33,719 Speaker 2: He goes she was on twenty four and so I 681 00:36:33,760 --> 00:36:36,520 Speaker 2: had a whole conversation with this woman who worked a 682 00:36:36,600 --> 00:36:39,640 Speaker 2: day on twenty four was killed, and he was like, 683 00:36:40,120 --> 00:36:41,879 Speaker 2: I got you, like I'm gonna. 684 00:36:41,640 --> 00:36:44,960 Speaker 3: You know, like, oh yeah, I'm gonna shout out. 685 00:36:45,000 --> 00:36:47,879 Speaker 2: I'm like I am, like I do have a microphone, 686 00:36:48,080 --> 00:36:51,359 Speaker 2: And I'm glad you were on it for one day. 687 00:36:51,400 --> 00:36:53,279 Speaker 2: I was on it for about eight years. May I 688 00:36:53,360 --> 00:36:55,960 Speaker 2: please continue with my show now? But it was very 689 00:36:56,520 --> 00:36:58,239 Speaker 2: and there were a lot of things that happened like 690 00:36:58,280 --> 00:37:04,600 Speaker 2: that where I was interacting with the audience. But it's 691 00:37:04,640 --> 00:37:06,839 Speaker 2: a very fun show. I'm very proud of it. 692 00:37:07,640 --> 00:37:11,560 Speaker 1: Doing stand up, you get Heckler's you get you know, 693 00:37:11,920 --> 00:37:14,280 Speaker 1: like or I don't know. There's a weird line between 694 00:37:14,320 --> 00:37:18,840 Speaker 1: like someone like trying to be combative or like aggressive 695 00:37:18,880 --> 00:37:20,680 Speaker 1: and then people who think they're like gonna be part 696 00:37:20,760 --> 00:37:22,279 Speaker 1: like that's there's some many people who think that's how 697 00:37:22,320 --> 00:37:24,879 Speaker 1: comedy shows work. Is like I'm gonna yell something at 698 00:37:24,880 --> 00:37:27,000 Speaker 1: the stand up and they're gonna interact with me, Like, 699 00:37:27,160 --> 00:37:29,920 Speaker 1: how do you handle that kind of thing, like when 700 00:37:29,920 --> 00:37:31,760 Speaker 1: someone just starts yelling at you from the audience. 701 00:37:32,440 --> 00:37:36,000 Speaker 3: Well, I mean there's many different ways. 702 00:37:36,520 --> 00:37:38,359 Speaker 1: I mean, I know it's like a case by case thing, 703 00:37:38,400 --> 00:37:40,080 Speaker 1: but like, do you like to kind of go back 704 00:37:40,120 --> 00:37:41,360 Speaker 1: and forth with them? Do you want to shut it 705 00:37:41,400 --> 00:37:43,359 Speaker 1: down right away? Is there something like you have an 706 00:37:43,360 --> 00:37:44,000 Speaker 1: instinct to do? 707 00:37:44,880 --> 00:37:47,920 Speaker 2: I think when I first started touring on the road, 708 00:37:48,280 --> 00:37:52,719 Speaker 2: I probably and occasionally I'll be like, Oh. 709 00:37:52,480 --> 00:37:54,600 Speaker 3: I just wanted to get through. I just wanted to 710 00:37:54,600 --> 00:37:55,480 Speaker 3: do my material. 711 00:37:56,000 --> 00:37:58,919 Speaker 2: Like there are there are nights where I'm like frustrated 712 00:37:59,080 --> 00:38:02,799 Speaker 2: because the audience is because it can take you in 713 00:38:02,880 --> 00:38:08,839 Speaker 2: a different direction. But for the most part, I've accepted 714 00:38:08,880 --> 00:38:11,720 Speaker 2: this and it just becomes part of the show. 715 00:38:12,360 --> 00:38:13,560 Speaker 3: And most of the. 716 00:38:13,560 --> 00:38:17,759 Speaker 2: Time people are nice and they don't realize that they're 717 00:38:17,960 --> 00:38:22,120 Speaker 2: interrupting momentum or they're stepping on a punchline. But I'm 718 00:38:22,160 --> 00:38:26,880 Speaker 2: to the point in doing this where it's just it 719 00:38:27,200 --> 00:38:29,520 Speaker 2: just can be a free for all. And I really 720 00:38:30,440 --> 00:38:33,880 Speaker 2: I shouldn't say that because I don't invite that, but 721 00:38:34,680 --> 00:38:37,600 Speaker 2: you know, it's it's almost like I've jumped the shark 722 00:38:37,680 --> 00:38:41,080 Speaker 2: on hecklers, because I've dealt with so many hecklers. Like 723 00:38:41,120 --> 00:38:43,399 Speaker 2: I just did a show in Arlington and I think 724 00:38:43,520 --> 00:38:46,319 Speaker 2: I turned it back on. I was like, well, what 725 00:38:46,400 --> 00:38:49,360 Speaker 2: did you whatever it was the topic they were piping 726 00:38:49,440 --> 00:38:49,840 Speaker 2: up about. 727 00:38:49,960 --> 00:38:51,880 Speaker 3: I ended up saying to this guy like, well, what 728 00:38:52,000 --> 00:38:53,719 Speaker 3: did you do in the relationship? 729 00:38:53,760 --> 00:38:56,200 Speaker 2: And the guy's like like he felt like he was 730 00:38:56,200 --> 00:38:57,960 Speaker 2: put on the spot, and I was just laughing. 731 00:38:58,000 --> 00:38:59,920 Speaker 3: I was like, we are all in support of you. 732 00:39:00,120 --> 00:39:02,880 Speaker 2: We just started like, but now, like he left some 733 00:39:03,120 --> 00:39:06,560 Speaker 2: like it was something about, you know, going through a 734 00:39:06,560 --> 00:39:09,200 Speaker 2: divorce or a breakup where he said something juicy but 735 00:39:09,239 --> 00:39:10,680 Speaker 2: he didn't say it, so I was. 736 00:39:10,640 --> 00:39:12,719 Speaker 3: Like, oh, we have to know, and then he felt 737 00:39:12,760 --> 00:39:13,840 Speaker 3: like put on the spot. 738 00:39:13,960 --> 00:39:17,520 Speaker 2: And so yeah, it's it's to the point where I'm 739 00:39:17,680 --> 00:39:23,959 Speaker 2: just none of it really even throws me in any way. 740 00:39:24,080 --> 00:39:26,560 Speaker 2: I Mean, certainly there are nights where there's a momentum 741 00:39:26,560 --> 00:39:28,320 Speaker 2: and I want to keep it going and I'll. 742 00:39:28,160 --> 00:39:30,160 Speaker 3: Just be like blah blah blah, like shut it down 743 00:39:30,239 --> 00:39:31,359 Speaker 3: with like a comment or two. 744 00:39:31,920 --> 00:39:35,719 Speaker 2: Yeah, But you know that's the thing with live performance, 745 00:39:35,760 --> 00:39:37,760 Speaker 2: it just goes where it goes. 746 00:39:39,280 --> 00:39:40,880 Speaker 1: Do you have a do you have a favorite club 747 00:39:41,080 --> 00:39:43,120 Speaker 1: across the country that you like look forward to playing. 748 00:39:43,920 --> 00:39:48,080 Speaker 2: I mean, Zaniews is pretty fantastic, uh, legendary. I like 749 00:39:48,239 --> 00:39:51,719 Speaker 2: performing in New York. I don't get the chance to 750 00:39:51,840 --> 00:39:52,920 Speaker 2: do that very much. 751 00:39:53,160 --> 00:39:54,759 Speaker 3: You know. I love the Comedy Store in LA. 752 00:39:55,520 --> 00:39:57,560 Speaker 2: I love like most of the clubs in the La 753 00:39:57,719 --> 00:39:59,440 Speaker 2: that the Improv and the Left Factory. 754 00:40:00,040 --> 00:40:02,239 Speaker 3: I just did Tulsa Looney Bin. 755 00:40:02,360 --> 00:40:05,600 Speaker 2: It was fantastic at the Dallas Comedy Club recently, so 756 00:40:05,960 --> 00:40:10,080 Speaker 2: you know, it's discovering new clubs as well. The punchline 757 00:40:10,160 --> 00:40:15,120 Speaker 2: is fantastic. Side Splitters Florida as a classic one for 758 00:40:15,239 --> 00:40:17,200 Speaker 2: me that I revisit. You know, when I first started 759 00:40:17,200 --> 00:40:19,400 Speaker 2: doing the Road, that was one of the first clubs. 760 00:40:19,080 --> 00:40:19,600 Speaker 3: That I did. 761 00:40:21,400 --> 00:40:24,040 Speaker 1: Well. If mary Lynn Risk is coming to your town, 762 00:40:24,520 --> 00:40:27,520 Speaker 1: go see her, and if not, go to YouTube. Put 763 00:40:27,520 --> 00:40:30,640 Speaker 1: this on the big screen. It's called road Gig. Watch 764 00:40:30,719 --> 00:40:33,840 Speaker 1: this right now. Everybody turn off this podcast immediately before 765 00:40:33,880 --> 00:40:36,759 Speaker 1: the more ads start playing. Go watch this video. Thank 766 00:40:36,800 --> 00:40:39,399 Speaker 1: you so much for doing this. You're so cool. We're 767 00:40:39,440 --> 00:40:41,600 Speaker 1: such big fans of you. And thank you for being 768 00:40:41,600 --> 00:40:43,320 Speaker 1: in a Kirk by a film by Kirk. 769 00:40:43,560 --> 00:40:45,399 Speaker 3: Yes, we got to get we got it. We need 770 00:40:45,400 --> 00:40:49,720 Speaker 3: the full movie. The fully film of Kirk, Film by Kirk. 771 00:40:49,960 --> 00:40:51,480 Speaker 1: We need a theatrical release. 772 00:40:51,880 --> 00:40:53,920 Speaker 3: Thank you, East and I really appreciate you. 773 00:40:53,920 --> 00:41:25,440 Speaker 1: You're just the absolute best. Thank you so much, Dotty everybody, 774 00:41:25,440 --> 00:41:28,839 Speaker 1: and don't forget follow us on Instagram at I Am 775 00:41:28,880 --> 00:41:33,840 Speaker 1: all In podcast and email us at Gilmore at iHeartRadio 776 00:41:34,160 --> 00:41:43,360 Speaker 1: dot com.