WEBVTT - Bonus: Interviews with Mary Catherine

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<v Speaker 1>Rip Current is a production of iHeart Podcasts. The views

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<v Speaker 1>and opinions expressed do not necessarily reflect those of the host.

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<v Speaker 2>Producers, or parent company. Listener discretion is it fine?

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<v Speaker 1>This is a rip Current bonus episode. You don't need

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<v Speaker 1>to listen to follow the rip Current storyline, but it

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<v Speaker 1>provides more information, context, and analysis to enhance the main podcast.

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<v Speaker 3>Enjoy.

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<v Speaker 2>One of the great things about making Rip Current was

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<v Speaker 2>getting to know and work with my co host, Mary

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<v Speaker 2>Catherine Garrison. We hadn't originally planned to have a second

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<v Speaker 2>narrative voice on the podcast, so I first met her

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<v Speaker 2>when I interviewed her about playing Lynnette in the musical Assassins.

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<v Speaker 2>When we did decide to try a second voice, the

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<v Speaker 2>first person we contacted was Mary Catherine, and the rest

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<v Speaker 2>is history. At the end of our last recording session,

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<v Speaker 2>and I interviewed her a second time to get her

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<v Speaker 2>thoughts after going through the entire season. So this episode

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<v Speaker 2>has both interviews. First my initial interview with Mary Catherine,

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<v Speaker 2>then or Break, and then the second interview.

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<v Speaker 1>So my name is Mary Catherine Garrison. I am an actor, performer,

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<v Speaker 1>and artist, and I did a whole bunch of Broadway

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<v Speaker 1>and now I mostly do TV film stuff.

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<v Speaker 2>How did you get involved with assassins?

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<v Speaker 1>I remember that. I think I'd only done one, maybe

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<v Speaker 1>two shows on Broadway before that one came about. I'm

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<v Speaker 1>not a singer, I'm an I guess I'm an actor

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<v Speaker 1>who sings, and so I remember getting the audition and saying, well,

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<v Speaker 1>I mean, I just can't do this because it's Sondheim

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<v Speaker 1>and the agents and everybody was like, no, you should.

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<v Speaker 2>It's more of a.

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<v Speaker 1>Character type singing gig Well. Stephen Songhim in the room

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<v Speaker 1>for the audition, I can't remember. I think he was

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<v Speaker 1>so I think that was pretty crazy, singing his song

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<v Speaker 1>to his face along with Joe Mantello. But then I

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<v Speaker 1>got the part, and then nine to eleven happened, and

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<v Speaker 1>the production was postponed for I think it was a

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<v Speaker 1>year and a half or two years, and then everybody

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<v Speaker 1>got back on the saddle.

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<v Speaker 2>Wow. Was that like part of the Broadway opening back

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<v Speaker 2>up after nine to eleven.

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<v Speaker 1>I think they waited a while. I think Broadway had

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<v Speaker 1>been open for a little bit because I think the

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<v Speaker 1>tone of that show, in particular, I don't think anyone

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<v Speaker 1>was in the mood to think about people like that.

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<v Speaker 1>The guns thing for a while, so it took a minute.

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<v Speaker 2>Yeah, it's interesting. So what kind of research did you

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<v Speaker 2>do for this part?

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<v Speaker 1>The point they were trying to make was less to

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<v Speaker 1>be the historical document about these people and their actions,

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<v Speaker 1>and it was more to make a point about who

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<v Speaker 1>we are as people and why some people think that

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<v Speaker 1>that's the route to make their point, to put a

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<v Speaker 1>bull's eye on a very public political figure. So most

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<v Speaker 1>of what happened with the character was dreamt up and

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<v Speaker 1>just the kind of actor that I am, I like,

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<v Speaker 1>I need, I need something to be rooted in, something real,

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<v Speaker 1>and then if it's not totally accurate, at least it's

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<v Speaker 1>coming from a real place. And at the time, Lynette

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<v Speaker 1>Throne was still in jail, and so I actually wrote

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<v Speaker 1>to her, and I think we only had one exchange,

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<v Speaker 1>And I'm so sorry, Toby. I went to look for

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<v Speaker 1>these letters and I can't find them. I think they

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<v Speaker 1>got thrown out. And I think some boxes in the

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<v Speaker 1>basement got flooded and rotten, and I think that they

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<v Speaker 1>got thrown out with that. So it would have been

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<v Speaker 1>really fun to like scan them for you and you

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<v Speaker 1>could read them. But I remember I wrote back and

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<v Speaker 1>I told her I was doing, and I imagine she

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<v Speaker 1>got a lot of letters like this. She wrote me

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<v Speaker 1>that pretty quickly, and it was a very unsallacious letter,

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<v Speaker 1>which I think the one of the things we learned

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<v Speaker 1>about a lot of these Manson women was that they

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<v Speaker 1>were just kind of ended up being regular grandmother type

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<v Speaker 1>ladies in jail for a very very long time. And

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<v Speaker 1>her letter was very kind and very encouraging, and she

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<v Speaker 1>did not address a lot of Charlie's stuff, but she

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<v Speaker 1>was still in touch with him at the time, So

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<v Speaker 1>whatever connection she felt she had with him that led

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<v Speaker 1>her to do what she did, she was still connected

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<v Speaker 1>to Charlie at least in some ways, which I thought

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<v Speaker 1>that was a really interesting realization because she was kind

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<v Speaker 1>of wacky. I mean, she was a strange person, but

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<v Speaker 1>her letter was utterly unwacky, very sane, and she was

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<v Speaker 1>still theoretically devoted to him. She didn't say that outright,

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<v Speaker 1>but she implied that they were still in touch. He

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<v Speaker 1>wasn't what people thought and that kind of thing. But

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<v Speaker 1>she didn't say a whole lot more than that, which

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<v Speaker 1>was kind of a bummer, and I think I might

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<v Speaker 1>have written her again. I think that one letter was

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<v Speaker 1>all I ever got interesting.

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<v Speaker 2>Did she talk at all about her motivations for the assassination?

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<v Speaker 1>She didn't, so I had to you know it myself,

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<v Speaker 1>I guess. But the thing about this show, Assassin's you know,

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<v Speaker 1>there was a real spectrum of mental health with all

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<v Speaker 1>of these characters. So and some people were firmly grounded

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<v Speaker 1>in some political purpose and other people were just wacky.

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<v Speaker 1>And I think for where Lynette was at the time,

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<v Speaker 1>for her, it felt like the only thing she could

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<v Speaker 1>do to get the attention that Charlie needed. I doubt

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<v Speaker 1>she did the same thing again, but she was a

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<v Speaker 1>kid when she did it.

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<v Speaker 2>So in the play, what motivation is she given that.

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<v Speaker 1>It will somehow free Charlie. And I think she thinks

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<v Speaker 1>that by killing the president, which of course she was

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<v Speaker 1>unsuccessful doing that, it would somehow bring attention to Charlie

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<v Speaker 1>and the world would see that he was their savior

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<v Speaker 1>and not this lunatic criminal that they all believed him

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<v Speaker 1>to be.

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<v Speaker 2>She talks about she was like trying to save the redwoods,

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<v Speaker 2>that it was an environmental thing. I've also heard people

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<v Speaker 2>say that's what she said, but it was really all

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<v Speaker 2>about getting more attention to Manson. It's pretty consistently said

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<v Speaker 2>she was doing like this weird environmental lobbying kind of

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<v Speaker 2>and she just got fixated on the fact that the

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<v Speaker 2>redwoods were dying.

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<v Speaker 1>Well, I mean that feels like a very sixty seventies

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<v Speaker 1>thing to do. Yeah, the whole build up for this

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<v Speaker 1>character is for that song with her.

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<v Speaker 2>And John Hink.

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<v Speaker 1>Yeah, so the whole build up for this character was

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<v Speaker 1>for their duet, and it was just so his was

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<v Speaker 1>about Jodie Foster and in mine was about Charles Manson,

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<v Speaker 1>and so the whole drive for my character had to

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<v Speaker 1>be Charlie.

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<v Speaker 2>Right. Interesting. What was attractive about the part for you?

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<v Speaker 1>Well, I mean most actors are interested in doing a

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<v Speaker 1>part that someone will hire them to do, so there's always,

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<v Speaker 1>you know, just the gratitude of getting a job. And

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<v Speaker 1>this was a pretty big scale opportunity. I mean I

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<v Speaker 1>was in my twenties and the director was very encouraging

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<v Speaker 1>and he really liked what I did, and I just

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<v Speaker 1>felt like it was a great First of all, to

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<v Speaker 1>seeing on Broadway, which is not something I ever thought

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<v Speaker 1>I would do. That was pretty cool. And then to

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<v Speaker 1>sing Sondheim something of that caliber was so exciting to

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<v Speaker 1>me because obviously that's again not what I thought I

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<v Speaker 1>would ever do. But I like playing parts that I

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<v Speaker 1>don't want to be the hero or liked all the time.

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<v Speaker 1>I liked slawed people. I liked that dimension, and I

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<v Speaker 1>liked that I could make What I wanted to do

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<v Speaker 1>was make someone who everyone thought was just crazy, but

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<v Speaker 1>make her a real person. And I think getting her

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<v Speaker 1>letter seeing that, well, she actually really is a real person.

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<v Speaker 1>That's not a stretch. She's not just some looney tunes

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<v Speaker 1>even if she may have been, I don't know, but

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<v Speaker 1>she is a real person. And it was a fun

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<v Speaker 1>challenge to do those with the writing where she was

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<v Speaker 1>kind of rich and is just crazy, so it was

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<v Speaker 1>fun to ground it. Does that make sense?

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<v Speaker 2>Yeah? It does. And I don't know if this is

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<v Speaker 2>an answerable question when you're doing that, Like what's kind

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<v Speaker 2>of your mindset in that situation, Like if you're sort

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<v Speaker 2>of inhabiting when that's from who is notorious. Everybody knows

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<v Speaker 2>she is. There's definitely this perception of her as being

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<v Speaker 2>this wacky Manson girl. What sort of mindset are you

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<v Speaker 2>in when you're trying to in front of an audience

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<v Speaker 2>sort of feel like there's more to it?

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<v Speaker 1>Than this. Well, I'll tell you that there's two answers.

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<v Speaker 1>The first answer is that the space I was living

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<v Speaker 1>in on stage was I have found my calling. I

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<v Speaker 1>know what I'm supposed to do. I know how to

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<v Speaker 1>be useful in this world. I know that this man

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<v Speaker 1>could save us all, and it is my mission to

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<v Speaker 1>make sure that he's able to do that. And then

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<v Speaker 1>the second part of your question is because you know

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<v Speaker 1>I'm not psychotic, I'm aware there's an audience, so you

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<v Speaker 1>are performing, so you're not constantly pretending, is what I'm saying.

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<v Speaker 1>But I got a death threat shortly after because I

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<v Speaker 1>think we did some interview or something and it came

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<v Speaker 1>out that I communicated with her, and I ended up

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<v Speaker 1>getting a death threat in the theater, which is my

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<v Speaker 1>person only death threat to date, and it was really

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<v Speaker 1>quite scary. They had cut out the article that I

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<v Speaker 1>had been interviewed in and they had drawn blood dripping

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<v Speaker 1>down the eyes, and it's just set all over it.

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<v Speaker 1>You will die, Die, Die, die, You should die. You

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<v Speaker 1>don't deserve to live. Die Die Die Mary Catherine will

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<v Speaker 1>die over and over and over on this piece of paper.

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<v Speaker 1>And my entrance for that show was through the audience

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<v Speaker 1>because we all the big opening number, we have all

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<v Speaker 1>there's a big opening number, and then there's a scene

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<v Speaker 1>that starts, and all the characters, all these different assassins

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<v Speaker 1>are entering in different ways, and mine happened to be

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<v Speaker 1>through the audience, and I had to lay on the

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<v Speaker 1>steps in front of the audience. You know, I could

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<v Speaker 1>reach out and touch a knee easily. So I never

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<v Speaker 1>knew did that person come see the show? Are they

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<v Speaker 1>going to come see the show? Are they sitting somewhere

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<v Speaker 1>were they can get to me? I mean, this is

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<v Speaker 1>we weren't screening for weapons and guns. You know, anything

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<v Speaker 1>could have happened. You're just wide up in theater. So

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<v Speaker 1>once that happened, which was pretty shortly after we opened,

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<v Speaker 1>I had both those things in my head constantly. Nothing

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<v Speaker 1>else ever happened, So I guess it was just a fluke,

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<v Speaker 1>but it was pretty scary.

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<v Speaker 2>My second interview with Mary Catherine is after the break.

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<v Speaker 2>So this is the second of the two interviews I

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<v Speaker 2>did with Mary Catherine. So I was interested like sort

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<v Speaker 2>of going through this project, reading the scripts, voicing some

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<v Speaker 2>other stuff from Lynette from whether you had sort of

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<v Speaker 2>different thoughts about her versus when you were actually playing

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<v Speaker 2>her on Broadway in Assassins.

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<v Speaker 3>For sure.

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<v Speaker 1>So when I was doing Assassins, it was the eighteen

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<v Speaker 1>hundreds and the Internet was not available, which is not

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<v Speaker 1>exactly true, but there wasn't you, I didn't have access

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<v Speaker 1>to the kind of information that you would have access

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<v Speaker 1>to now. And I also stopped doing a lot of

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<v Speaker 1>research because the Assassins is sort of it's not based

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<v Speaker 1>in history necessarily. It's more meant like I think the

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<v Speaker 1>characters are a foundation for the writers the play and

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<v Speaker 1>the songs to express what they were trying.

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<v Speaker 3>To express politically.

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<v Speaker 1>So the research I was doing was not useful, it

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<v Speaker 1>wasn't necessary, So I sort of stopped doing a lot

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<v Speaker 1>of research at some point. So then I'm just immersed

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<v Speaker 1>in this version of Squeaky that we invented for the show,

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<v Speaker 1>and so that's in my mind who she became. And

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<v Speaker 1>then all these low many years later, here we are

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<v Speaker 1>with all this actual, historically accurate information. So it was

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<v Speaker 1>interesting as I was reading some of it to think

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<v Speaker 1>about some of the scenes and how I played them

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<v Speaker 1>and how I was speaking, like how I thought she

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<v Speaker 1>sound in my head.

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<v Speaker 3>I did not do historically accurate version of her.

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<v Speaker 1>Which was I was not intending to do that, but

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<v Speaker 1>it was really interesting to hear to think about what

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<v Speaker 1>I had done, what the show was saying, and then

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<v Speaker 1>to hear and read the actual words and hear her

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<v Speaker 1>voice and like the gentleness ever, so you know, she's

0:12:16.920 --> 0:12:19.120
<v Speaker 1>softer and more gentle than I played her.

0:12:19.559 --> 0:12:22.280
<v Speaker 3>What was interesting if you know that.

0:12:22.280 --> 0:12:25.920
<v Speaker 2>She tried to shoot Gerald Ford. People don't really know

0:12:25.960 --> 0:12:28.480
<v Speaker 2>what happened in between the two. We can only find

0:12:28.480 --> 0:12:31.360
<v Speaker 2>a certain amount while doing research for it. I think

0:12:31.400 --> 0:12:33.760
<v Speaker 2>there's like this immediate jump from oh, she was with

0:12:33.840 --> 0:12:35.960
<v Speaker 2>Manton and then she tried to kill the president, and

0:12:35.960 --> 0:12:38.760
<v Speaker 2>then there was this whole period in between when you

0:12:38.800 --> 0:12:41.160
<v Speaker 2>know she was just kind of a drift and sort

0:12:41.200 --> 0:12:44.040
<v Speaker 2>of yeah, doing these sort of more criminal things to

0:12:44.120 --> 0:12:46.920
<v Speaker 2>kind of try and support him. But it wasn't the

0:12:47.000 --> 0:12:50.720
<v Speaker 2>same sort of being in sort of a hippie cult

0:12:51.040 --> 0:12:54.480
<v Speaker 2>with all her sisters or however she considered them.

0:12:54.960 --> 0:12:57.280
<v Speaker 1>I didn't know that Toby until this, Like, I didn't

0:12:57.520 --> 0:13:00.760
<v Speaker 1>even get that far in the musical Sarah Jane and

0:13:00.760 --> 0:13:03.480
<v Speaker 1>Squeaky from or the comic Relief. You know, we were

0:13:03.480 --> 0:13:06.120
<v Speaker 1>doing like not pratfalls, but like fumbling with our guns

0:13:06.120 --> 0:13:09.680
<v Speaker 1>because our assassination attempts weren't successful, and so we were

0:13:09.679 --> 0:13:12.600
<v Speaker 1>supposed to make the audience laugh. It's actually a very

0:13:12.720 --> 0:13:15.920
<v Speaker 1>dark and heavy thing that happened, and so the juxtaposition

0:13:15.960 --> 0:13:17.200
<v Speaker 1>of that was really interesting too.

0:13:17.600 --> 0:13:18.240
<v Speaker 3>But yeah, the.

0:13:18.200 --> 0:13:21.000
<v Speaker 1>Whole how a drift she was, how lost she was

0:13:21.440 --> 0:13:23.400
<v Speaker 1>the time that, how long he had been in jail

0:13:23.520 --> 0:13:25.679
<v Speaker 1>at that point, But she was still devoted to him.

0:13:25.679 --> 0:13:27.400
<v Speaker 1>I mean, it was all it was still about him.

0:13:27.720 --> 0:13:29.160
<v Speaker 3>It still is. I think she still is.

0:13:29.520 --> 0:13:31.200
<v Speaker 1>I mean when I was writing letters with her, she

0:13:31.320 --> 0:13:32.960
<v Speaker 1>was still devoted to him.

0:13:33.559 --> 0:13:35.560
<v Speaker 2>I mean that's one of the questions at the end,

0:13:35.880 --> 0:13:38.520
<v Speaker 2>is like how much of it was what she talked about,

0:13:38.559 --> 0:13:41.720
<v Speaker 2>which is saving the environment, which is actually something that's

0:13:41.760 --> 0:13:44.960
<v Speaker 2>aged pretty well, I guess, versus like trying to get

0:13:45.040 --> 0:13:48.640
<v Speaker 2>more people thinking about Charlie Manson in nineteen seventy five,

0:13:48.920 --> 0:13:50.640
<v Speaker 2>when he'd sort of fallen off the radar.

0:13:51.880 --> 0:13:52.160
<v Speaker 3>What's that?

0:13:52.320 --> 0:13:54.240
<v Speaker 1>Like a broken clock is right twice a day, Like

0:13:54.520 --> 0:13:56.480
<v Speaker 1>a cult can have a couple of good points of view,

0:13:57.720 --> 0:14:00.880
<v Speaker 1>you know, Yeah.

0:14:01.080 --> 0:14:04.360
<v Speaker 2>She was smart. It wasn't like she was like incapable

0:14:04.440 --> 0:14:07.560
<v Speaker 2>of sort of identifying things that were important. But you know,

0:14:07.640 --> 0:14:12.480
<v Speaker 2>obviously through this haze of manson influence. So while you

0:14:12.480 --> 0:14:15.839
<v Speaker 2>were doing this play, did you know much about Sarah

0:14:15.880 --> 0:14:19.480
<v Speaker 2>Jane Moore? Was it just listening to your co star

0:14:19.560 --> 0:14:23.000
<v Speaker 2>or whatever, playing her singing the songs whatever. Was there

0:14:23.040 --> 0:14:26.040
<v Speaker 2>a sense of who she was historically or was she

0:14:26.120 --> 0:14:26.720
<v Speaker 2>just a character?

0:14:27.880 --> 0:14:28.840
<v Speaker 3>She was just a character.

0:14:29.280 --> 0:14:31.080
<v Speaker 1>And her name is Becky Lynn Baker, by the way,

0:14:31.080 --> 0:14:32.600
<v Speaker 1>and she's still a good friend of mine. And she

0:14:32.720 --> 0:14:35.640
<v Speaker 1>was absolutely brilliant in that part. You know. I'm sure

0:14:35.640 --> 0:14:38.160
<v Speaker 1>she did all of her research, but my job was

0:14:38.200 --> 0:14:40.120
<v Speaker 1>to do my thing. And of course the two never

0:14:40.160 --> 0:14:42.360
<v Speaker 1>met in real life. So the absurdity of them sitting

0:14:42.400 --> 0:14:44.440
<v Speaker 1>on a park bench while Squeaky gets high, which is

0:14:44.480 --> 0:14:46.680
<v Speaker 1>what one of the scenes was, or they both get high.

0:14:46.680 --> 0:14:49.320
<v Speaker 1>Actually we were the comic relief in the show. So

0:14:49.800 --> 0:14:52.040
<v Speaker 1>that was my take on her. So I had no

0:14:52.160 --> 0:14:56.040
<v Speaker 1>idea about the FBI Underground Revolutionary.

0:14:56.960 --> 0:14:59.440
<v Speaker 3>That whole life. I didn't know any of that. You

0:14:59.720 --> 0:15:03.400
<v Speaker 3>educate me, Toby, that's what we're trying to do here.

0:15:03.960 --> 0:15:06.080
<v Speaker 2>It's just interesting that you know the two women are

0:15:06.120 --> 0:15:10.080
<v Speaker 2>the comic relief, especially when Sarah Jane Moore it seems

0:15:10.120 --> 0:15:12.560
<v Speaker 2>as though the reason why she wasn't successful is because

0:15:12.600 --> 0:15:15.040
<v Speaker 2>she had a gun that was defective that she got

0:15:15.080 --> 0:15:17.720
<v Speaker 2>at sort of the last second and hadn't had a

0:15:17.840 --> 0:15:18.960
<v Speaker 2>chance to adjust it.

0:15:20.040 --> 0:15:22.360
<v Speaker 1>But in the show she fumbles and drops it and

0:15:22.600 --> 0:15:24.840
<v Speaker 1>you know, it goes off in her purse. And I

0:15:24.880 --> 0:15:26.640
<v Speaker 1>think your point is that it's the women who are

0:15:26.760 --> 0:15:29.320
<v Speaker 1>the comic relief and the other men are taken much

0:15:29.360 --> 0:15:30.000
<v Speaker 1>more seriously.

0:15:30.240 --> 0:15:32.280
<v Speaker 2>Yeah, it's very strange.

0:15:32.640 --> 0:15:34.320
<v Speaker 3>It is interesting. I never thought about that.

0:15:36.000 --> 0:15:39.160
<v Speaker 2>John Hinckley seems like he'd be more comic fodder with

0:15:39.200 --> 0:15:41.840
<v Speaker 2>his whole obsession with Jody Foster.

0:15:41.680 --> 0:15:43.520
<v Speaker 3>And no, they took that very seriously.

0:15:43.520 --> 0:15:45.880
<v Speaker 1>In the show, Squeaky and John Hinckley have a duet,

0:15:46.280 --> 0:15:48.040
<v Speaker 1>so each song was done in the decade that The

0:15:48.080 --> 0:15:51.000
<v Speaker 1>Assassin happened. So Stephen Sondheim wrote a song in the

0:15:51.040 --> 0:15:54.240
<v Speaker 1>style of that decade, and so it's a really wide

0:15:54.320 --> 0:15:57.320
<v Speaker 1>breadth of musical styles in this show. But because Squeaky

0:15:57.320 --> 0:15:59.680
<v Speaker 1>and John Hinckley were in the seventies, we had this

0:15:59.760 --> 0:16:02.720
<v Speaker 1>really cool like seventies ballads, one of the more popular songs

0:16:02.720 --> 0:16:07.080
<v Speaker 1>on of the show. And it's dead serious. It's dead serious.

0:16:07.080 --> 0:16:10.280
<v Speaker 1>All John Hinckley scenes are serious interesting.

0:16:11.160 --> 0:16:13.720
<v Speaker 2>So, you know, I think people who've been listening to

0:16:13.800 --> 0:16:17.080
<v Speaker 2>the podcast, are probably interested in sort of what you're

0:16:17.200 --> 0:16:20.200
<v Speaker 2>up to today in your acting career.

0:16:21.200 --> 0:16:24.720
<v Speaker 1>I'm in a show called Somebody Somewhere on HBO. It

0:16:24.800 --> 0:16:27.960
<v Speaker 1>is my dream job. It's something that I've been so

0:16:28.080 --> 0:16:30.800
<v Speaker 1>proud of, and we are about to have season three

0:16:30.840 --> 0:16:33.840
<v Speaker 1>come out at the end of October. Depending on when

0:16:33.920 --> 0:16:37.320
<v Speaker 1>our listeners are listening, I believe the date is October

0:16:37.360 --> 0:16:40.080
<v Speaker 1>twenty seventh for season three, we need our viewers.

0:16:40.120 --> 0:16:41.200
<v Speaker 3>Hopefully people will tune in.

0:16:41.240 --> 0:16:44.440
<v Speaker 1>It's a really, really special show and I'm extremely proud

0:16:44.440 --> 0:16:45.080
<v Speaker 1>to be part of it.

0:16:45.800 --> 0:16:48.160
<v Speaker 2>Yeah, so people should definitely check it out. I've watched it.

0:16:48.760 --> 0:16:49.440
<v Speaker 3>Did you like it?

0:16:49.800 --> 0:16:49.920
<v Speaker 1>Oh?

0:16:50.000 --> 0:16:50.600
<v Speaker 3>Yeah, thank you?

0:16:50.680 --> 0:16:52.960
<v Speaker 2>Yeah. I mean it's very different than the stuff that

0:16:52.960 --> 0:16:53.520
<v Speaker 2>you're used to.

0:16:54.200 --> 0:16:55.840
<v Speaker 3>There's no dragons, yeah.

0:16:55.640 --> 0:17:00.440
<v Speaker 2>There's very few swords, no car chases. One of our

0:17:00.480 --> 0:17:01.760
<v Speaker 2>producers is a huge fan.

0:17:02.520 --> 0:17:03.040
<v Speaker 3>Oh good.

0:17:03.480 --> 0:17:05.600
<v Speaker 2>They were super psyched when they heard you were doing this.

0:17:09.000 --> 0:17:11.640
<v Speaker 2>That's the end of my interview with Mary Catherine Garrison.

0:17:11.960 --> 0:17:13.600
<v Speaker 2>I want to send out a big thank you to

0:17:13.640 --> 0:17:16.639
<v Speaker 2>her for being a part of this project. She was

0:17:16.680 --> 0:17:19.560
<v Speaker 2>incredible to work with and her voice and personality are

0:17:19.560 --> 0:17:22.880
<v Speaker 2>a huge part of rip current. Please check her out

0:17:23.000 --> 0:17:28.760
<v Speaker 2>on Somebody Somewhere on HBO, I'm Toby Ball. For more

0:17:28.800 --> 0:17:35.000
<v Speaker 2>podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

0:17:35.040 --> 0:17:38.640
<v Speaker 2>wherever you listen to your favorite show. For more information

0:17:38.720 --> 0:17:43.280
<v Speaker 2>on Rip Current, visit the show website at ripcurrentpod dot

0:17:43.280 --> 0:17:49.680
<v Speaker 2>com