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Speaker 1: What you're listening to Podlandia. Hi, I'm Carrie, I'm Fred.

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Speaker 1: This is AO Rewatch.

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Speaker 2: It's a Portlandia.

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Speaker 3: It's a Portlandia rewatch podcast where we just watch our

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Speaker 3: episodes and talk about them, which we've really been enjoying doing.

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Speaker 2: Yeah.

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Speaker 1: Interestingly enough, we have not gotten to the episode our

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Speaker 1: sketch yet where AO rewatch comes from. Yes, but we

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Speaker 1: will eventually and it will all make sense, yes, yes,

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Speaker 1: but for now we'll just leave it as a mystery.

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Speaker 1: I guess all right, this is the episode that.

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Speaker 2: We call Amy Amy spelled Ai m ee for Amy Min.

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Speaker 1: Amy Min a.

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Speaker 3: Guest star for this the wrap around, the you know,

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Speaker 3: the main part of the show.

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Speaker 1: Yeah, the three part sketch. Yeah. And yeah, you were

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Speaker 1: and are friends with Amy. I'm friendly with Amy.

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Speaker 2: Yeah.

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Speaker 1: And one of the first but certainly not last, musicians

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Speaker 1: to make a guest appearance on our show. But I

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Speaker 1: think would she be the first one that we've talked

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Speaker 1: about so far in terms of like if we're going

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Speaker 1: in order.

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Speaker 2: Yeah, I think this will be the first one I

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Speaker 2: would say.

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Speaker 1: Yeah, And certainly I think I you know, don't quote

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Speaker 1: me on this because it might turn out to be wrong.

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Speaker 1: But she might be the only music Go guest star

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Speaker 1: who's in a wrap round who's in all three parts

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Speaker 1: of a wrap round.

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Speaker 2: Jelaviafra was he was that a rap round or a

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Speaker 2: one off?

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Speaker 1: Oh that's a one off? Oh I think you're right,

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Speaker 1: I mean I will. I may be proven wrong as

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Speaker 1: we continue down this rewatch podcast, but anyway, certainly one

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Speaker 1: of the one of the.

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Speaker 2: First and really featured in this like a main.

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Speaker 1: Doing some heavy lifting.

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Speaker 3: Yes, and uh like carry said old friend of mine.

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Speaker 3: She's so funny, so funny, and her performance, I mean

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Speaker 3: she's great, great, great in this.

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Speaker 1: Yeah. Well we'll get to that specific sketch in a second.

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Speaker 1: It does start with a cold open a character we

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Speaker 1: had just met in episode two, Spike, who's the uh

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Speaker 1: bike bicycle rights fix, the bike gauges in the ear

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Speaker 1: Go tee character.

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Speaker 3: You're very angry, angry, and he's going he's going around

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Speaker 3: town and he's seeing things that are trends and saying

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Speaker 3: that's over.

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Speaker 2: As soon as he sees it, it's over.

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Speaker 1: Yes, as soon as he sees something becoming popular, you know,

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Speaker 1: we no longer wants to have anything to do with it. Yeah,

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Speaker 1: And those things get more and more esoteric.

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Speaker 3: And it is kind of an energy piece in its

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Speaker 3: own way, just kind of just him saying things are

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Speaker 3: over shell art and then chin beards, chin beards, and

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Speaker 3: then you see that he's like a normal guy at

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Speaker 3: the end.

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Speaker 1: Right, well, at the beginning, he's looking into a bar

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Speaker 1: restaurant and he's sort of identifying that if a certain

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Speaker 1: kind of guy is there, that means this place is over.

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Speaker 1: And at the end they sort of swap places. I

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Speaker 1: hear this a lot in this stand age with memes,

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Speaker 1: Like I live with my fourteen year old stepdaughter and

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Speaker 1: she assures me that by the time me or her

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Speaker 1: mom know about something, it's over. Oh wow, yes, So

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Speaker 1: I hear it's over a lot, like oh yeah, that's

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Speaker 1: that's long gone, that's over. Yeah yeah, which I think

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Speaker 1: is probably true, Like if the New York Times is

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Speaker 1: writing about something, it's yes, it's it's coming, it's coming on.

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Speaker 2: It should be in the obituary section of pieces.

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Speaker 1: Yeah yeah. But I think the the impetus, I think

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Speaker 1: where we heard it's over a lot, like in our

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Speaker 1: formative years, meaning sort of college, early days of like

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Speaker 1: playing music was when a band got too popular, that

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Speaker 1: band is over. That is something I heard all the time. Yeah,

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Speaker 1: you know, okay, and like selling out what you know,

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Speaker 1: kind of an arbitrary line, right, Like I mean it

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Speaker 1: used to be the smallest in fraction and could constitute

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Speaker 1: selling out. I mean you could just even play a

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Speaker 1: twenty one and over show ye as opposed to an

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Speaker 1: all ages show.

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Speaker 2: Yep.

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Speaker 1: You could sign to a not just a major label

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Speaker 1: that was obviously selling out we're talking about late eighties,

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Speaker 1: early nineties, but even signing to a bigger independent label

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Speaker 1: or an independent label that was partially or fully owned

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Speaker 1: by major label that could be selling out.

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Speaker 3: Venues, venue sizes. There are some places you're like, oh

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Speaker 3: they're playing there, forget it.

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Speaker 1: Yeah, charging too much for tickets, you know, like anything

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Speaker 1: that sort of reeked of like commercialism, capitalism that you

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Speaker 1: just even ambition was sort of anathema to the like,

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Speaker 1: you know ideology of like you know, punk ideology. It

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Speaker 1: was like, oh, you're ambitious, you're you know, opportunistic.

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Speaker 2: It was an infraction.

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Speaker 1: It was an infraction crime, and there were real consequences,

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Speaker 1: like you could be sort of banished. You you basically

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Speaker 1: became a pariah, like you could lose friends. It sounds

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Speaker 1: silly to say, but it was very very real. Yeah,

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Speaker 1: anything just you know, like aligning yourself with something that

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Speaker 1: was too materialistic to corporate commercials.

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Speaker 2: Obviously, Oh, writing music.

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Speaker 1: For a if you put a song, if you put

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Speaker 1: a song in a commercial, that that was number one.

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Speaker 1: But signing to a major label was definitely you know,

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Speaker 1: if you came from a certain you know community, and

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Speaker 1: they're a handful of those communities that you know, shared

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Speaker 1: that that philosophy Olympia, Chicago, Washington, d C, San Francisco,

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Speaker 1: I mean, and then there were parts of communities that

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Speaker 1: maybe aspired to be on bigger labels. But then there's

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Speaker 1: like a sub sect of those communities that were like

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Speaker 1: absolutely not. And you saw it happen. You know, it's

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Speaker 1: like communities would be torn apart by some bands deciding

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Speaker 1: to go to a major label. Oh yeah, I mean

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Speaker 1: growing up you know in Seattle, certainly saw it happen

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Speaker 1: with with Grunge and and Nirvana.

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Speaker 2: And.

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Speaker 3: It happened to Abandon DC, and it was just yeah,

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Speaker 3: but it's just you know, you're saying that like this

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Speaker 3: just something that was just made up by people who

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Speaker 3: wanted to make issue of that kind of thing.

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Speaker 1: Yeah, well, and I mean you start down anything that's

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Speaker 1: like a purity test, and you're like, okay, you're calling

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Speaker 1: someone to sell out. You're wearing you're smoking a cigarette

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Speaker 1: that's like, you know, manufactured by a major corporation. That's

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Speaker 1: literally harming like millions of people. You're wearing, you know,

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Speaker 1: jeans that are made by a big corporation. You know

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Speaker 1: you're wearing you know, like if you start to get

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Speaker 1: into that mindset, you can never you can never be

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Speaker 1: pure enough, you can never never when. And it never

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Speaker 1: took into consideration class and how people grew up and that,

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Speaker 1: like yeah, not everyone can just not make money from something.

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Speaker 1: You know, that those big conversations just didn't exist endless. Yeah,

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Speaker 1: but it was. It really occupied a lot of time

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Speaker 1: and a discourse.

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Speaker 2: Yeah, like long conversations.

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Speaker 1: Over dinner m m hm and hand ringing. I mean

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Speaker 1: really like people had a hard time making decisions because

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Speaker 1: it felt like a betrayal of your community. Yeah, you know,

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Speaker 1: to make a choice that would sort of remove you

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Speaker 1: from providence, you know, from like Okay, well I thought

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Speaker 1: we were part of something. I thought we were a collective.

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Speaker 1: You know.

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Speaker 2: It's like, wow, no one looked at their own record collections.

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Speaker 3: Like in my record collection there would be every label, Yeah, independent, major,

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Speaker 3: what's the difference.

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Speaker 1: Yeah, yeah, that's where I feel like for us, it

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Speaker 1: came from like just that, and people said it like

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Speaker 1: so with such a certainty, Oh they're over, you know,

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Speaker 1: like as if you would never return to enjoying their

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Speaker 1: music again.

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Speaker 2: Yes, you know.

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Speaker 3: Anyway, So that was another Then this, this is another one

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Speaker 3: where I wore those prosthetics summer years.

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Speaker 1: And yeah, to have the gauges and Spike, I should say,

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Speaker 1: later becomes a character. We pair him with a character

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Speaker 1: of mine named Iris, and they do become a couple

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Speaker 1: that I think came to embody and be stand ins

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Speaker 1: for this time in our life, you know, the time

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Speaker 1: where we were like younger and playing music and like

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Speaker 1: very caught up in some of that you know, somewhat rudimentary,

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Speaker 1: stifling punk ideology, even though we also were very worshipful

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Speaker 1: of it and it really shaped us, you know, we

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Speaker 1: really kind of kept them locked into that mindset.

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Speaker 2: Spike and Iris, they do keep waving the flag.

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Speaker 1: Yeah, they're holding onto it, you know. So, yeah, it's over.

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Speaker 1: I noticed when I was watching it, I'm like, I'm

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Speaker 1: not in this sketch. I have no idea why. I

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Speaker 1: was like trying, Yeah, I want to like go back

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Speaker 1: and look at the calendar. I'm like, why was I

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Speaker 1: in this? Only because later? For sure. I'm not saying

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Speaker 1: that in like a weird egotistical way. It was just

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Speaker 1: that we did so much heavy lifting early on, like

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Speaker 1: we sort of had to be in all the sketches,

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Speaker 1: and later when we were you know, sort of needed

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Speaker 1: for our own mental health or schedules like time off

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Speaker 1: here there. Sometimes when I started directing, I didn't want

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Speaker 1: to be in as in many sketches, but this was

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Speaker 1: like episode three, so I just was it really was

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Speaker 1: noticeable to me. Ye who knows.

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Speaker 3: Yeah, it's like that kind of record keeping. I just

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Speaker 3: feel like that's probably lost.

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Speaker 1: That is lost. I was just surprised to see that

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Speaker 1: early on, because I remember it changing later in US

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Speaker 1: actually meeting like, oh, can we do this sketch without Fred,

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Speaker 1: or can we do this without carry Let's get someone

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Speaker 1: else in. But that just didn't quite exist early on.

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Speaker 1: But apparently it didn't. I guess, so, good job, great

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Speaker 1: job in this sketch. I feel like I could objectively

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Speaker 1: tell yeh awesome.

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Speaker 2: So now we get to Amy part one.

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Speaker 3: Now, this the story in the sketch, it's that Amy

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Speaker 3: is the rock star she is, and then she's also

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Speaker 3: our housekeeper or you hire her up.

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Speaker 2: It's sort of new to us. House cleaner, Yeah, house

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Speaker 2: cleaner based on a real story, based.

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Speaker 1: On a real story. So if you think that the

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Speaker 1: music industry is, you know, bad now, I mean it was.

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Speaker 1: It was also like it's so bad now in terms

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Speaker 1: of like how difficult it is to make money have

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Speaker 1: a viable career as a musician. It's such a stratified

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Speaker 1: industry of the haves and have not, uh, And it

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Speaker 1: was kind of always the case that, like, but it's

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Speaker 1: it's worse now. But back in the I guess early

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Speaker 1: two thousands there, I was living in Portland and I

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Speaker 1: hired a house cleaner that came i think every other week,

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Speaker 1: and one time he brought over He's like, I'm gonna

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Speaker 1: bring someone else to help me great, and he brings

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Speaker 1: over this woman from this band that I was a

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Speaker 1: pretty big fan of, had this band's records, really loved

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Speaker 1: her as a guitar player and songwriter, and it was

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Speaker 1: just this weird, intense, like cognitive dissonance to just one

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Speaker 1: be aware that like, of course, like you, hardly anyone

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Speaker 1: makes a living for music. And two, but I'm also like,

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Speaker 1: oh my gosh, I'm such a fan. And it was

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Speaker 1: very wow, very awkward. And I remember when we were

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Speaker 1: casting for the show, it already was an issue in

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Speaker 1: the broader music industry, and like there were so many

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Speaker 1: people who we admired who legitimately might be like, oh yeah,

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Speaker 1: I'm I'm close to having to do something else besides

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Speaker 1: music anyway, Like this wouldn't even be like funny for me.

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Speaker 1: This is like I'm already working two other jobs. You know,

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Speaker 1: I'm already like whatever, bussing tables or you know, working

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Speaker 1: as a bartender. And I like, I mean, you know,

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Speaker 1: this is all very real stuff. So that was I

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Speaker 1: remember we had a list of other like people to consider,

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Speaker 1: and we were like, that's cutting it too close, that's

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Speaker 1: cutting it too fine. So like Amy was the right

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Speaker 1: kind of person because like she would be she would

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Speaker 1: understand that we were really talking about like the economics

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Speaker 1: of the music industry, the economics of trying to be

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Speaker 1: an artist, you know, both now and then when we

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Speaker 1: were making it. But she also was doing well enough

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Speaker 1: that it wasn't going to be so like personal for her. Yeah,

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Speaker 1: she could sort of understand it but not feel like

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Speaker 1: it was painful.

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Speaker 3: Yeah, and she's so funny in this, Like her performance

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Speaker 3: is like she really plays it exactly real, keeps wanting

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Speaker 3: to get back to her job, which I really liked. Also,

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Speaker 3: I was thinking about while I was watching it. I

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Speaker 3: think it's the first that we see this sort of

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Speaker 3: mystery of Fred and Carrie's relationship because in that house

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Speaker 3: they live together.

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Speaker 2: Are they a couple?

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Speaker 1: It's very ambiguous.

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Speaker 2: Yeah, in a way.

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Speaker 3: That I like, it could be anything, but they're definitely

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Speaker 3: like we're side by side in a way that's not

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Speaker 3: just roommates. Yes, there's something very like we're in the

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Speaker 3: same space all the time. The bedroom could even be.

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Speaker 1: Well, I mean we end up showing that we share

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Speaker 1: a bedroom. We know, Yeah, but he had.

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Speaker 2: I like that you don't know, you don't know.

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Speaker 1: There's an intimacy for sure.

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Speaker 2: Yeah.

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Speaker 1: Yeah, And we're just playing at this again, this intense,

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Speaker 1: ridiculous juxtaposition of like wanting our house cleaned a certain way,

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Speaker 1: but also wanting to let Amy know that we're like

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Speaker 1: really cool and know her music. Yeah, I mean it's

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Speaker 1: very painful and it was really fun. Yeah, and she

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Speaker 1: was great and she is great, and she just she

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Speaker 1: got it. And like again, I mean we'll say this

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Speaker 1: many many times, like and there's someone else who shows

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Speaker 1: up later in this wrap around that is even it's

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Speaker 1: even more pronounced. But like, you know, I think of

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Speaker 1: Amy Mann. I mean, she's like a serious, accomplished songwriter

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Speaker 1: and just here she comes into Portlandia, you know, puts

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Speaker 1: on like this maid's uniform and is just like dusting

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Speaker 1: our house and you know, acting, she's a great actor

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Speaker 1: in this and totally willing to just make fun of

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Speaker 1: the precariousness really of trying to make art in America,

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Speaker 1: you know, and like a country that really doesn't do

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Speaker 1: much to support its artists.

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Speaker 3: And she says, because when we do the fan part,

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Speaker 3: she says thank you in a very real way.

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Speaker 2: She's like, oh, thank you. That means a lot to me.

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Speaker 1: Yeah.

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Speaker 3: And then the cleaning part also, she you know, when

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Speaker 3: we're like, you know, you have to get this this

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Speaker 3: I think it's the stove.

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Speaker 1: Yes, she's yeah, we're getting really particular about how she

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Speaker 1: should do the stove.

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Speaker 3: So she's like taking that information into yeah, and like

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Speaker 3: she's taking that task seriously.

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Speaker 1: Yeah, but it's also kind of interesting because I feel like,

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Speaker 1: as like a creative person artists, when you do have fans,

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Speaker 1: like even though fans aren't asking you to like you know,

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Speaker 1: wash your clothes or like clean the counter, Like there

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Speaker 1: there is a duality to what is sort of required

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Speaker 1: of you. You know, there's the part that's sort of

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Speaker 1: being asked to be really like bigger than life, then

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Speaker 1: you know, like maintain the mythology, maintain the mystery. But

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Speaker 1: then also the part of you that is actually being

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Speaker 1: asked to just sort of be like pedestrian and ordinary

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Speaker 1: and normal. And so this is actually sort of like

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Speaker 1: a distillation of that, you know, like we've we've made

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Speaker 1: it very literal, that sort of contrast that a fan requires,

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Speaker 1: Like do all these really I want you to? I

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Speaker 1: want you to be super relatable and normal but also

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Speaker 1: like larger than life. And I think that's probably tricky

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Speaker 1: for people, you know, to operate on both levels and

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Speaker 1: to not mess up either and not have one soley

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Speaker 1: the other.

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Speaker 3: Have you ever been forced into a situation where you're

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Speaker 3: I'll just say, like you're confronted with being in a

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Speaker 3: situation with let's say fans, people who like the show,

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Speaker 3: for example, or your band, and then you're in a

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Speaker 3: physical situation where at first it's explosive and fun, but

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Speaker 3: then because of the space that you're in, say an

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Speaker 3: airport gate, okay, where it becomes a pedestrian because you're

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Speaker 3: forced into like it's like really exciting. At first, it's

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Speaker 3: such a you know, it's so it's so great to

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Speaker 3: meet you. I was almost gonna say honored, but you

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Speaker 3: know what I mean, people say things and then all

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Speaker 3: of a sudden it happened to me, like after being

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Speaker 3: in a hotel after breakfast, after breakfast, and I see

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Speaker 3: the same people, I hie good morning, So it like

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Speaker 3: it dissipates, so the or deflates right where it really

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Speaker 3: does get boring, and there by the fourth.

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Speaker 1: Day we wish we weren't staying at the same hotel.

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Speaker 3: They fully ignore, not like we're gonna respect a space, more.

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Speaker 1: Like, oh they're begging you to ignore.

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Speaker 2: Yeah, like we're also just trying to have break Yes.

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Speaker 1: That happened to me. This is a slightly different example.

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Speaker 1: I guess this is a more humbling example. So back

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Speaker 1: when slatery Kinney were still playing smaller venues, and you know,

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Speaker 1: we didn't often we were setting up our own gear

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Speaker 1: or just had like maybe one crew member, but we

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Speaker 1: were you know, all hands on deck kind of thing.

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Speaker 1: And sometimes but we would still try to maintain that

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Speaker 1: sort of that distance so that when we got on

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Speaker 1: stage it felt like, ah, we've just appeared, like here,

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Speaker 1: here's a moment. But there weren't bathrooms backstage, So before

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Speaker 1: the show, I would go and have to get in

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Speaker 1: line and wait in line with the audience to use

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Speaker 1: the bathroom. Yeah, and there's nothing that kills that mystery.

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Speaker 1: Then just hey, how's it going, you know, just waiting

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Speaker 1: And then here's the other thing about that. So now

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Speaker 1: I'm you know, there's someone before me, obviously there's someone

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Speaker 1: after me. I could walk into a stall and it

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Speaker 1: could be covered and piss and shit, but when I leave,

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Speaker 1: it has to be clean. So I'm going in there

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Speaker 1: like basically cleaning the bathroom, say that it doesn't look

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Speaker 1: like I'm the one that left that there. So yeah,

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Speaker 1: I'm just like it has to be Yeah, you have

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Speaker 1: to be able to eat off that toilet when I leave. Yeah,

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Speaker 1: And so it was, Yeah, it was. It was a

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Speaker 1: lot of work. It was a lot of work and

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Speaker 1: also awkwardly just you know, the chit chat, the bathroom

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Speaker 1: chit chat, and people, you know, it completely demysticize everything.

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Speaker 1: You're like, Wow. Also the longest hat hand washing I've

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Speaker 1: ever done. Hey, look, guys, you know, just washing those hands.

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Speaker 1: Just making sure that everyone knows what a great hand

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Speaker 1: washer I am. That I never dribble onto the toilet

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Speaker 1: seat that I you know, like it's it's a whole routine,

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Speaker 1: but you know what great A lot of bathrooms got

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Speaker 1: cleaned that way good.

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Speaker 3: Yes, and in fact, to the point of the sketch,

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Speaker 3: you were kind of like a cleaner.

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Speaker 1: Cleaner, But that that did have that feeling of like, oh,

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Speaker 1: I wanted to be just for the sake of the show,

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Speaker 1: to like maintain justlf a little bit of distance so

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Speaker 1: that when I am walk out on stage, the person

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Speaker 1: is not like, oh, that's just the woman that just

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Speaker 1: used the toilet next to me.

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Speaker 3: It also speaks to like the benefit of being in

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Speaker 3: a band. I don't know why I'm picking Motorhead, but

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Speaker 3: if you're in like a biker band, whatever you want

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Speaker 3: to call it, you know what I'm saying, Like you

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Speaker 3: could go into like any bathroom, just light.

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Speaker 2: On a fire on the floor, on the walls. Yeah,

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Speaker 2: Like that's I wonder if like that's why they got

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Speaker 2: into it.

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Speaker 3: Like yeah, when we go anywhere, we could totally be ourselves,

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Speaker 3: right right.

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Speaker 1: I hate to involve in a bathroom talk right here,

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Speaker 1: but I just it reminded me that to me, is

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Speaker 1: is my most like humbling version of that. Yeah, but

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Speaker 1: I know exactly what you're saying. Yeah, it's common, all right.

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Speaker 1: That's Amy Part one Coffee Land and Coffee Land. Man.

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Speaker 1: I watched this and I was like, no, this is

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Speaker 1: like one of those sketches where I'm like I kind

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Speaker 1: of remember the providence of it, like I remember who

385
00:22:11,359 --> 00:22:15,760
Speaker 1: pitched it and what it was. But I just I

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Speaker 1: would not do this sketch.

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Speaker 2: Again now in the blur of making it.

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00:22:19,560 --> 00:22:22,520
Speaker 3: Yeah, you know, it just seems like sure, we'll just

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00:22:22,560 --> 00:22:24,560
Speaker 3: do it, you know, Yeah, we'll see how it turns out.

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Speaker 2: Ye.

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Speaker 3: And I remember like also the the looking at coffee

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Speaker 3: shops in Portland as a tourist destination. I liked that

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Speaker 3: aspect of it, like, oh yeah, that could be something

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Speaker 3: that's you know, a site that people would go to,

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Speaker 3: you know, tourist site. But yeah looking back.

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Speaker 1: Yeah do I mean sometimes you make a show, you

397
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Speaker 1: make something and you're like, yeah, that was a mistake.

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Speaker 2: Easy to skip.

399
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Speaker 1: Over, easy to skip over.

400
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Speaker 2: Yeah.

401
00:22:55,800 --> 00:23:01,240
Speaker 1: So basically, like we're dressed I guess like we're like Japanophiles,

402
00:23:01,280 --> 00:23:05,200
Speaker 1: Like we're dressed in like har Juku girls yea. And

403
00:23:05,680 --> 00:23:08,080
Speaker 1: the way that they cut it was as if we

404
00:23:08,080 --> 00:23:11,439
Speaker 1: were like so obsessed with this like world that like

405
00:23:11,480 --> 00:23:14,119
Speaker 1: we sort of create like a fantasy world where like

406
00:23:14,359 --> 00:23:16,560
Speaker 1: we get to live inside of it, and we go

407
00:23:16,640 --> 00:23:19,760
Speaker 1: to these coffee shops and the cop and everything just

408
00:23:20,119 --> 00:23:22,040
Speaker 1: keeps getting more diminutive.

409
00:23:22,920 --> 00:23:26,240
Speaker 3: Coffee, the espressos get, the coffees get smaller, coff getsmall

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Speaker 3: and we go out in line.

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Speaker 1: It's a ride, like it's a ride, yeah, coffee Land.

412
00:23:31,200 --> 00:23:35,960
Speaker 1: And then there's this cute boy played by Josh Frank,

413
00:23:36,119 --> 00:23:40,280
Speaker 1: who is this young actor that returns I think he

414
00:23:40,400 --> 00:23:43,359
Speaker 1: actually returns in Dumpsterday. He returns in this episode and

415
00:23:43,400 --> 00:23:47,639
Speaker 1: then over and over again, and then we go and

416
00:23:47,680 --> 00:23:49,520
Speaker 1: then the rest of it's sort of on a green

417
00:23:49,520 --> 00:23:51,879
Speaker 1: screen for a while and like we're in an imaginary

418
00:23:51,920 --> 00:23:55,600
Speaker 1: world and then and then it's out. That's basically the sketch.

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Speaker 3: And we used him a lot because, uh, because of

420
00:23:59,600 --> 00:24:02,080
Speaker 3: our budget it people couldn't always have speaking parts. That

421
00:24:02,200 --> 00:24:06,160
Speaker 3: becomes more expensive. Yeah, and his reactions were so good

422
00:24:06,440 --> 00:24:09,520
Speaker 3: yes and dead instead of like not reacting.

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00:24:09,720 --> 00:24:15,200
Speaker 1: Yes, and that comes from that's a Jonathan Kreisel like thing.

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Speaker 1: He is great. I mean I think it came from

425
00:24:18,960 --> 00:24:21,240
Speaker 1: the world of Tim and Eric as well, which is

426
00:24:21,280 --> 00:24:25,719
Speaker 1: another sketch show, really like absurd kind of at vantguard

427
00:24:25,720 --> 00:24:28,680
Speaker 1: sketch show. But they really were great with like background

428
00:24:28,680 --> 00:24:32,480
Speaker 1: actors and like just finding real people and that is

429
00:24:32,560 --> 00:24:36,920
Speaker 1: something we always aim to do with our background. Yeah,

430
00:24:37,600 --> 00:24:39,920
Speaker 1: was just I mean, obviously they were all real Portlanders,

431
00:24:39,920 --> 00:24:42,359
Speaker 1: but just like great faces and people that you know,

432
00:24:42,760 --> 00:24:45,240
Speaker 1: it's not like central casting for like let's get the

433
00:24:45,280 --> 00:24:48,040
Speaker 1: hottest people or it's just like let's get everyday people

434
00:24:48,640 --> 00:24:55,120
Speaker 1: who make our world vibrant and real. And we use

435
00:24:55,480 --> 00:24:58,080
Speaker 1: you know, we do a lot of cutaway shots, reaction shots,

436
00:24:58,320 --> 00:25:00,480
Speaker 1: which add to the humor. And Josh had one of

437
00:25:00,480 --> 00:25:03,920
Speaker 1: those great faces. Yeah, and he just sort of always

438
00:25:03,960 --> 00:25:09,000
Speaker 1: looked either like right, either dispassionate, sometimes a little perplexed.

439
00:25:09,000 --> 00:25:10,800
Speaker 1: But he it was great as like almost like to

440
00:25:10,920 --> 00:25:17,080
Speaker 1: project onto him. Yes, a reaction you know, and uh so, yeah,

441
00:25:17,200 --> 00:25:20,520
Speaker 1: we I think he was discovered in this one. I

442
00:25:20,520 --> 00:25:23,200
Speaker 1: don't know if we shot Coffee Land or Dumpster Divers,

443
00:25:23,240 --> 00:25:26,800
Speaker 1: which is also in this episode first, but either way,

444
00:25:27,160 --> 00:25:30,080
Speaker 1: it was someone who John Krazel first really loved and

445
00:25:30,080 --> 00:25:32,880
Speaker 1: then we head back. I can't remember. I think we

446
00:25:33,000 --> 00:25:35,800
Speaker 1: started noticing that he was someone who was returning over

447
00:25:35,840 --> 00:25:37,840
Speaker 1: and again, over and over again for a non speaking part,

448
00:25:37,880 --> 00:25:40,600
Speaker 1: and we did eventually he speaks, and I think we

449
00:25:40,680 --> 00:25:42,760
Speaker 1: made kind of a a meal of it.

450
00:25:42,880 --> 00:25:44,680
Speaker 2: Oh yeah, it's much later.

451
00:25:44,920 --> 00:25:47,000
Speaker 1: It's like season seven or eight.

452
00:25:47,200 --> 00:25:47,520
Speaker 2: Yeah.

453
00:25:47,640 --> 00:25:53,560
Speaker 3: Yeah, So from Coffee Land there's another Nina and Lance

454
00:25:54,440 --> 00:25:55,000
Speaker 3: and this one.

455
00:25:55,040 --> 00:25:57,040
Speaker 1: I mean, this might just be the cringe episode for

456
00:25:57,080 --> 00:25:59,720
Speaker 1: me because like a sex toy to me. Also, I'm like,

457
00:26:00,480 --> 00:26:04,239
Speaker 1: it doesn't it's funny. It doesn't like I can't now

458
00:26:04,280 --> 00:26:07,159
Speaker 1: I sound like a prude, but it's like one of

459
00:26:07,160 --> 00:26:09,600
Speaker 1: those things where I'm like, oh, interesting, like I want

460
00:26:09,640 --> 00:26:12,440
Speaker 1: to I know it does. It becomes not about sexuoys.

461
00:26:12,560 --> 00:26:15,200
Speaker 1: It becomes about packaging, which again is one of those

462
00:26:15,280 --> 00:26:17,800
Speaker 1: very Portlandia things of like you think the sketch is

463
00:26:17,800 --> 00:26:19,879
Speaker 1: going to be about one thing, but it's about the other.

464
00:26:19,920 --> 00:26:21,719
Speaker 1: And I love the other thing it's about, and it's

465
00:26:22,119 --> 00:26:25,960
Speaker 1: it's apropos for Nita and Lance to you know, get

466
00:26:25,960 --> 00:26:28,879
Speaker 1: a sex toy. But I think I remember both of

467
00:26:28,960 --> 00:26:31,119
Speaker 1: us just kind of being like, huh, like could have

468
00:26:31,160 --> 00:26:34,480
Speaker 1: been anything they ordered, yeah, right, Like I felt like

469
00:26:34,520 --> 00:26:38,400
Speaker 1: we were it didn't need to be sort of sexual

470
00:26:38,520 --> 00:26:40,240
Speaker 1: the thing that we were ordering.

471
00:26:40,560 --> 00:26:43,720
Speaker 3: Yeah, because that sound, you know, the sound of like

472
00:26:43,840 --> 00:26:46,800
Speaker 3: huh is exactly how I feel about it, where it's like,

473
00:26:46,920 --> 00:26:47,440
Speaker 3: oh sure.

474
00:26:48,440 --> 00:26:50,520
Speaker 1: But I think I just know the things that you

475
00:26:50,600 --> 00:26:54,360
Speaker 1: and I agree on, like I know, like our sensibility.

476
00:26:54,440 --> 00:26:57,520
Speaker 1: Like for instance, when we when we first came to

477
00:26:57,560 --> 00:27:01,360
Speaker 1: the set, there were bookends that were shaped like penises,

478
00:27:02,119 --> 00:27:05,560
Speaker 1: and we said, no, that's not probably not we don't,

479
00:27:05,600 --> 00:27:06,320
Speaker 1: probably don't need it.

480
00:27:06,680 --> 00:27:09,199
Speaker 3: By the way, great art, yeah, yeah, it was just

481
00:27:09,280 --> 00:27:09,760
Speaker 3: an option.

482
00:27:09,880 --> 00:27:12,240
Speaker 1: Great penises, great sculptures.

483
00:27:12,680 --> 00:27:19,720
Speaker 3: But it's almost like in that zone somewhere yeah, yeah, yeah.

484
00:27:20,080 --> 00:27:23,400
Speaker 3: And then with the yeah, with the sex toy definitely

485
00:27:23,840 --> 00:27:26,600
Speaker 3: you know what it is. I think the sex toy

486
00:27:26,600 --> 00:27:32,480
Speaker 3: in it doesn't it doesn't make us laugh, yes, you know,

487
00:27:32,720 --> 00:27:35,679
Speaker 3: or doesn't make us laugh really like I don't know

488
00:27:35,720 --> 00:27:39,000
Speaker 3: what would anyway, It's a little thing because you only

489
00:27:39,000 --> 00:27:40,320
Speaker 3: see it I think once or something.

490
00:27:40,640 --> 00:27:44,320
Speaker 1: I think it's just a it's a little I wouldn't

491
00:27:44,359 --> 00:27:46,720
Speaker 1: even call it eccentricity. It's just a sensibility that we

492
00:27:46,800 --> 00:27:49,680
Speaker 1: share that literally has nothing to do with like our

493
00:27:50,960 --> 00:27:54,720
Speaker 1: feelings or opinions about like sex or intimacy. It's just

494
00:27:54,760 --> 00:27:57,359
Speaker 1: the where it interacts with humor that we just don't

495
00:27:57,720 --> 00:28:00,880
Speaker 1: find it that interesting. Yeah, like not to me. It's

496
00:28:00,920 --> 00:28:04,840
Speaker 1: not a shorthand for something being funny, you know, like

497
00:28:05,359 --> 00:28:08,399
Speaker 1: ah sex toy er like farts or something all that

498
00:28:09,160 --> 00:28:12,200
Speaker 1: we will contradict ourselves when we get into a sketch

499
00:28:12,240 --> 00:28:14,119
Speaker 1: we have called fart patio, which I do think is

500
00:28:14,119 --> 00:28:17,439
Speaker 1: really funny. But the exception, that's the exception. And it

501
00:28:17,520 --> 00:28:19,359
Speaker 1: was almost like, well we're going to do it, let's

502
00:28:19,400 --> 00:28:24,320
Speaker 1: just fully do this. But yes, anyway, just for people

503
00:28:24,320 --> 00:28:27,119
Speaker 1: who are you know, listening and watching, like freend and

504
00:28:27,119 --> 00:28:30,520
Speaker 1: I are longtime friends and there are it's not like

505
00:28:30,760 --> 00:28:34,439
Speaker 1: telepathic or anything how we communicate, but there is something

506
00:28:34,520 --> 00:28:38,160
Speaker 1: like we just know about each other. Like and I

507
00:28:39,120 --> 00:28:41,360
Speaker 1: when I was rewatching this, I just knew, I'm like,

508
00:28:41,800 --> 00:28:44,480
Speaker 1: this sketch is going to make you uncomfortable, because it's

509
00:28:44,480 --> 00:28:46,480
Speaker 1: making me uncomfortable like there's just so much of that,

510
00:28:47,240 --> 00:28:49,320
Speaker 1: like I can I can just feel it.

511
00:28:49,560 --> 00:28:52,600
Speaker 3: And then on the other hand, we also embrace when

512
00:28:52,640 --> 00:28:56,520
Speaker 3: as soon as you see the huge box all of the.

513
00:28:55,720 --> 00:28:57,760
Speaker 1: Bubble wrap, then I'm like, yes, Okay, then I like

514
00:28:57,960 --> 00:28:58,600
Speaker 1: I relax.

515
00:28:58,760 --> 00:29:01,000
Speaker 2: Even now I feel.

516
00:29:00,520 --> 00:29:02,360
Speaker 1: Like I've just been holding my breath the whole time

517
00:29:02,480 --> 00:29:03,040
Speaker 1: you were talking.

518
00:29:02,880 --> 00:29:04,000
Speaker 2: About this packaging.

519
00:29:04,480 --> 00:29:08,360
Speaker 1: Oh now it's about packaging, Thank god. Also, there's this

520
00:29:08,400 --> 00:29:11,720
Speaker 1: weird thing where like my character Lance like I just

521
00:29:11,800 --> 00:29:14,360
Speaker 1: keep getting I just like wanting to get back into

522
00:29:14,400 --> 00:29:17,760
Speaker 1: the like, h the bone zone. You know, I'm just

523
00:29:17,800 --> 00:29:19,680
Speaker 1: like just back on this thing and like, yeah, but

524
00:29:19,720 --> 00:29:24,000
Speaker 1: what I love the innocence of Nina sometimes, like she's

525
00:29:24,000 --> 00:29:27,280
Speaker 1: so there is this like beautiful contrast between like she

526
00:29:27,760 --> 00:29:31,600
Speaker 1: is like thoroughly and innocent, Like she just has this

527
00:29:31,800 --> 00:29:34,960
Speaker 1: real sweetness to her and like even though you know

528
00:29:35,000 --> 00:29:38,120
Speaker 1: you also see her in ways that are much more

529
00:29:38,200 --> 00:29:44,600
Speaker 1: like adventurous and like provocative, but really she just it's

530
00:29:44,640 --> 00:29:49,120
Speaker 1: like she's a romantic ultimately yeah and she Yeah, basically,

531
00:29:49,200 --> 00:29:53,560
Speaker 1: this sexuoy arrives in a package that is not commensurate

532
00:29:53,760 --> 00:29:56,680
Speaker 1: she was. It's like this and then it's side like.

533
00:29:56,640 --> 00:29:59,680
Speaker 2: A refrigerator box, which happens still a lot.

534
00:29:59,800 --> 00:30:02,240
Speaker 1: Yeah, it's very very wasteful.

535
00:30:02,480 --> 00:30:05,880
Speaker 3: There's a funny thing though, Lance chips away to open

536
00:30:05,920 --> 00:30:08,240
Speaker 3: everything I think with like a knife or something like.

537
00:30:08,280 --> 00:30:12,640
Speaker 3: He's very aggressively, like you know, just like everything he

538
00:30:12,680 --> 00:30:15,000
Speaker 3: does has to be like the tough version.

539
00:30:15,160 --> 00:30:16,240
Speaker 2: Yeah.

540
00:30:16,280 --> 00:30:19,440
Speaker 1: But yeah, you like repurpose the like packaging, like the

541
00:30:19,480 --> 00:30:23,240
Speaker 1: bubble wrap into like a little outfit. Yeah yeah, I

542
00:30:23,280 --> 00:30:27,600
Speaker 1: mean great, great upcycling, up cycling, great recycling. There.

543
00:30:27,720 --> 00:30:31,240
Speaker 3: I don't know why it's this is almost this is

544
00:30:31,560 --> 00:30:35,200
Speaker 3: this border is on pretentious. But uh, I always think

545
00:30:35,240 --> 00:30:37,360
Speaker 3: of Nina as southern California.

546
00:30:37,480 --> 00:30:40,080
Speaker 1: Oh okay, it's the rockabilly thing, right.

547
00:30:40,080 --> 00:30:42,840
Speaker 3: Yeah, rockabilly kind of like Orange County. And then that

548
00:30:42,920 --> 00:30:44,440
Speaker 3: she moved up to Portland.

549
00:30:44,640 --> 00:30:48,760
Speaker 1: Yeah I can see that. Yeah, I feel like Lance

550
00:30:49,440 --> 00:30:53,520
Speaker 1: would not be from the OC. I feel like he's

551
00:30:53,560 --> 00:30:58,520
Speaker 1: like almost like San Jose or like, oh yeah, even

552
00:30:58,640 --> 00:31:03,200
Speaker 1: like Stockton or like like kind of that like northern

553
00:31:03,360 --> 00:31:05,680
Speaker 1: like California, but not the same place. And then he

554
00:31:05,800 --> 00:31:09,040
Speaker 1: like went down to LA and then they like met

555
00:31:09,080 --> 00:31:10,040
Speaker 1: and then moved to Portland.

556
00:31:10,120 --> 00:31:12,480
Speaker 2: Yeah yeah. And then it was Nina's idea.

557
00:31:12,400 --> 00:31:13,720
Speaker 1: Like we should move to Portland.

558
00:31:14,480 --> 00:31:21,080
Speaker 2: Yeah, because I can't. He'd be like why Yeah.

559
00:31:20,160 --> 00:31:21,200
Speaker 1: He just wants to be with her.

560
00:31:21,400 --> 00:31:21,760
Speaker 2: Yeah.

561
00:31:21,960 --> 00:31:22,280
Speaker 1: Yeah.

562
00:31:22,760 --> 00:31:25,160
Speaker 2: I feel like I feel like he's always like fine.

563
00:31:25,720 --> 00:31:27,520
Speaker 1: Yeah yeah.

564
00:31:28,440 --> 00:31:33,200
Speaker 3: Let's see Amy part two. Sorry, Amy part two. This

565
00:31:33,240 --> 00:31:37,480
Speaker 3: is where she walked. So Amy Man washes a sweater.

566
00:31:37,720 --> 00:31:40,360
Speaker 1: And she shrinks it. She puts a wool sweater into

567
00:31:40,360 --> 00:31:43,120
Speaker 1: the wash. Yeah, and we get very mad. So this

568
00:31:43,160 --> 00:31:46,120
Speaker 1: is when it's like we're really vacillating between like trying

569
00:31:46,160 --> 00:31:49,040
Speaker 1: to maintain that we're cool and that we're big fans

570
00:31:49,280 --> 00:31:55,040
Speaker 1: and also just completely admonishing her for not doing things correctly,

571
00:31:55,040 --> 00:31:56,880
Speaker 1: including potentially stealing an item.

572
00:31:57,120 --> 00:31:57,440
Speaker 2: Yeah.

573
00:31:57,520 --> 00:32:01,479
Speaker 3: Yeah, So she does this, she's, you know, shrinks the sweater,

574
00:32:02,160 --> 00:32:04,560
Speaker 3: and we were really confronting her about it. Then we

575
00:32:04,640 --> 00:32:07,720
Speaker 3: do this thing where we rip up Suzanne Vega poster.

576
00:32:09,080 --> 00:32:13,240
Speaker 3: And this came from a real story that Petra Hayden,

577
00:32:13,320 --> 00:32:18,720
Speaker 3: who I'd dated before, who's a singer, a musician, told

578
00:32:18,760 --> 00:32:22,480
Speaker 3: me about a rep she used to have who showed

579
00:32:22,520 --> 00:32:26,920
Speaker 3: her a CD of this other Petra, this other singer

580
00:32:26,960 --> 00:32:29,960
Speaker 3: named Petra and smashed the cover in front of her.

581
00:32:29,800 --> 00:32:33,640
Speaker 2: To prove like there's only one, there's only one.

582
00:32:33,480 --> 00:32:37,160
Speaker 3: Petra, and Petra's reaction was like, don't do that. That

583
00:32:37,200 --> 00:32:39,240
Speaker 3: doesn't do anything for me. So that's what that came from.

584
00:32:40,480 --> 00:32:43,360
Speaker 1: I didn't remember that, but yeah, that's it's really like

585
00:32:43,400 --> 00:32:47,280
Speaker 1: horrifying to watch as that. But yeah, also, like looking

586
00:32:47,320 --> 00:32:49,240
Speaker 1: back on it, I was like, oh, this is kind

587
00:32:49,240 --> 00:32:51,920
Speaker 1: of how separate from the sketch, but like women were

588
00:32:51,920 --> 00:32:54,000
Speaker 1: sort of pitted against each other in the music industry

589
00:32:54,040 --> 00:32:54,680
Speaker 1: at that time.

590
00:32:54,600 --> 00:32:56,160
Speaker 2: Like there was like a why was that the one

591
00:32:56,240 --> 00:32:56,520
Speaker 2: to want?

592
00:32:56,600 --> 00:32:59,000
Speaker 1: Like a scarcity mindset where we're just like, well, if

593
00:32:59,400 --> 00:33:01,480
Speaker 1: do you like this this one, you can only like one.

594
00:33:01,960 --> 00:33:02,120
Speaker 2: You know.

595
00:33:02,200 --> 00:33:04,360
Speaker 1: It was like you were always like yeah.

596
00:33:04,320 --> 00:33:08,760
Speaker 3: Just yeah, why why Susan Vegas? Yeah, and then later

597
00:33:09,040 --> 00:33:10,040
Speaker 3: a Tory Amos c D.

598
00:33:10,760 --> 00:33:14,200
Speaker 1: Yeah again like you yeah, and only allowed to have

599
00:33:14,240 --> 00:33:16,880
Speaker 1: one favorite.

600
00:33:17,520 --> 00:33:22,400
Speaker 3: Then it ends with a pinata and this this is

601
00:33:23,400 --> 00:33:27,520
Speaker 3: and we're smashing it of Sarah McLachlin, Sarah McLaughlin and.

602
00:33:28,800 --> 00:33:29,720
Speaker 2: It's really great.

603
00:33:29,480 --> 00:33:31,840
Speaker 3: Because Amy kind of says like that's a friend of mine,

604
00:33:31,880 --> 00:33:34,920
Speaker 3: like I know her, I don't need this, and we're

605
00:33:34,960 --> 00:33:40,000
Speaker 3: smashing this panada and it's it's a good presentation of

606
00:33:40,040 --> 00:33:42,200
Speaker 3: the idea, you know, the way we're turning to her,

607
00:33:42,360 --> 00:33:44,280
Speaker 3: like it is like psychotic.

608
00:33:44,600 --> 00:33:47,200
Speaker 1: Right. And again, when we're talking about these rap rounds

609
00:33:47,280 --> 00:33:50,280
Speaker 1: used to be part rap rounds, we're in part two,

610
00:33:50,320 --> 00:33:54,000
Speaker 1: which always means heightening, And here we are, like really

611
00:33:54,760 --> 00:33:59,640
Speaker 1: in a heightened state of ridiculousness, bashing a pinata a

612
00:33:59,680 --> 00:34:05,080
Speaker 1: saramonclaughlin shape pinata and lo and behold. Sarah McLaughlin also

613
00:34:05,120 --> 00:34:06,120
Speaker 1: works for friend and Carrie.

614
00:34:06,200 --> 00:34:09,280
Speaker 2: She is our gardener and she's out there printing trees

615
00:34:09,480 --> 00:34:10,000
Speaker 2: or whatever.

616
00:34:09,920 --> 00:34:13,120
Speaker 1: Yeah, pooting hedges. Amy goes out because she can't believe it.

617
00:34:13,160 --> 00:34:16,440
Speaker 1: She's like, it needs a break. She goes out, and

618
00:34:16,480 --> 00:34:18,319
Speaker 1: they're Sarah McLachlin.

619
00:34:18,600 --> 00:34:22,160
Speaker 2: And so happy she was there. She was great.

620
00:34:23,520 --> 00:34:26,200
Speaker 3: But we were Carrie and I were just talking backstage

621
00:34:26,320 --> 00:34:30,000
Speaker 3: whatever would be about how surprised we were that she

622
00:34:30,080 --> 00:34:32,560
Speaker 3: agreed to do it. She seemed like such a star

623
00:34:32,840 --> 00:34:37,279
Speaker 3: of you know, just a music person who how could

624
00:34:37,320 --> 00:34:38,280
Speaker 3: we even get a hold.

625
00:34:38,080 --> 00:34:39,000
Speaker 2: Of someone like that?

626
00:34:39,280 --> 00:34:41,520
Speaker 1: Yeah, and again, I mean this is probably the first example,

627
00:34:41,520 --> 00:34:43,560
Speaker 1: but we'll talk about it a lot of just like

628
00:34:43,920 --> 00:34:47,360
Speaker 1: oh my god, Sarah McLaughlin and Amy, of course, but

629
00:34:47,480 --> 00:34:55,400
Speaker 1: like revered artists whose work like relies upon people having

630
00:34:55,600 --> 00:35:02,360
Speaker 1: very like heartfelt, sincere relationships to the songs like the

631
00:35:02,520 --> 00:35:07,680
Speaker 1: songs mean something and that the artist's intentions are are

632
00:35:07,719 --> 00:35:11,759
Speaker 1: serious and earnest, and which is great because that is

633
00:35:11,800 --> 00:35:15,680
Speaker 1: how they are and they're they both write beautiful, incredible songs.

634
00:35:18,000 --> 00:35:22,120
Speaker 1: But amazing that Sarah was like, absolutely, let me come

635
00:35:22,160 --> 00:35:26,040
Speaker 1: down from Vancouver and poke fun of myself and poke

636
00:35:26,080 --> 00:35:29,680
Speaker 1: fun at you guys, these idiotic characters and have fun.

637
00:35:29,760 --> 00:35:32,719
Speaker 1: And it was It's a dream. It's a dream to

638
00:35:32,840 --> 00:35:36,600
Speaker 1: just get to kind of just unpack all the stuff

639
00:35:36,640 --> 00:35:39,680
Speaker 1: play in this world where you know, we get to

640
00:35:40,680 --> 00:35:43,920
Speaker 1: just explore these what are essentially really awkward dynamics and

641
00:35:43,960 --> 00:35:47,920
Speaker 1: the ways that people are unfair and unkind and the

642
00:35:47,920 --> 00:35:51,080
Speaker 1: way the world, you know, works out for certain people.

643
00:35:51,120 --> 00:35:53,279
Speaker 1: And it's just like she was just up for all

644
00:35:53,320 --> 00:35:57,000
Speaker 1: of that. And I think also again as someone who

645
00:35:57,120 --> 00:36:00,239
Speaker 1: is still in the music industry, and I imagine they

646
00:36:00,360 --> 00:36:05,200
Speaker 1: know just how easy it is to go from being

647
00:36:05,440 --> 00:36:08,839
Speaker 1: doing okay to not doing okay. So I think, yeah,

648
00:36:09,160 --> 00:36:10,919
Speaker 1: always willing to explore that too.

649
00:36:11,440 --> 00:36:15,520
Speaker 3: I have some like singing the scene when Amy just

650
00:36:15,560 --> 00:36:18,719
Speaker 3: for first addresses Sarah and I like them in the

651
00:36:18,760 --> 00:36:21,000
Speaker 3: same space. I'm ah, look, they all people do know

652
00:36:21,040 --> 00:36:21,439
Speaker 3: each other.

653
00:36:21,600 --> 00:36:23,480
Speaker 1: Yeah, And she says Hi, Sarah maclachlin.

654
00:36:23,600 --> 00:36:24,560
Speaker 2: Yeah that's right.

655
00:36:25,160 --> 00:36:28,680
Speaker 1: Yeah, yeah, and I think that that's that's how that

656
00:36:28,719 --> 00:36:32,239
Speaker 1: one ends. Part two, that's how that ends. But yeah,

657
00:36:32,280 --> 00:36:36,040
Speaker 1: that felt like for some reason that getting Sarah maclachlin,

658
00:36:36,080 --> 00:36:37,760
Speaker 1: that felt to me like the first kind of coup.

659
00:36:37,800 --> 00:36:40,440
Speaker 1: Like I was like, oh, we did it, like like you.

660
00:36:40,440 --> 00:36:42,040
Speaker 2: Know, how who we knew before?

661
00:36:42,120 --> 00:36:45,279
Speaker 1: Not a like this is like someone who's just and

662
00:36:45,360 --> 00:36:48,240
Speaker 1: also this was before the show had aired, so she's

663
00:36:48,719 --> 00:36:52,319
Speaker 1: leap of faith like you know, and I I do.

664
00:36:52,600 --> 00:36:55,759
Speaker 1: I just love that just people being game, Yeah, you know,

665
00:36:55,840 --> 00:36:59,520
Speaker 1: that's that's half of this, you know, it's just that

666
00:36:59,600 --> 00:37:03,440
Speaker 1: trust and like, yeah, I'm I'm very grateful and appreciative

667
00:37:03,560 --> 00:37:07,480
Speaker 1: of you know this everyone, but this first season especially

668
00:37:07,719 --> 00:37:12,320
Speaker 1: just people willing to kind of just explore this windly

669
00:37:12,440 --> 00:37:15,200
Speaker 1: yeah this world with us and then have and be silly.

670
00:37:15,360 --> 00:37:19,640
Speaker 1: Just really it is just silliness, you know, Like you know,

671
00:37:19,840 --> 00:37:22,319
Speaker 1: I keep sort of adding like my own sort of

672
00:37:23,080 --> 00:37:25,520
Speaker 1: thoughts to it as I rewatch. Obviously that's part of

673
00:37:25,560 --> 00:37:29,040
Speaker 1: what we're doing. But when you just get rid of

674
00:37:29,040 --> 00:37:32,080
Speaker 1: all that, like it's it's just a lot of silliness

675
00:37:32,120 --> 00:37:34,320
Speaker 1: and a lot of fun.

676
00:37:35,680 --> 00:37:37,319
Speaker 2: You gotta get out of it. You got to get

677
00:37:37,320 --> 00:37:37,799
Speaker 2: out of there.

678
00:37:37,840 --> 00:37:40,960
Speaker 1: You got to get out of there. Kind of an

679
00:37:41,080 --> 00:37:44,000
Speaker 1: energy piece. I guess that's the energy piece against that

680
00:37:44,160 --> 00:37:47,160
Speaker 1: like quick kind of percussive cadence, like the editing gets

681
00:37:47,200 --> 00:37:50,960
Speaker 1: really sped up, kind of like quick cuts, a.

682
00:37:50,960 --> 00:37:55,080
Speaker 3: Version of like did you read in a way or yeah,

683
00:37:55,000 --> 00:37:56,040
Speaker 3: who came up with this?

684
00:37:56,080 --> 00:37:58,960
Speaker 2: I feel like, Alison, I think you're right, like.

685
00:37:59,239 --> 00:38:01,319
Speaker 3: Someone was talking about someone's saying that on the phone,

686
00:38:01,320 --> 00:38:02,600
Speaker 3: you gotta get out of there.

687
00:38:02,640 --> 00:38:06,480
Speaker 2: Right, And I think these characters, I don't know if

688
00:38:06,520 --> 00:38:07,360
Speaker 2: we did them again.

689
00:38:07,480 --> 00:38:08,839
Speaker 1: We did them again, but.

690
00:38:08,800 --> 00:38:13,279
Speaker 3: They might have had names, and then it's it's just

691
00:38:13,440 --> 00:38:14,920
Speaker 3: saying over and over you got to get out of there.

692
00:38:14,960 --> 00:38:19,239
Speaker 2: And we're just in this food where these food.

693
00:38:19,040 --> 00:38:21,839
Speaker 1: Carts like carts are food cart pod yeah, and which

694
00:38:21,880 --> 00:38:24,840
Speaker 1: is very Portland taking table. Yeah. I think this is

695
00:38:24,880 --> 00:38:28,080
Speaker 1: another one of those things that we continue to do.

696
00:38:28,160 --> 00:38:31,000
Speaker 1: And I mean not just with with words, so not

697
00:38:31,080 --> 00:38:34,680
Speaker 1: just linguistically but also thematically. We like to take something

698
00:38:35,160 --> 00:38:37,600
Speaker 1: and just do it until it just all the meaning

699
00:38:37,760 --> 00:38:43,840
Speaker 1: is like warped and like deconstructed and like absurd. You know,

700
00:38:43,840 --> 00:38:46,160
Speaker 1: it's just like say something over and over again, or

701
00:38:46,239 --> 00:38:48,440
Speaker 1: just like go down one track until you're just like,

702
00:38:48,560 --> 00:38:51,440
Speaker 1: oh my god, you kept going and then you went further.

703
00:38:51,760 --> 00:38:54,760
Speaker 1: Like that's a very I feel like Fred and carry

704
00:38:55,280 --> 00:38:57,719
Speaker 1: very poorly anything to do. And this is like a

705
00:38:57,840 --> 00:39:04,239
Speaker 1: very I guess, like just tight example of that, right,

706
00:39:04,320 --> 00:39:06,319
Speaker 1: Like it's just like it's it's a very sort of

707
00:39:06,360 --> 00:39:10,560
Speaker 1: like pointed example of that with just one expression where

708
00:39:10,560 --> 00:39:12,080
Speaker 1: we're like we're just gonna keep saying it until it

709
00:39:12,080 --> 00:39:12,920
Speaker 1: almost has.

710
00:39:12,800 --> 00:39:16,280
Speaker 3: No meaning anymore, yeah, and then trust that it'll yeah,

711
00:39:16,600 --> 00:39:17,319
Speaker 3: just shooting it.

712
00:39:17,239 --> 00:39:18,360
Speaker 2: It is like that's a lot of trust.

713
00:39:18,680 --> 00:39:22,239
Speaker 1: Yeah, And also like to me, sort of the the

714
00:39:22,280 --> 00:39:25,360
Speaker 1: interesting part of it is just like you, the audience

715
00:39:25,760 --> 00:39:29,640
Speaker 1: creates the story. It's like it's you're just a few

716
00:39:29,680 --> 00:39:31,840
Speaker 1: words and you're like, h you, who's you?

717
00:39:32,400 --> 00:39:32,600
Speaker 2: Right?

718
00:39:32,719 --> 00:39:35,200
Speaker 1: You know, get out aware. Like it's just like that's

719
00:39:35,239 --> 00:39:38,400
Speaker 1: what's sort of fun. It's like playing with people's expectations,

720
00:39:38,400 --> 00:39:40,759
Speaker 1: playing with people's imaginations.

721
00:39:40,040 --> 00:39:41,480
Speaker 2: Of what could be on the other end. Yeah.

722
00:39:41,480 --> 00:39:43,960
Speaker 1: And then it's literally a man in a.

723
00:39:43,960 --> 00:39:48,400
Speaker 2: River and that's Jedediah, Yeah, who shows up so much.

724
00:39:48,400 --> 00:39:54,120
Speaker 3: A real Portland figure. He over the years has had

725
00:39:54,360 --> 00:39:55,880
Speaker 3: various businesses that are.

726
00:39:57,280 --> 00:39:59,319
Speaker 2: Just I would say, just.

727
00:40:00,840 --> 00:40:02,880
Speaker 3: The word special might not be the right just like

728
00:40:03,600 --> 00:40:10,360
Speaker 3: scavenger hunts contests Jededi Acre. And yeah, he ended up

729
00:40:10,360 --> 00:40:13,200
Speaker 3: being in a lot of the key art and campaigns,

730
00:40:13,239 --> 00:40:14,360
Speaker 3: ad campaigns and stuff.

731
00:40:14,520 --> 00:40:18,759
Speaker 1: Yeah, he I mean he shows up in many, many episodes.

732
00:40:18,880 --> 00:40:19,280
Speaker 2: Yeah.

733
00:40:19,360 --> 00:40:22,120
Speaker 1: Yeah, and this you know, first season, first couple of episodes.

734
00:40:22,800 --> 00:40:24,560
Speaker 1: It's like we didn't know that these would be people

735
00:40:24,600 --> 00:40:28,560
Speaker 1: who we would like collaborate with for the next eight years. Yeah,

736
00:40:28,800 --> 00:40:32,879
Speaker 1: you know, and that's crew included, you know, just and

737
00:40:34,040 --> 00:40:36,960
Speaker 1: I remember when we wrap at season eight and looking

738
00:40:37,000 --> 00:40:39,239
Speaker 1: around and we even did a photo of all the

739
00:40:39,239 --> 00:40:41,640
Speaker 1: people who had still been there since season one. Oh yes,

740
00:40:42,200 --> 00:40:45,640
Speaker 1: quite a few of us. But you know that included

741
00:40:45,640 --> 00:40:50,040
Speaker 1: a lot of these local guest stars with the speaking

742
00:40:50,120 --> 00:40:55,080
Speaker 1: or non speaking roles who you know, really helped create

743
00:40:55,080 --> 00:40:57,000
Speaker 1: the world of the show. But yeah, this is a

744
00:40:57,040 --> 00:40:59,400
Speaker 1: time where we just, yeah, we really just had no

745
00:40:59,480 --> 00:41:02,279
Speaker 1: idea what was coming next. But yeah, but he's a

746
00:41:02,280 --> 00:41:03,080
Speaker 1: great example of that.

747
00:41:04,040 --> 00:41:05,840
Speaker 2: Yeah, I mean.

748
00:41:05,680 --> 00:41:08,759
Speaker 3: I guess we didn't have any idea, but there was

749
00:41:08,800 --> 00:41:10,960
Speaker 3: still like an I don't know what to call it.

750
00:41:11,000 --> 00:41:13,000
Speaker 3: There's like a version of optimism because I remember the

751
00:41:13,000 --> 00:41:15,880
Speaker 3: feeling of not like, well, who knows when we'll get

752
00:41:15,920 --> 00:41:18,879
Speaker 3: to do this again. I felt at the time, like, hey,

753
00:41:18,880 --> 00:41:23,640
Speaker 3: this is pretty cool. Keeps going, you know, some something

754
00:41:23,719 --> 00:41:37,839
Speaker 3: like that. Now his next sketch strippers another one that

755
00:41:39,760 --> 00:41:41,960
Speaker 3: it was okay, you know, It's weird when I was

756
00:41:42,000 --> 00:41:45,520
Speaker 3: watching it is that I thought, oh, this could be

757
00:41:45,560 --> 00:41:49,040
Speaker 3: an SNL sketch, or or it might have even worked

758
00:41:49,040 --> 00:41:50,120
Speaker 3: on SNL in a way.

759
00:41:50,160 --> 00:41:52,520
Speaker 1: You know what. There's there's this one, and there's one

760
00:41:52,560 --> 00:41:57,000
Speaker 1: coming up in a later episode from season one that

761
00:41:57,239 --> 00:41:59,799
Speaker 1: to me also feels SNL. And I think there were

762
00:42:00,120 --> 00:42:04,799
Speaker 1: times in season one where there was still like we

763
00:42:04,800 --> 00:42:08,560
Speaker 1: were still in conversation with SNL via you you know,

764
00:42:08,600 --> 00:42:13,040
Speaker 1: and just that idea that like oh, like as of

765
00:42:13,120 --> 00:42:18,640
Speaker 1: a sketch, like we hadn't necessarily figured out the point

766
00:42:18,680 --> 00:42:22,359
Speaker 1: of view like completely, like we were really close, like

767
00:42:22,440 --> 00:42:25,480
Speaker 1: we talked, we were talking the other day like season two.

768
00:42:25,520 --> 00:42:28,879
Speaker 1: As to me, where it really coalesces, I'm like, this

769
00:42:29,120 --> 00:42:31,440
Speaker 1: is what we want the show to be. And you

770
00:42:31,480 --> 00:42:35,120
Speaker 1: see glimpses of it in season one for sure, and

771
00:42:35,120 --> 00:42:37,160
Speaker 1: we've talked about some of those sketches and we'll continue

772
00:42:37,160 --> 00:42:40,320
Speaker 1: to and then yeah, some of the others feel like huh,

773
00:42:40,360 --> 00:42:43,960
Speaker 1: like this just doesn't. It just doesn't feel like it

774
00:42:44,040 --> 00:42:47,839
Speaker 1: has the Portlandia sensibility that like we really where we

775
00:42:47,840 --> 00:42:51,240
Speaker 1: were sort of firing on all cylinders and like coming

776
00:42:51,520 --> 00:42:54,840
Speaker 1: through the lens that we really wanted to create from.

777
00:42:55,120 --> 00:42:55,239
Speaker 2: Uh.

778
00:42:55,360 --> 00:42:58,120
Speaker 1: This feels like one of those where it's like the characters,

779
00:42:58,440 --> 00:43:00,800
Speaker 1: I'm like, I don't know who the characters are. Yeah,

780
00:43:00,960 --> 00:43:04,160
Speaker 1: it feels like it feels very ephemeral in this way. Yeah,

781
00:43:04,280 --> 00:43:08,200
Speaker 1: you know, like there's no take on it, right. Yeah,

782
00:43:08,280 --> 00:43:08,920
Speaker 1: Like that's just.

783
00:43:09,920 --> 00:43:12,279
Speaker 2: I guess it breezes by fast enough that.

784
00:43:12,280 --> 00:43:18,719
Speaker 3: I'm I it doesn't bother me. I don't know, it's

785
00:43:18,760 --> 00:43:20,799
Speaker 3: just it just comes and goes.

786
00:43:21,120 --> 00:43:23,160
Speaker 1: Yeah, I mean it's okay if I think it's okay

787
00:43:23,280 --> 00:43:27,000
Speaker 1: to be I don't know it's okay to be bothered.

788
00:43:27,000 --> 00:43:28,520
Speaker 1: I guess it's just like, you know, we it's like

789
00:43:28,880 --> 00:43:33,480
Speaker 1: we That's what like process is, right, Like you know

790
00:43:33,520 --> 00:43:36,080
Speaker 1: there's gonna be things that we're like, okay that that

791
00:43:36,239 --> 00:43:40,319
Speaker 1: didn't work. That's like that I wouldn't do that.

792
00:43:40,400 --> 00:43:40,600
Speaker 2: Yeah.

793
00:43:40,640 --> 00:43:43,879
Speaker 1: I think I think that's part of the interesting part

794
00:43:43,880 --> 00:43:47,520
Speaker 1: of this exploration, you know. Yeah, And I feel lucky

795
00:43:47,560 --> 00:43:48,920
Speaker 1: that so far, I'm like okay, yeah, a lot of

796
00:43:48,920 --> 00:43:52,319
Speaker 1: this is working feels good to me, but yeah, it's

797
00:43:52,320 --> 00:43:59,000
Speaker 1: inevitable that some things just won't. Yeah, and we'll have

798
00:43:59,080 --> 00:44:02,000
Speaker 1: to sit with the disc for we'll have to sit

799
00:44:02,040 --> 00:44:02,359
Speaker 1: with it.

800
00:44:02,360 --> 00:44:04,279
Speaker 3: I'd be fun to blame somebody. I wish we could

801
00:44:04,320 --> 00:44:06,560
Speaker 3: just say, like they forced us to make the sketch.

802
00:44:07,360 --> 00:44:10,319
Speaker 2: Yes, I remember for a i FC and they wrote it.

803
00:44:12,000 --> 00:44:14,080
Speaker 1: This is the one sketch i f C wrote.

804
00:44:14,120 --> 00:44:17,200
Speaker 3: They wrote it and were this. The Strip Club was

805
00:44:17,239 --> 00:44:18,759
Speaker 3: sponsoring it and they paid for it.

806
00:44:18,840 --> 00:44:19,799
Speaker 2: We had to do it.

807
00:44:20,160 --> 00:44:24,279
Speaker 1: Yeah, yeah, there were our sponsors this year.

808
00:44:24,520 --> 00:44:24,800
Speaker 2: Yeah.

809
00:44:24,880 --> 00:44:26,239
Speaker 1: Yeah, before subru it.

810
00:44:26,160 --> 00:44:27,759
Speaker 2: Was it was the Strip Club.

811
00:44:28,000 --> 00:44:31,839
Speaker 1: Yeah, yeah, I mean I think it's I think it's good.

812
00:44:32,120 --> 00:44:36,520
Speaker 1: It's like this is just like yeah, as we go back,

813
00:44:37,160 --> 00:44:40,399
Speaker 1: I mean I would be like, it's same with when

814
00:44:40,440 --> 00:44:44,160
Speaker 1: I think back to like Slater Kinney albums or songs

815
00:44:44,239 --> 00:44:48,040
Speaker 1: or things I've written, you know, outside of sketch, and

816
00:44:48,080 --> 00:44:51,640
Speaker 1: I'm like, oh, I'm like I wouldn't have done that now, right,

817
00:44:51,760 --> 00:44:54,400
Speaker 1: you know? Or like I can hear something in a

818
00:44:54,440 --> 00:44:57,120
Speaker 1: song that I feel like could have been improved upon,

819
00:44:57,200 --> 00:45:01,040
Speaker 1: I feel like that's okay, Like, yeah, I always room

820
00:45:01,080 --> 00:45:06,560
Speaker 1: for improvement, which gets us too dumpster Divers.

821
00:45:06,360 --> 00:45:10,719
Speaker 3: Which I feel the opposite. I feel like that's we

822
00:45:10,719 --> 00:45:11,879
Speaker 3: were really trying to, Like.

823
00:45:13,160 --> 00:45:16,239
Speaker 1: Yes, Slash I also wrote Freagan's which was such a

824
00:45:16,320 --> 00:45:18,400
Speaker 1: like I remember, like I don't know if people are

825
00:45:18,400 --> 00:45:20,200
Speaker 1: familiar with the term Freagan. It was like you were

826
00:45:20,320 --> 00:45:23,359
Speaker 1: vegan unless it was free, yeah, and then you would

827
00:45:23,400 --> 00:45:28,880
Speaker 1: eat anything that yeah. Oh yeah, legitimate group of people

828
00:45:29,840 --> 00:45:33,080
Speaker 1: in our community. That was just like hardcore vegan. If

829
00:45:33,120 --> 00:45:34,440
Speaker 1: it's a free steak, I'll take it.

830
00:45:34,560 --> 00:45:34,799
Speaker 2: Yeah.

831
00:45:36,320 --> 00:45:40,440
Speaker 1: Yeah, lots of you know, there's always room to you know,

832
00:45:41,200 --> 00:45:44,359
Speaker 1: do something else if it's you're not paying for it.

833
00:45:45,239 --> 00:45:49,400
Speaker 3: I remember when we were telling Ashby about this sketch.

834
00:45:49,640 --> 00:45:51,360
Speaker 3: I think we were shooting something of Ashby and then

835
00:45:51,400 --> 00:45:53,440
Speaker 3: we're like, Okay, we're gonna go shoot this thing where

836
00:45:53,480 --> 00:45:57,880
Speaker 3: we play dumpster divers. And for anyone listening, dumpster divers

837
00:45:57,960 --> 00:46:02,560
Speaker 3: kind of like it's not homeless or on the unhoused

838
00:46:03,080 --> 00:46:08,600
Speaker 3: is people who they're sort of like people who like

839
00:46:08,640 --> 00:46:11,040
Speaker 3: look through dumpsters for things that are still useful.

840
00:46:11,239 --> 00:46:16,000
Speaker 1: Yeah, gleaners. Yeah, you know, there's a bit of like

841
00:46:17,239 --> 00:46:21,640
Speaker 1: wanting to yeah, not be wasteful, and also just people

842
00:46:21,680 --> 00:46:27,040
Speaker 1: who I think enjoy like finding like sort of treasure hunting. Yeah,

843
00:46:27,640 --> 00:46:30,560
Speaker 1: although sometimes just looking for like, oh my god, can

844
00:46:30,600 --> 00:46:33,400
Speaker 1: you believe that, like this grocery store and this is true,

845
00:46:33,440 --> 00:46:36,440
Speaker 1: like throwing out bread that's perfectly good, Like you know,

846
00:46:36,520 --> 00:46:40,319
Speaker 1: there's like so much waste that of course it makes sense,

847
00:46:40,400 --> 00:46:44,520
Speaker 1: like if you are willing to like go through a

848
00:46:44,600 --> 00:46:49,160
Speaker 1: dumpster trash, like you can find literally great stuff, including

849
00:46:49,320 --> 00:46:51,719
Speaker 1: edible stuff. So and but it becomes sort of like

850
00:46:53,280 --> 00:46:56,719
Speaker 1: a lifestyle and can then start to veer towards, you know,

851
00:46:57,239 --> 00:46:58,440
Speaker 1: being pretty self righteous.

852
00:46:58,760 --> 00:47:00,160
Speaker 2: Yeah, yeah, that's why would.

853
00:46:59,920 --> 00:47:03,080
Speaker 1: You Why would you buy this when you could just

854
00:47:03,120 --> 00:47:06,919
Speaker 1: get it for free? Yeah, when you know, like most

855
00:47:06,960 --> 00:47:11,440
Speaker 1: people would are like, it's okay, I'll go purchase eggs,

856
00:47:11,480 --> 00:47:13,879
Speaker 1: like if you know, because it's again, these are people

857
00:47:13,920 --> 00:47:17,120
Speaker 1: that could technically afford it, but there's a thrill, yeah,

858
00:47:17,200 --> 00:47:18,440
Speaker 1: you know, and stumbling upon it.

859
00:47:19,320 --> 00:47:21,000
Speaker 3: Oh, we should have done an egg joke in it,

860
00:47:22,040 --> 00:47:25,400
Speaker 3: cracking an egg that is like so clearly went bad,

861
00:47:25,880 --> 00:47:27,480
Speaker 3: but still fry it up.

862
00:47:27,920 --> 00:47:31,919
Speaker 1: But the thing is you already like I was gagging.

863
00:47:31,760 --> 00:47:35,120
Speaker 3: You were gagging, and some of it is filmed. Yes,

864
00:47:35,200 --> 00:47:38,520
Speaker 3: you have a real gag in there. Yes, Yeah, it

865
00:47:38,560 --> 00:47:41,080
Speaker 3: was pretty gross because we were mixing foods together. Yeah,

866
00:47:41,120 --> 00:47:43,960
Speaker 3: it didn't occur to me when we're writing it that

867
00:47:43,960 --> 00:47:46,560
Speaker 3: that could happen, that there will be a smell of

868
00:47:46,600 --> 00:47:52,520
Speaker 3: mixing soups with no refrigeration or heat. It was just

869
00:47:52,719 --> 00:47:56,440
Speaker 3: you know, we're just in some room. Yeah, and when

870
00:47:56,440 --> 00:47:58,960
Speaker 3: you pour soup in it.

871
00:47:58,960 --> 00:47:59,960
Speaker 1: Was getting really gross.

872
00:48:00,440 --> 00:48:00,840
Speaker 2: Yeah.

873
00:48:00,920 --> 00:48:03,200
Speaker 1: Yeah.

874
00:48:04,120 --> 00:48:07,800
Speaker 3: Side note, when I was in this band in the nineties,

875
00:48:07,800 --> 00:48:13,359
Speaker 3: trench Mouth, we played in Berlin at a squat and

876
00:48:15,719 --> 00:48:19,400
Speaker 3: there was there was no heating, there was no there

877
00:48:19,400 --> 00:48:25,200
Speaker 3: were no light, no electricity. So they had kerosene torches dangerous,

878
00:48:25,280 --> 00:48:27,759
Speaker 3: dangerous and you could smell it, and generators for when

879
00:48:27,760 --> 00:48:28,280
Speaker 3: we played.

880
00:48:28,960 --> 00:48:32,040
Speaker 2: But then they also had like a quote unquote feast

881
00:48:32,320 --> 00:48:32,680
Speaker 2: for us.

882
00:48:32,800 --> 00:48:34,640
Speaker 1: Oh I've played in a squad too.

883
00:48:36,680 --> 00:48:39,520
Speaker 3: And I don't know why didn't occur to me because

884
00:48:39,560 --> 00:48:45,120
Speaker 3: it was so bountiful but suspiciously yes, like why is

885
00:48:45,160 --> 00:48:48,359
Speaker 3: there so much food? And then as we were going like, oh,

886
00:48:48,360 --> 00:48:52,279
Speaker 3: they found all this stuff, so go ahead, you could

887
00:48:52,320 --> 00:48:52,879
Speaker 3: do this, and.

888
00:48:52,840 --> 00:48:56,600
Speaker 2: You know they're very casual. Yeah, oh my god. The

889
00:48:56,680 --> 00:49:00,320
Speaker 2: lentil situation, the amount of stews.

890
00:49:00,000 --> 00:49:02,000
Speaker 1: The amount of stews. Yeah, it's a lot.

891
00:49:02,360 --> 00:49:03,520
Speaker 2: Yeah, it's a lot.

892
00:49:03,800 --> 00:49:06,840
Speaker 1: I've been in that situation when I I did, I

893
00:49:06,920 --> 00:49:09,520
Speaker 1: dabbled in a little dumpster diving when I was in

894
00:49:10,040 --> 00:49:14,160
Speaker 1: college for cassettes. We found a company out in the

895
00:49:14,200 --> 00:49:18,640
Speaker 1: suburb that were throwing out cassette tapes. And because I

896
00:49:18,640 --> 00:49:20,239
Speaker 1: think they were you know, there was a lot of

897
00:49:20,400 --> 00:49:25,839
Speaker 1: companies and businesses that would record whatever tutorials or instruction manuals, whatever,

898
00:49:26,120 --> 00:49:29,839
Speaker 1: ship them out, and they for some reason a lot

899
00:49:29,920 --> 00:49:32,239
Speaker 1: of them were garbage, like they just didn't use all

900
00:49:32,280 --> 00:49:35,360
Speaker 1: these tapes. And you know, there were a bunch of

901
00:49:35,400 --> 00:49:40,680
Speaker 1: musicians in Olympia, myself being one of them, and we

902
00:49:41,040 --> 00:49:44,080
Speaker 1: when we we would sell cassette you know tapes, and

903
00:49:44,160 --> 00:49:46,759
Speaker 1: so we when we were making our own before we

904
00:49:46,800 --> 00:49:49,520
Speaker 1: had a label, and we would just record ourselves. We

905
00:49:49,560 --> 00:49:53,800
Speaker 1: would then transfer our music onto these you know, dumpster

906
00:49:53,880 --> 00:49:58,080
Speaker 1: dived tapes and make our work for them and sell them.

907
00:49:58,239 --> 00:50:01,000
Speaker 3: Did it work though, Yeah, it was great. So that's

908
00:50:01,120 --> 00:50:02,640
Speaker 3: like positive ubsurd diving.

909
00:50:02,800 --> 00:50:10,000
Speaker 1: Yeah. But there's also a callback to that tiny sweater

910
00:50:10,000 --> 00:50:11,000
Speaker 1: that Amy Man shrinks.

911
00:50:11,120 --> 00:50:12,160
Speaker 2: Yes, it's they find it.

912
00:50:12,160 --> 00:50:14,240
Speaker 1: They find it because a sense of freend and Carrie

913
00:50:14,239 --> 00:50:18,920
Speaker 1: throw it out. Yeah, and your character finds it and

914
00:50:18,960 --> 00:50:22,759
Speaker 1: you put it on. And I remember people crying with

915
00:50:22,840 --> 00:50:25,840
Speaker 1: laughter as you got that on because it was ridiculous.

916
00:50:25,400 --> 00:50:26,839
Speaker 2: Because it was really tiny. Yeah.

917
00:50:27,280 --> 00:50:33,360
Speaker 3: I still have that sweater because Amanda men anitam our costumer,

918
00:50:34,440 --> 00:50:35,040
Speaker 3: framed it.

919
00:50:35,520 --> 00:50:36,399
Speaker 2: Oh wow, and.

920
00:50:37,960 --> 00:50:38,839
Speaker 1: You never wear it.

921
00:50:40,280 --> 00:50:42,520
Speaker 3: I should wear the frame. I almost brought it today

922
00:50:42,640 --> 00:50:45,000
Speaker 3: and I'd have to go to the office. Then I

923
00:50:45,080 --> 00:50:47,200
Speaker 3: thought if I came in here with it, it would

924
00:50:47,239 --> 00:50:51,160
Speaker 3: actually not be that thrilling, and that it's a framed

925
00:50:51,200 --> 00:50:52,960
Speaker 3: thing in glass, and I'd be like tilting it to

926
00:50:53,040 --> 00:50:53,719
Speaker 3: the camera and.

927
00:50:54,719 --> 00:50:58,279
Speaker 2: Then the moment would be like a dead moment, like whoa,

928
00:50:59,080 --> 00:51:02,279
Speaker 2: there it is. Yeah, that's it. So I say it

929
00:51:02,360 --> 00:51:05,640
Speaker 2: so you can thank me for thank you. Yeah.

930
00:51:06,000 --> 00:51:07,920
Speaker 1: The other thing that I want to bring up is

931
00:51:07,920 --> 00:51:12,880
Speaker 1: that that sweater, both in the Amymen Wrap around and

932
00:51:13,120 --> 00:51:16,480
Speaker 1: indupt Drivers, was not in the script. This is a

933
00:51:17,120 --> 00:51:23,400
Speaker 1: case of our props department. Yeah sorry, This is a

934
00:51:23,400 --> 00:51:25,600
Speaker 1: case of our props department just having something on hand

935
00:51:26,600 --> 00:51:29,840
Speaker 1: that we decided to use that became like a focal

936
00:51:29,840 --> 00:51:34,640
Speaker 1: point of the sketch. And our very crafty art department

937
00:51:35,160 --> 00:51:41,400
Speaker 1: was always like going deep on like the comedy and

938
00:51:41,920 --> 00:51:47,200
Speaker 1: the details and the specificity and just finding unique items

939
00:51:47,200 --> 00:51:49,359
Speaker 1: for us to play with. Because they knew so much

940
00:51:49,360 --> 00:51:52,880
Speaker 1: of it was improvised, they wanted to give us like

941
00:51:52,920 --> 00:51:55,640
Speaker 1: a lot of material, you know, so we could do

942
00:51:55,680 --> 00:51:58,000
Speaker 1: prop work and things felt very real, and that we

943
00:51:58,000 --> 00:52:01,240
Speaker 1: could move through the space and have it feel very

944
00:52:01,520 --> 00:52:05,960
Speaker 1: like alive and tactile, and often a prop would become

945
00:52:06,480 --> 00:52:09,200
Speaker 1: part of the story. And this is definitely a case

946
00:52:09,200 --> 00:52:09,400
Speaker 1: of that.

947
00:52:09,560 --> 00:52:13,319
Speaker 3: Oh yeah, so there are some easter eggs in this which,

948
00:52:13,320 --> 00:52:16,680
Speaker 3: by the way, I think we didn't continue doing that

949
00:52:16,760 --> 00:52:19,799
Speaker 3: throughout the seasons. I think we I did it only

950
00:52:19,840 --> 00:52:21,200
Speaker 3: in the first couple and after a while.

951
00:52:21,600 --> 00:52:23,920
Speaker 1: I don't know. I'm just saying, let's put a pin

952
00:52:23,920 --> 00:52:27,560
Speaker 1: in that we'll find out, Okay, I think you might

953
00:52:27,600 --> 00:52:31,000
Speaker 1: be right, But I always felt like the intention was

954
00:52:31,040 --> 00:52:36,000
Speaker 1: to again just create a through line of this world that, like,

955
00:52:36,760 --> 00:52:40,960
Speaker 1: you know, you might see something from one character's world

956
00:52:41,520 --> 00:52:44,879
Speaker 1: in another characters world. Sure you might be right, Well,

957
00:52:45,040 --> 00:52:46,960
Speaker 1: you'll find out, but certainly here.

958
00:52:46,840 --> 00:52:47,720
Speaker 2: We're doing it, definitely.

959
00:52:47,800 --> 00:52:50,759
Speaker 3: And so the other items in the dumpster are the

960
00:52:50,840 --> 00:52:56,680
Speaker 3: box of packaging from Nina and Lance and the Sarah

961
00:52:56,680 --> 00:52:58,520
Speaker 3: maclachlin pinata.

962
00:52:59,160 --> 00:53:03,960
Speaker 1: Yes, and you will also in the Nina and Lance sketch,

963
00:53:05,239 --> 00:53:08,799
Speaker 1: Nina takes a picture of herself in the bubble Rock

964
00:53:08,880 --> 00:53:12,359
Speaker 1: costume that shows up in a later episode when Lance

965
00:53:12,440 --> 00:53:19,120
Speaker 1: joys faith when Lance Jodan's Facebook. Ah, so yep, there's

966
00:53:19,160 --> 00:53:21,239
Speaker 1: a lot.

967
00:53:21,719 --> 00:53:23,160
Speaker 2: And then Josh Frank is in this.

968
00:53:23,320 --> 00:53:26,879
Speaker 1: And Josh Frank is in it. He's our little friend.

969
00:53:26,960 --> 00:53:28,280
Speaker 2: He's our little friend.

970
00:53:29,040 --> 00:53:32,160
Speaker 1: He is yep, yeah, he's having he has to eat

971
00:53:32,239 --> 00:53:33,080
Speaker 1: that meal with us.

972
00:53:33,280 --> 00:53:37,000
Speaker 3: Yes, yeah, uh, that was fun shooting that, even though

973
00:53:37,040 --> 00:53:38,520
Speaker 3: there was like some gag stuff.

974
00:53:39,600 --> 00:53:42,960
Speaker 1: Yeah, just and when yeah, when you say gag, you

975
00:53:42,960 --> 00:53:45,360
Speaker 1: don't mean like we were gagging, like it was so funny,

976
00:53:45,400 --> 00:53:48,040
Speaker 1: like you were really almost throwing up.

977
00:53:48,239 --> 00:53:51,279
Speaker 3: But the when we're eating, I remember that being like

978
00:53:51,840 --> 00:53:53,799
Speaker 3: enjoyable and that like we were trying to make I think,

979
00:53:53,840 --> 00:53:57,200
Speaker 3: like small talk. We're trying to talk to him like

980
00:53:57,239 --> 00:53:58,800
Speaker 3: it's a real regular genera.

981
00:53:58,920 --> 00:54:02,840
Speaker 2: Yeah. Yeah, and we're just eating this really rotten food,

982
00:54:03,000 --> 00:54:06,440
Speaker 2: rotten food like hard bread.

983
00:54:07,040 --> 00:54:09,120
Speaker 1: Yes, that is one of your best bits. Is you

984
00:54:09,160 --> 00:54:10,360
Speaker 1: trying to bite into that bread.

985
00:54:13,040 --> 00:54:18,920
Speaker 3: It's insane, but you've experienced that, you know that sometimes, Yes,

986
00:54:19,280 --> 00:54:21,319
Speaker 3: why did I start eating this bread?

987
00:54:21,320 --> 00:54:23,600
Speaker 1: But now I have to you have to. Yeah, it's

988
00:54:23,719 --> 00:54:26,560
Speaker 1: very awkward. Yes, if you're with people, you don't know,

989
00:54:27,160 --> 00:54:28,920
Speaker 1: you know what. We went out to dinner last night and

990
00:54:29,040 --> 00:54:30,719
Speaker 1: I felt that a little bit with the bread. It

991
00:54:30,760 --> 00:54:31,560
Speaker 1: wasn't hard, but.

992
00:54:31,560 --> 00:54:36,239
Speaker 2: It was big and a spongy, spongy an oily and

993
00:54:36,360 --> 00:54:37,319
Speaker 2: sort of yes, and.

994
00:54:37,320 --> 00:54:40,719
Speaker 1: I actually thought, like, I need a private moment. I

995
00:54:40,760 --> 00:54:43,000
Speaker 1: wish there was like a little modesty panel. I know

996
00:54:43,080 --> 00:54:44,920
Speaker 1: that's what a napkin is, but I wish there was

997
00:54:44,960 --> 00:54:48,160
Speaker 1: like a more official kind of modesty panel that you

998
00:54:48,200 --> 00:54:51,759
Speaker 1: could just like put up and just finish eating and

999
00:54:51,760 --> 00:54:53,200
Speaker 1: then it would just come back down.

1000
00:54:53,440 --> 00:54:57,520
Speaker 3: Absolutely. Yeah, with some seafoods. I think with shrimp that

1001
00:54:57,560 --> 00:54:58,680
Speaker 3: would be helpful.

1002
00:54:58,800 --> 00:55:03,360
Speaker 1: Yes, I actually found the brock Allini also a little

1003
00:55:03,360 --> 00:55:07,279
Speaker 1: bit like really yeah, yeah, I just there was a

1004
00:55:07,320 --> 00:55:10,040
Speaker 1: lot of moments I just needed like a little screen.

1005
00:55:11,080 --> 00:55:13,960
Speaker 2: Yeah, yeah, I'm with you on that. Yeah.

1006
00:55:14,480 --> 00:55:16,600
Speaker 3: The dinner, by the way, was this is the kind

1007
00:55:16,600 --> 00:55:20,280
Speaker 3: of places we eat at eight thousand dollars for two people.

1008
00:55:21,040 --> 00:55:22,560
Speaker 2: That's how we live, like our life.

1009
00:55:22,920 --> 00:55:25,600
Speaker 3: We're doing this now and we're pretending like we're normal people,

1010
00:55:25,600 --> 00:55:30,480
Speaker 3: but we have a very exclusive, specialized, curated life.

1011
00:55:30,800 --> 00:55:35,160
Speaker 1: Put it out there, you know, yeah, manifested friends.

1012
00:55:38,280 --> 00:55:40,279
Speaker 2: So this ends with that, and then uh.

1013
00:55:40,760 --> 00:55:41,920
Speaker 1: I mean part three.

1014
00:55:43,239 --> 00:55:46,560
Speaker 2: And this is oh god, really, uh.

1015
00:55:46,560 --> 00:55:49,240
Speaker 1: Now we want we wanted to play We're just craven,

1016
00:55:49,320 --> 00:55:51,480
Speaker 1: We're just yeah, now we wanted to play a concert.

1017
00:55:51,520 --> 00:55:52,440
Speaker 1: She's cleaned our house.

1018
00:55:52,960 --> 00:55:56,680
Speaker 2: We're still fans places show. Uh.

1019
00:55:56,719 --> 00:56:00,680
Speaker 3: And then she leaves and we do an encore that

1020
00:56:00,719 --> 00:56:02,560
Speaker 3: goes on like the encore she leaves you.

1021
00:56:02,800 --> 00:56:04,960
Speaker 1: She drives away, she goes home.

1022
00:56:04,920 --> 00:56:07,239
Speaker 2: Yep, and we're still yeah, she's brushing her teeth. One

1023
00:56:07,360 --> 00:56:09,080
Speaker 2: my song, yeah.

1024
00:56:09,360 --> 00:56:14,120
Speaker 3: And the music I don't I actually don't know how

1025
00:56:14,120 --> 00:56:16,840
Speaker 3: we got it. But it's a song that has lyrics

1026
00:56:16,880 --> 00:56:18,960
Speaker 3: that's saying that's that's about an encore.

1027
00:56:19,280 --> 00:56:21,759
Speaker 1: Yeah, well that's that weird music library that we really

1028
00:56:21,800 --> 00:56:24,359
Speaker 1: discovered during the show. That was from the library that yeah,

1029
00:56:24,360 --> 00:56:26,000
Speaker 1: that sound alike library.

1030
00:56:26,040 --> 00:56:29,520
Speaker 2: And wow, because it says like one more songs you're.

1031
00:56:29,440 --> 00:56:31,120
Speaker 1: All the time. You know where I hear that. I mean,

1032
00:56:31,160 --> 00:56:33,879
Speaker 1: we really used it because essentially, you know, it's very

1033
00:56:33,880 --> 00:56:36,080
Speaker 1: expensive to buy the rights to a song, so there's

1034
00:56:36,120 --> 00:56:38,520
Speaker 1: all these what are called sound alikes. So it's like

1035
00:56:38,560 --> 00:56:40,799
Speaker 1: you can just like, oh, I need a song that

1036
00:56:40,880 --> 00:56:43,719
Speaker 1: sounds like imagine dragons, or I need a song that

1037
00:56:43,760 --> 00:56:46,719
Speaker 1: sounds like pearl Jam, which we definitely did, or you know,

1038
00:56:46,880 --> 00:56:49,600
Speaker 1: I need a song that sounds like whatever, you know,

1039
00:56:49,960 --> 00:56:55,000
Speaker 1: Joni Mitchell. They have it, and they're a lot cheaper,

1040
00:56:55,160 --> 00:56:58,160
Speaker 1: a lot more affordable. But when I hear it a

1041
00:56:58,200 --> 00:57:00,839
Speaker 1: lot is in reality shows. I don't watch a lot

1042
00:57:00,880 --> 00:57:04,240
Speaker 1: of reality TV, but they use this all the time.

1043
00:57:05,000 --> 00:57:07,560
Speaker 1: Like I was watching that show Traders and they use

1044
00:57:07,680 --> 00:57:09,239
Speaker 1: and you're like, oh is that and you're like, that's

1045
00:57:09,280 --> 00:57:11,920
Speaker 1: not that, And sometimes that you can tell they do

1046
00:57:12,000 --> 00:57:16,280
Speaker 1: the search by lyrics, like if something's happening like fire,

1047
00:57:16,440 --> 00:57:18,040
Speaker 1: and they'll like type in and like, oh, there's a

1048
00:57:18,040 --> 00:57:20,320
Speaker 1: good song. Anyway. We use this library a lot on

1049
00:57:20,360 --> 00:57:20,760
Speaker 1: this show.

1050
00:57:21,520 --> 00:57:26,080
Speaker 3: I thought someone wrote it for the show. But great, Yeah,

1051
00:57:26,120 --> 00:57:29,360
Speaker 3: so that that's going on. And then she goes home

1052
00:57:29,440 --> 00:57:34,480
Speaker 3: brushes brushing her teeth and we call yeah, we're still clapping.

1053
00:57:35,040 --> 00:57:38,280
Speaker 3: So she comes back and she plays one more song,

1054
00:57:38,360 --> 00:57:42,720
Speaker 3: and then Sarah McGlaughlin's there, so there's like an you know,

1055
00:57:44,120 --> 00:57:47,640
Speaker 3: it's like a sort of ominous, fun kind of ending.

1056
00:57:47,840 --> 00:57:52,320
Speaker 1: Yeah, I I like the Rapper. There's this is one

1057
00:57:52,320 --> 00:57:55,080
Speaker 1: of those episodes like I'm fond of it because of

1058
00:57:55,120 --> 00:57:56,920
Speaker 1: the amy stuff and then there's all this stuff that

1059
00:57:57,800 --> 00:58:00,360
Speaker 1: made us completely uncomfortable. So how does that out?

1060
00:58:02,280 --> 00:58:04,760
Speaker 2: How does it net like out?

1061
00:58:04,840 --> 00:58:09,960
Speaker 1: Like, just emotionally, I.

1062
00:58:09,880 --> 00:58:14,040
Speaker 3: Feel comfortable in the discomfort of it me too. That's

1063
00:58:14,320 --> 00:58:16,520
Speaker 3: why I like the things that are awkward in it

1064
00:58:16,560 --> 00:58:18,640
Speaker 3: are almost kind of real. I just feel like we

1065
00:58:18,680 --> 00:58:22,160
Speaker 3: would act that way around certain artists, oh.

1066
00:58:22,080 --> 00:58:22,880
Speaker 1: Like with Amy. Yeah.

1067
00:58:23,080 --> 00:58:27,200
Speaker 3: Yeah, there's another emotional thing that I felt.

1068
00:58:28,040 --> 00:58:31,560
Speaker 2: It was nostalgic for that time. And this is something

1069
00:58:31,560 --> 00:58:31,960
Speaker 2: that's not.

1070
00:58:33,600 --> 00:58:38,400
Speaker 3: Specific to Portland of that time, specific to Portland always,

1071
00:58:39,200 --> 00:58:43,160
Speaker 3: which is when Amy's pulling away, she drives away and

1072
00:58:43,360 --> 00:58:46,920
Speaker 3: the car behind her is has its back facing the

1073
00:58:46,960 --> 00:58:48,880
Speaker 3: camera and is up on a curve, and I could

1074
00:58:48,880 --> 00:58:51,880
Speaker 3: tell that's a real car as opposed to like some

1075
00:58:51,960 --> 00:58:55,600
Speaker 3: picture cars. Yeah yeah, and the tire is up on

1076
00:58:55,840 --> 00:59:00,280
Speaker 3: the curve a little bit. And Portland has this secific

1077
00:59:00,400 --> 00:59:03,760
Speaker 3: thing where people kind of park cars against each other,

1078
00:59:04,120 --> 00:59:07,640
Speaker 3: facing each other. There's a sort of unwritten it's okay

1079
00:59:07,680 --> 00:59:11,200
Speaker 3: to park right up to the corner and also to

1080
00:59:11,360 --> 00:59:14,000
Speaker 3: like not be in the same direction.

1081
00:59:15,000 --> 00:59:17,960
Speaker 2: And it made me like I miss seeing that more.

1082
00:59:19,080 --> 00:59:22,360
Speaker 1: That's sweet. Yeah, I wish people would get their shit

1083
00:59:22,400 --> 00:59:23,400
Speaker 1: together in terms of parking.

1084
00:59:23,480 --> 00:59:26,240
Speaker 2: Yeah all right, all.

1085
00:59:26,280 --> 00:59:29,520
Speaker 1: Right, well thank you so much for listening and watching.

1086
00:59:32,240 --> 00:59:34,960
Speaker 3: Thank you so much, Thank you so much, thank you.

1087
00:59:35,040 --> 00:59:39,400
Speaker 3: One more podcast, one more podcast, one more episode.

1088
00:59:40,040 --> 00:59:41,680
Speaker 1: One more episode. We're going to get to that soon.

1089
00:59:41,840 --> 00:59:45,160
Speaker 1: That's right, all right, goodbye everyone,