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Speaker 1: Hey, hey, hey, watch, watch Hey, hey, hey, watch, watch Hey, hey, hey.

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Speaker 2: Watch, watch Hey, hey, hey, watch, watch Hey, hey, hey, watch.

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Speaker 1: Watch You're watching Podlandia.

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Speaker 2: Hi, I'm Carrie.

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Speaker 1: I'm Fred.

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Speaker 2: And this is AO Rewatch.

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Speaker 1: It's a Portlandia podcast where we look back at all

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Speaker 1: our episodes.

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Speaker 2: Today we are talking about Cops Redesign from season two.

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Speaker 1: So this is Cops Redesign, this episode. But before we start,

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Speaker 1: I want to say that this is not that important,

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Speaker 1: but we're wearing the same, Carrie and I are wearing

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Speaker 1: the same shirts we were wearing for the previous episode

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Speaker 1: In this podcast.

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Speaker 2: Right, because we keep discussing, and we will keep discussing,

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Speaker 2: but perhaps not doing anything about it, wearing a uniform.

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Speaker 2: So we're going to dip in and out of this

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Speaker 2: uniform thing.

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Speaker 1: Yeah, we want to be wearing a uniform.

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Speaker 2: But we haven't settled on a uniform.

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Speaker 1: Yeah, but this is the closest we've come to it.

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Speaker 2: This is the closest we've come to it. So if

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Speaker 2: you see these blue jacket shirts repeated, it's because we're

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Speaker 2: dabbling in uniforms.

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Speaker 1: Yes.

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Speaker 2: Dabbling in the idea of uniforms.

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Speaker 1: Yes.

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Speaker 2: We're comfortable. Yes.

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Speaker 1: And it's not like those dummies, they didn't change their shirts.

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Speaker 2: Yes. Please don't level that at us.

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Speaker 1: Don't.

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Speaker 2: Yeah. Or do, but just know.

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Speaker 1: It's not fair.

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Speaker 2: It's intentional.

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Speaker 1: Yeah. Okay. Speaking of clothes, Cops Redesign is about uniforms.

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Speaker 2: That's a really good segue. You know what? We're going

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Speaker 2: to get better at segues like that. Yeah. That was

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Speaker 2: like a real pro move you just did.

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Speaker 1: Can you imagine the people who worked at Segway?

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Speaker 2: I haven't thought about them for a second. I can't

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Speaker 2: believe a whole day went by and I hadn't thought

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Speaker 2: about Segway. I used to think about them every day.

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Speaker 1: Every day.

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Speaker 2: It was crazy. I was so excited. Oh, I was

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Speaker 2: so excited. I was like, the future is here. I

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Speaker 2: never have to walk again. Yeah.

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Speaker 1: Yeah. They're still a company, but they're not making anything.

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Speaker 1: They just sit there like, oh, man, no one wants these.

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Speaker 2: Well, they still do Segway tours, I think, around cities. Oh, really?

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Speaker 2: I think. Don't fact check me, but.

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Speaker 1: I won't.

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Speaker 2: I feel like they do. The novelty, again.

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Speaker 1: Cops redesign. This episode starts with the cold open of

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Speaker 1: the dream of the 1890s.

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Speaker 2: Which is a rare thing we did, which is to

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Speaker 2: be self-referential.

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Speaker 1: Yes.

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Speaker 2: I feel like one thing is Lorne Michaels, our executive producer,

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Speaker 2: I feel like that being self-referential is a little anathema

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Speaker 2: to him. I think, and I feel like when we

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Speaker 2: came up with this idea that You might have even

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Speaker 2: said like, oh, Lauren, like there are certain things that

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Speaker 2: we just knew that Lauren wouldn't necessarily.

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Speaker 1: Yes. That he wouldn't approve of. Yeah.

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Speaker 2: And not, and he was very supportive and very hands-off

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Speaker 2: and weighed in really judiciously and effectively when he needed to.

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Speaker 2: But he never would have told us not to do this.

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Speaker 2: But I think we did sometimes have his voice in

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Speaker 2: the back of our minds in a good way because

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Speaker 2: I think he is very wise. But I just want

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Speaker 2: to point out that this is something that we did not,

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Speaker 2: we didn't do very often.

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Speaker 1: Yeah, self-reference, he was, yeah, usually not into. That said,

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Speaker 1: he also visited set a lot. He came up to Portland.

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Speaker 2: Oh, so supportive.

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Speaker 1: Yeah, I remember it was, Like, just always a nice visit.

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Speaker 2: Yeah. And also, I just thought, like, this is such

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Speaker 2: a place that I don't imagine Lorne Michaels in.

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Speaker 1: Yeah.

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Speaker 2: You know, like, I think of him as a New

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Speaker 2: York guy.

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Speaker 1: Right.

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Speaker 2: You know, hung out with him in L.A. That all

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Speaker 2: makes sense.

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Speaker 1: Yeah.

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Speaker 2: Originally, he's from Canada, but, like, Portland, I was like, oh. Like,

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Speaker 2: it was very … It was really nice for me

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Speaker 2: to show them around this place I'd lived a long time.

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Speaker 2: I should also say that like I, when we shot Portlandia,

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Speaker 2: I was already living in Portland. I grew up in

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Speaker 2: the Pacific Northwest.

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Speaker 1: Yeah.

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Speaker 2: And like we talked about earlier, we didn't necessarily assume

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Speaker 2: the show would be filmed in Portland or that even

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Speaker 2: would have the name Portlandia. So it was always a

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Speaker 2: little bit, it never wore off to me, just the

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Speaker 2: excitement and how rare it was to be able to

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Speaker 2: shoot film a show in a place that I lived

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Speaker 2: and that place was not LA or New York. So

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Speaker 2: it was really nice and sweet to have people visit.

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Speaker 2: From all over.

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Speaker 1: Yeah.

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Speaker 2: Including Lauren. Yeah.

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Speaker 1: Yeah.

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Speaker 2: Anyway.

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Speaker 1: Um, dream of the 1890s. The idea of this is like,

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Speaker 1: just like the dream of the nineties. Like there is

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Speaker 1: this aesthetic that, um, It was in Portland, but it

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Speaker 1: was in many places where that had a sort of

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Speaker 1: 1800s vibe to it, especially with like sort of butcher

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Speaker 1: shops and barber shops that just had that look to it.

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Speaker 2: Yeah. This kind of... I mean, it exists now. I mean,

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Speaker 2: in like the world of like trad wives or there's

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Speaker 2: just these sort of like movements or trends that kind

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Speaker 2: of look back. I think not always in a good way.

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Speaker 2: You know, sometimes people are nostalgic for a time that

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Speaker 2: was not great for most people. This is sort of

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Speaker 2: in these, in Portland, I think it was a little

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Speaker 2: bit more about like, well, we want to go back

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Speaker 2: to a time sort of pre- technology when things were

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Speaker 2: less automated or there was a carefulness and sort of

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Speaker 2: a curation to how we made things, you know, and

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Speaker 2: the conceit was like, we, Oh, we got it wrong

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Speaker 2: with the 1990s. The dream is not the 1990s. Like,

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Speaker 2: you know, it's the 1890s. That was sort of the idea.

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Speaker 2: Like we're, this is the footnote where we've edited this

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Speaker 2: to make it actually correct.

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Speaker 1: And the locations we found were easy because there would

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Speaker 1: be some restaurant or something that did look very sort

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Speaker 1: of 1800s. Yeah.

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Speaker 2: And we're like curing their own meats and like.

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Speaker 1: Yeah, there was a lot of that, but there was

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Speaker 1: like a little bit of a misconception at the time

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Speaker 1: where people thought it was a very sort of vegan, uh, culture.

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Speaker 1: And it wasn't, there was a very sort of like,

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Speaker 1: let's get back into meat.

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Speaker 2: Yeah. Yeah.

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Speaker 1: Back into me.

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Speaker 2: Yeah.

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Speaker 1: And in this video, um, I've got this long beard

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Speaker 1: and it's, I've got that look, everyone's wearing suspenders and

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Speaker 1: things and handlebar mustaches. And I'm, I've got this ice

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Speaker 1: pick and I'm picking away at this big block of ice.

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Speaker 1: And that was a, just whoever's idea that was of

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Speaker 1: like the 1800s always seems to me like, you know,

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Speaker 1: I just picture a truck with like one big block

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Speaker 1: of ice.

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Speaker 2: Right. Like before refrigeration existed. Yeah. Yeah. That was a

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Speaker 2: kind of a thing in like mixology for a while

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Speaker 2: where it was like, that comes up with a cube

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Speaker 2: of ice. You know, like the shape, the size of

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Speaker 2: ice in the glass was like really said something about

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Speaker 2: your drink. Said something about the establishment. We're not doing

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Speaker 2: like crushed ice or cube ice. We're doing a big

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Speaker 2: block of ice.

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Speaker 1: It's almost angry at the invention of cube ice.

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Speaker 2: Absolutely.

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Speaker 1: It's very like, why did we decide to do that?

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Speaker 1: Back to the big block of ice. Yeah.

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Speaker 2: Like, you know, why mess with perfection?

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Speaker 1: Yeah. Yeah. I really like this song. And I remember

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Speaker 1: like in the performance of it, I was thinking of

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Speaker 1: the band Lungfish.

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Speaker 2: Oh, Asa.

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Speaker 1: Because Asa had this big beard. That's right.

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Speaker 2: I will say, watching this, I thought you looked very

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Speaker 2: handsome in this.

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Speaker 1: Thank you, Carrie.

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Speaker 2: You're very welcome. I just want to throw you that compliment.

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Speaker 1: Oh, I appreciate that.

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Speaker 2: You know, I hadn't seen this in a while. And

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Speaker 2: I was like, this, it really, the color of the beard,

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Speaker 2: which was a fake beard.

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Speaker 1: Yeah.

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Speaker 2: Really brought out the color.

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Speaker 1: Of your eyes. That's so, by the way, I'm very

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Speaker 1: good at taking compliments.

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Speaker 2: You really are. I've always thought that about you.

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Speaker 1: Yeah.

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Speaker 2: Yeah.

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Speaker 1: There's like a sort of, I'm gracious. And then I

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Speaker 1: move on from the moment. Like I don't linger in it.

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Speaker 1: I sort of take it, accept it. So, so thank you.

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Speaker 2: You're welcome.

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Speaker 1: Um, but yeah, I thought there was like, I re

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Speaker 1: I remember at the time when, when the, the, the

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Speaker 1: season came out, um, Wait, were you waiting for a

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Speaker 1: compliment back?

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Speaker 2: No. Oh my God. Even you saying that, that's like

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Speaker 2: the anti-compliment. Like you saying that implies that I'm someone

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Speaker 2: that's like, just wait, what if I just was mad

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Speaker 2: the rest of the episode? Like, wow, Fred, I said

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Speaker 2: something nice to Fred and you didn't say it back. No,

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Speaker 2: I hope you never comment on how I wanted the show.

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Speaker 2: How dare you?

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Speaker 1: Also, whatever came next would be so- And disingenuous. Just

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Speaker 1: so you know. No, you know what?

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Speaker 2: I'm never giving you another compliment again. Let's make a rule.

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Speaker 1: How about that that was- The last- The last compliment.

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Speaker 1: And it will stand this test of time. Yes. I

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Speaker 1: will always remember it.

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Speaker 2: Yes.

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Speaker 1: And appreciate it. Dream of the 1890s, written by Davin

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Speaker 1: Wood and John Kreisel. Well written. I really like the song.

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Speaker 2: Me too.

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Speaker 1: I was enjoying it. And then I forgot that we

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Speaker 1: hear a longer version of the song.

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Speaker 2: Yes.

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Speaker 1: And then in the editing. It dips down.

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Speaker 2: You know what I really like in the song? The bridge.

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Speaker 2: A good bridge is a tricky, it's not a guaranteed

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Speaker 2: good part of a song.

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Speaker 1: No. Sometimes it's a throwaway. This is the one where

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Speaker 1: it goes, it's a long way back.

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Speaker 2: Yes. I thought it really soared there. Especially in a

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Speaker 2: song for TV. Mostly people are focusing on chorus. Just

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Speaker 2: get to the chorus. In just regular songwriting, a bridge

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Speaker 2: is really important, but I was very pleasantly surprised that

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Speaker 2: this had a great bridge. And this was another one

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Speaker 2: where just like Dream of the 90s, meaning the 1990s,

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Speaker 2: I sort of show up at the end. Um, so

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Speaker 2: it was another one of those days on set where

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Speaker 2: I show up and you guys have built this world

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Speaker 2: and then I only get to.

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Speaker 1: You're off a little.

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Speaker 2: Yeah. I mean, I'm in the, the talking parts, you know, the,

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Speaker 2: where you're telling me about this city, but in terms

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Speaker 2: of the music.

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Speaker 1: Yeah. You do the Charleston at the.

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Speaker 2: Yes. Which I think if anyone is, uh, whatever, if

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Speaker 2: anyone's studied the Charleston, I'm probably not doing the Charleston.

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Speaker 2: So sorry for all those Charleston academics out there.

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Speaker 1: For anyone who's 110.

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Speaker 2: Yes.

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Speaker 1: Listening.

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Speaker 2: Yeah.

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Speaker 1: When the season came out, I remember Tina Fey telling

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Speaker 1: someone else about this sketch. And I just felt that

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Speaker 1: was giving me a good feeling. I was like, oh,

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Speaker 1: she watched it.

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Speaker 2: That's nice. That's a good feeling. Yeah. I didn't know that.

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Speaker 2: Maybe you told me at the time.

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Speaker 1: No, I definitely did.

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Speaker 2: I can go back through my records.

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Speaker 1: I definitely told you that.

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Speaker 2: In fact, in some ways, like I remember... So when...

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Speaker 2: when the show comes out, like in general, it felt

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Speaker 2: like we had a good reception, but Portland itself, I

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Speaker 2: think always was unsure about like, they embrace the show

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Speaker 2: in some ways. And then in other ways, it made

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Speaker 2: them feel self-conscious because they were like, it's not a

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Speaker 2: city that's used to seeing itself on screen. And even

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Speaker 2: though we were like, well, it's just, it's a stand

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Speaker 2: in for many cities and it's a show about, relationships

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Speaker 2: and ideas and it's a silly sketch show, there was

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Speaker 2: always a little bit of, it was fraught sometimes. You know,

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Speaker 2: some cities are used to seeing themselves on screen. New York, London, Chicago,

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Speaker 2: Los Angeles. And those shows don't have to be the

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Speaker 2: end all. Like Sex and the City is not the

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Speaker 2: only show about New York. If you don't like Sex

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Speaker 2: and the City, you can pick any other show about

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Speaker 2: New York and decide like that's your show. But what

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Speaker 2: I remember with Dream of the 1890s was that they

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Speaker 2: liked it. There was something specific about this and I

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Speaker 2: felt relieved. It felt like a love letter to the city,

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Speaker 2: even though it wasn't exclusively about the city. And we

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Speaker 2: gleaned so much joy from shooting there and from being

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Speaker 2: creative with so many denizens of Portland that I was

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Speaker 2: grateful in the moments that the city was like, yeah,

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Speaker 2: this is, you guys get it. Like there were certain

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Speaker 2: moments where I felt like they, they sort of got it.

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Speaker 2: And that was like a good kind of, um, synchronicity.

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Speaker 1: Yeah. Yeah.

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Speaker 2: I was, I was just the sort of like, you

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Speaker 2: were like Tina Fey liked it. And I was like,

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Speaker 2: and I also liked it.

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Speaker 1: No, but that's a really good point.

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Speaker 2: I like, um, we were in conversation with the city

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Speaker 2: the whole time, which I think is not always the

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Speaker 2: case with shows. I mean, certainly if you're shooting in,

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Speaker 2: New York or LA, and you're not even, you know,

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Speaker 2: a show isn't necessarily set in those places, you're not

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Speaker 2: necessarily having a discourse with the city itself. But I

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Speaker 2: felt like this was an ongoing conversation with the city.

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Speaker 2: And it was a conversation that had many iterations.

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Speaker 1: Season to season.

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Speaker 2: Season to season, you know. And yeah, and I think

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Speaker 2: the way that Portland is um, thoughtful and self reflective is,

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Speaker 2: is part of its charm. And then it's also a

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Speaker 2: burden sometimes because it is, it's just a thinking city.

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Speaker 2: It's a city that's like grappling with its identity a lot.

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Speaker 2: There's not like, well, this is who we are. You know,

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Speaker 2: like you have cities like that, that are like, of

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Speaker 2: course it's, it's just New York, like get over it,

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Speaker 2: you know, where it's like, you know, Portland, it's, there's

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Speaker 2: kind of a mercurial kind of fluid fluidity to it. And, um, Yeah,

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Speaker 2: so it was interesting to sort of be sometimes at

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Speaker 2: the mercy of those fluctuations, I thought.

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Speaker 1: I feel like Portland doesn't have that ambition to be

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Speaker 1: known in any particular way in the way that, say,

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Speaker 1: New Orleans does.

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Speaker 2: Right.

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Speaker 1: That, like, for lack of a better word, there's like

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Speaker 1: a sort of shyness or something. I mean, that might

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Speaker 1: be too much to describe it, but I'm just saying

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Speaker 1: that it never seemed like Portland was like trying to

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Speaker 1: like get like, I wish people knew what we were about.

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Speaker 2: Right. And also I think in the way that like, it's,

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Speaker 2: it's very telling that I think Portland doesn't want to

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Speaker 2: be labeled. It like doesn't want to have like a,

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Speaker 2: it's like we couldn't all agree on who we are,

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Speaker 2: what represents us. And that is part of what Portland is,

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Speaker 2: is to not, is to just not be able to

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Speaker 2: have like one coherent identity. It's more like, we just

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Speaker 2: want to be considered good or kind, which are, you know,

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Speaker 2: more abstract. And that's a hard, you know, to try

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Speaker 2: to drill down on abstraction is I think really hard

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Speaker 2: for a city. It's like, it's admirable, but it's, it's like,

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Speaker 2: they won't just settle on, well, Statue of Liberty or,

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Speaker 2: you know, like the Red Sox, you know, it's just like,

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Speaker 2: it's harder when you're just like, we want to be

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Speaker 2: a vibe.

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Speaker 1: But that's what, is lovable about it. That's so attractive

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Speaker 1: about it. Yeah.

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Speaker 2: Because it's like, okay, we were capable of changing. We're

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Speaker 2: not yet there. And that I think carries an optimism

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Speaker 2: and hopefulness to it, which are traits I do like,

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Speaker 2: you know, associate with Portland is that kind of hopefulness.

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Speaker 2: And like, we will, we are continuing to, we're not

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Speaker 2: there yet. And that's interesting. I think for a city,

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Speaker 2: because it sort of shows like, okay, we can still

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Speaker 2: be better than we are now.

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Speaker 1: Yeah.

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Speaker 2: But it is very different than that kind of like

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Speaker 2: fixed identity.

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Speaker 1: Yeah. Yeah. This is our cuisine. This is our dish. Yeah.

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Speaker 2: This is our dish. Yeah. Anyway. So cops redesign is

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Speaker 2: the wraparound is the through line sketch of this episode.

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Speaker 1: It's about redesigning the cop uniforms because this is, based

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Speaker 1: on the mayor too. The mayor is dealing with a crisis. Yeah.

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Speaker 2: Which is usually I would say every season we had

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Speaker 2: three or four episodes that were revolved around the mayor

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Speaker 2: played by Colin McLaughlin, who was game to come back

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Speaker 2: year after year and who we always wrote for. Always.

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Speaker 1: Yeah.

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Speaker 2: And so we usually gave the mayor, the city sort

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Speaker 2: of a crisis or some kind of obstacle. to overcome.

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Speaker 2: And this one starts with the cops coming in and

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Speaker 2: mucking up a Star Trek in the park performance, which

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Speaker 2: is a real thing in Portland, Star Trek in the park.

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Speaker 2: In fact, I believe that is the real Star Trek

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Speaker 2: in the park cohort that we see on screen. And

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Speaker 2: the cops come in and the mayor decides that the

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Speaker 2: cops need a rebrand.

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Speaker 1: Yeah.

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Speaker 2: Which is very real.

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Speaker 1: Yeah.

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Speaker 2: I mean, in this version of it, it's silly, but

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Speaker 2: we've made it silly.

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Speaker 1: Yeah.

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Speaker 2: And why he would ask Fred and Carrie to help

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Speaker 2: is beyond me.

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Speaker 1: Maybe he thinks we're kind of stylish or something or

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Speaker 1: more connected to that world or something. Yeah.

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Speaker 2: No, I mean, this is a, this is the nature

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Speaker 2: of the show is that we are his, you know, sort.

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Speaker 1: Of go-tos for stuff.

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Speaker 2: This is something I was talking about earlier though, that

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Speaker 2: I want to point out. So there's a joke at

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Speaker 2: the beginning where the mayor is showing a negative headline

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Speaker 2: and Fred cannot identify what the negative headline is, even

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Speaker 2: though it's the main headline. And I was saying that

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Speaker 2: the Fred and Carrie of Portlandia are, more naive and guileless.

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Speaker 2: And this is a good example of that. I feel

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Speaker 2: like I just want to make the assumption that you

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Speaker 2: would have been able to identify the proper headline.

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Speaker 1: I think so.

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Speaker 2: If I showed you a newspaper, but the Fred of Portlandia.

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Speaker 1: Just picked whatever was closest to him.

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Speaker 2: Yes. Yeah. Which becomes one of the jokes in the beginning,

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Speaker 2: as well as a joke that you definitely improvised about

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Speaker 2: Keystone cops, which is one of your solutions that you

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Speaker 2: come up with.

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Speaker 1: Yeah. Yeah.

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Speaker 2: And then you imitate a Keystone cop.

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Speaker 1: Yeah.

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Speaker 2: Which is a great, great impression.

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Speaker 1: Thank you.

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Speaker 2: Yeah.

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Speaker 1: Wow, a lot of 1920s. I wonder if we knew

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Speaker 1: that there'd be so many 1920s references.

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Speaker 2: I think that is coincidence. Also in this, Sam Adams

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Speaker 2: plays Mayor Kyle's assistant. Sam Adams was the real mayor

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Speaker 2: of Portland at this time.

395
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Speaker 1: At the time. Yeah. And we were shooting really in.

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Speaker 2: In his office.

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Speaker 1: Yep. That's the real mayor's office.

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Speaker 2: Again, this is one of the weirdest... At the time,

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Speaker 2: it seemed completely normal. But the access that we were

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Speaker 2: given to municipal buildings in Portland, you know, I'm driving

401
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Speaker 2: a real police... That was not... Later on, I'm driving

402
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Speaker 2: a real police car. That was not a picture car.

403
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Speaker 2: Like they... But yeah, we shot in City Hall. I

404
00:19:30,520 --> 00:19:35,330
Speaker 2: remember hanging out with Kyle... just all over city hall.

405
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Speaker 2: And yeah, the mayor.

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Speaker 1: The whole crew was there, all that equipment. Yeah.

407
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Speaker 2: Yep.

408
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Speaker 1: Yeah.

409
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Speaker 2: So Sam Adams was the guest star for season after season.

410
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Speaker 1: And he's really funny in it.

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Speaker 2: He's very funny.

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Speaker 1: He sort of appears in the doorway. Yeah. And will

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Speaker 1: sort of answer. And this one, they had a joke where,

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Speaker 1: I think it was a real mistake that they kept

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Speaker 1: where a picture frame falls out of, from the wall.

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Speaker 2: Yes. And we keep going back to that.

417
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Speaker 1: And we keep going back to it and it keeps falling.

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Speaker 2: But this ends basically with, we decide that a way

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Speaker 2: to rebrand the cops would be to redesign their uniforms.

420
00:20:11,660 --> 00:20:13,240
Speaker 1: Yes. To upgrade those.

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00:20:13,359 --> 00:20:15,859
Speaker 2: Yeah. And that falls on us.

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00:20:16,180 --> 00:20:23,240
Speaker 1: Yes. The next sketch is zero packaging rats. And it

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Speaker 1: came from a real news item in Portland where they

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Speaker 1: had a new grocery store that's going to have zero packaging.

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Speaker 1: Meaning all the food is just out. And I think

426
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Speaker 1: I made a joke going like, Oh, the rats are

427
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Speaker 1: going to be happy. And then in the writer's room,

428
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Speaker 1: we just came up with this idea of like rats

429
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Speaker 1: reading the same article. I mean like, Oh my God,

430
00:20:45,950 --> 00:20:49,859
Speaker 1: we have to go to this place. Yeah. And somehow

431
00:20:49,900 --> 00:20:53,160
Speaker 1: it became an animated piece. Yeah.

432
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Speaker 2: Which is highly ambitious.

433
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Speaker 1: Yeah.

434
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Speaker 2: Because it obviously animation is painstaking and time consuming, but yeah,

435
00:21:02,290 --> 00:21:04,310
Speaker 2: we had these stop motion.

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Speaker 1: Yep. Um, Rats.

437
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Speaker 2: I feel like a bug just flew into my, did

438
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Speaker 2: you see that?

439
00:21:09,790 --> 00:21:12,490
Speaker 1: It didn't fly into your face. It flew into your

440
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Speaker 1: hair for a second, but now it's gone.

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Speaker 2: Okay, great. I'm glad you saw where it went because

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Speaker 2: it felt like it went up my nose. Okay, great.

443
00:21:22,470 --> 00:21:24,330
Speaker 1: It didn't. It was just in your hair.

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Speaker 2: Okay.

445
00:21:25,310 --> 00:21:25,470
Speaker 1: Yeah.

446
00:21:25,710 --> 00:21:28,890
Speaker 2: So anyway, so we have this animated sketch and we

447
00:21:28,970 --> 00:21:30,500
Speaker 2: end up doing this a couple of times, but this

448
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Speaker 2: is the first one. Yeah.

449
00:21:32,420 --> 00:21:34,700
Speaker 1: Another thing that I learned about only because I thought

450
00:21:34,720 --> 00:21:37,060
Speaker 1: this would be quick and easy, and it turns out

451
00:21:37,080 --> 00:21:38,600
Speaker 1: to be expensive and difficult.

452
00:21:38,680 --> 00:21:39,900
Speaker 2: Yeah.

453
00:21:39,940 --> 00:21:42,640
Speaker 1: So we recorded the audio for it, and it was

454
00:21:42,740 --> 00:21:45,180
Speaker 1: sort of after, we'd have to, you know, we'd wait

455
00:21:45,359 --> 00:21:47,060
Speaker 1: a long time for it to be included in the

456
00:21:47,119 --> 00:21:50,510
Speaker 1: episode because they had to make it. The other voice

457
00:21:51,970 --> 00:21:56,130
Speaker 1: is John Levenstein, who's a friend of ours, a friend

458
00:21:56,150 --> 00:21:58,550
Speaker 1: of John's, very funny person.

459
00:21:58,650 --> 00:22:01,889
Speaker 2: Very funny person, wrote for Arrested Development, which is one

460
00:22:01,910 --> 00:22:03,620
Speaker 2: of my favorite shows of all time.

461
00:22:03,859 --> 00:22:07,090
Speaker 1: And he goes on to play a judge in Portlandia.

462
00:22:07,430 --> 00:22:08,690
Speaker 2: Yeah.

463
00:22:08,790 --> 00:22:11,550
Speaker 1: But yeah, he was the other rat. Yeah. And it's

464
00:22:11,590 --> 00:22:13,169
Speaker 1: just us discussing how are we going to get in

465
00:22:13,210 --> 00:22:14,330
Speaker 1: there and steal his food.

466
00:22:14,570 --> 00:22:16,830
Speaker 2: Yeah.

467
00:22:16,850 --> 00:22:18,659
Speaker 1: And the rats kind of look like us. And I,

468
00:22:20,170 --> 00:22:21,740
Speaker 1: I love those pieces. It's a nice break.

469
00:22:22,140 --> 00:22:23,580
Speaker 2: It is. I think it's a nice visual break.

470
00:22:23,940 --> 00:22:24,160
Speaker 1: Yeah.

471
00:22:24,320 --> 00:22:26,540
Speaker 2: On the show. And also something that we never, we,

472
00:22:26,780 --> 00:22:29,530
Speaker 2: we didn't set out like when we were pitching the show. Oh,

473
00:22:29,540 --> 00:22:31,000
Speaker 2: and there'll be animated segments.

474
00:22:31,160 --> 00:22:31,340
Speaker 1: Yeah.

475
00:22:31,800 --> 00:22:35,120
Speaker 2: Even though that's, somewhat traditional in sketch. I mean, there's

476
00:22:35,140 --> 00:22:39,720
Speaker 2: precedent for it, you know, on SNL and shows, but we, yeah.

477
00:22:40,740 --> 00:22:42,520
Speaker 2: We also made it more difficult. I mean, stop motion

478
00:22:42,600 --> 00:22:45,180
Speaker 2: is pretty tricky, but it's great.

479
00:22:45,540 --> 00:22:47,179
Speaker 1: I guess now it would be, they would do a

480
00:22:47,200 --> 00:22:48,350
Speaker 1: digital version of that, right?

481
00:22:48,530 --> 00:22:52,130
Speaker 2: Yeah. Rats was animated by Bent Image Lab in Portland

482
00:22:52,290 --> 00:22:56,510
Speaker 2: and their group of creative folks. And they, and we,

483
00:22:57,170 --> 00:22:58,869
Speaker 2: this was not the only rats we did. We go

484
00:22:58,930 --> 00:23:03,210
Speaker 2: on to do a couple others in later, later seasons.

485
00:23:03,790 --> 00:23:06,530
Speaker 1: Yeah. And with John Levenstein playing that third rat.

486
00:23:06,710 --> 00:23:08,150
Speaker 2: Yeah.

487
00:23:08,640 --> 00:23:13,199
Speaker 1: Then we go on to, oh, okay. So now we

488
00:23:13,220 --> 00:23:15,340
Speaker 1: do another Brendan and Michelle at school.

489
00:23:15,980 --> 00:23:16,120
Speaker 2: Yes.

490
00:23:16,140 --> 00:23:18,199
Speaker 1: Having an argument about, with the school.

491
00:23:18,660 --> 00:23:22,590
Speaker 2: Yes. So we're at Shooting Star Preschool. Yeah. Janet, the

492
00:23:22,990 --> 00:23:23,710
Speaker 2: head of the school.

493
00:23:23,750 --> 00:23:23,990
Speaker 1: Yeah.

494
00:23:24,650 --> 00:23:26,770
Speaker 2: Is running a PTA meeting essentially.

495
00:23:26,950 --> 00:23:33,100
Speaker 1: Yeah. And there are parents there and we have a,

496
00:23:33,750 --> 00:23:37,570
Speaker 1: real discussion, a serious discussion about records, what records they're

497
00:23:37,630 --> 00:23:41,050
Speaker 1: listening to. And I love this sketch because I could

498
00:23:41,109 --> 00:23:44,720
Speaker 1: tell that whatever we're improvising is really how we feel.

499
00:23:45,540 --> 00:23:45,840
Speaker 2: Yes.

500
00:23:46,640 --> 00:23:48,160
Speaker 1: I think you bring up can, right?

501
00:23:48,480 --> 00:23:49,500
Speaker 2: I do. And noi.

502
00:23:49,859 --> 00:23:50,139
Speaker 1: Yeah.

503
00:23:50,200 --> 00:23:50,640
Speaker 2: No, no, no.

504
00:23:50,760 --> 00:23:51,960
Speaker 1: It's noi I think you bring up.

505
00:23:52,060 --> 00:23:53,030
Speaker 2: I bring up krautrock.

506
00:23:53,240 --> 00:23:53,590
Speaker 1: Yeah, yeah.

507
00:23:53,609 --> 00:23:56,190
Speaker 2: I bring up krautrock. Which I did in an earlier

508
00:23:56,230 --> 00:23:59,500
Speaker 2: podcast episode, which I really must be trying to say something.

509
00:23:59,540 --> 00:24:02,379
Speaker 2: But yes, I had the exact same feeling. I was like,

510
00:24:02,460 --> 00:24:06,260
Speaker 2: oh my God, I can hear the real versions of us.

511
00:24:06,340 --> 00:24:06,619
Speaker 1: Yes.

512
00:24:07,220 --> 00:24:11,510
Speaker 2: Coming through in Michelle and Brendan. Yeah. Like our real

513
00:24:12,369 --> 00:24:17,830
Speaker 2: music snobbery, like poking out here.

514
00:24:19,150 --> 00:24:21,250
Speaker 1: And also how important it is.

515
00:24:21,930 --> 00:24:23,470
Speaker 2: Yes. And we don't take it lightly.

516
00:24:23,510 --> 00:24:23,750
Speaker 1: No, no.

517
00:24:24,980 --> 00:24:29,639
Speaker 2: If I was having a conversation at a school, I

518
00:24:29,680 --> 00:24:34,320
Speaker 2: would be concerned for what they were listening to.

519
00:24:34,460 --> 00:24:39,879
Speaker 1: The tone of the whole discussion, the whole argument, there's

520
00:24:39,900 --> 00:24:42,660
Speaker 1: this tone where I think you say like, no, that's pablum.

521
00:24:42,830 --> 00:24:46,730
Speaker 1: That's like, there's this very like, I'm angry, but respectful.

522
00:24:47,250 --> 00:24:48,129
Speaker 1: It is my turn to speak.

523
00:24:48,770 --> 00:24:53,170
Speaker 2: Yes. And I really, there's the other couple.

524
00:24:53,570 --> 00:24:53,730
Speaker 1: Yeah.

525
00:24:54,410 --> 00:24:57,629
Speaker 2: They talk about Mike and the Mechanics, and the guy

526
00:24:57,650 --> 00:25:02,090
Speaker 2: gives a very earnest retort to how amazing Mike and

527
00:25:02,109 --> 00:25:05,120
Speaker 2: the Mechanics were, that it was like 80s dream pop

528
00:25:05,190 --> 00:25:07,880
Speaker 2: or something. There's an earnestness.

529
00:25:08,040 --> 00:25:09,120
Speaker 1: And validity.

530
00:25:09,340 --> 00:25:13,880
Speaker 2: And validity. I was actually like, good point. As Carrie,

531
00:25:13,920 --> 00:25:17,169
Speaker 2: I was thinking, good point. Michelle, I was not having it.

532
00:25:17,200 --> 00:25:24,149
Speaker 2: But yeah, it was a really fun sketch. And I think...

533
00:25:24,910 --> 00:25:28,150
Speaker 2: We basically took, I think, a conversation, an argument that

534
00:25:28,170 --> 00:25:31,889
Speaker 2: we've had not in that context. Yes. And put it in,

535
00:25:32,260 --> 00:25:34,200
Speaker 2: you know, sort of in a place where it wouldn't

536
00:25:34,240 --> 00:25:36,859
Speaker 2: normally happen. But these are the kinds of conversations I

537
00:25:36,900 --> 00:25:40,719
Speaker 2: think growing up, like in high school and definitely when

538
00:25:40,780 --> 00:25:43,460
Speaker 2: I was living in Olympia and playing music. I mean,

539
00:25:43,540 --> 00:25:48,620
Speaker 2: these were conversations, like make or break conversations. Like, what

540
00:25:48,680 --> 00:25:50,720
Speaker 2: was your opinion on this album?

541
00:25:52,160 --> 00:25:56,320
Speaker 1: There's no politeness. there's a real, like, this is really

542
00:25:56,359 --> 00:25:59,620
Speaker 1: what I'm, this argument, I'm going to win this argument.

543
00:25:59,640 --> 00:26:02,980
Speaker 2: The stakes felt very real. Like if you, you know,

544
00:26:03,010 --> 00:26:06,179
Speaker 2: there were, it was like Beatles or Stones was like

545
00:26:06,220 --> 00:26:10,210
Speaker 2: a legitimate, like beef. And then people, there was always

546
00:26:10,250 --> 00:26:12,409
Speaker 2: someone that would just say the kinks.

547
00:26:12,730 --> 00:26:12,950
Speaker 1: Yes.

548
00:26:13,390 --> 00:26:15,270
Speaker 2: There was always that person that threw the, you know,

549
00:26:15,450 --> 00:26:18,250
Speaker 2: but these were, this is kind of how you, like,

550
00:26:18,270 --> 00:26:20,450
Speaker 2: this was the currency with which you use to like

551
00:26:20,490 --> 00:26:24,179
Speaker 2: move through you know, the, the community, like the, the

552
00:26:24,220 --> 00:26:27,560
Speaker 2: punk and indie rock community was like, what, who, what

553
00:26:27,580 --> 00:26:30,000
Speaker 2: was your favorite album by this band? Yeah.

554
00:26:30,140 --> 00:26:31,020
Speaker 1: And don't say the wrong one.

555
00:26:31,119 --> 00:26:33,419
Speaker 2: Don't say the wrong one with television. Is it adventure

556
00:26:33,480 --> 00:26:34,160
Speaker 2: or Marky Moon?

557
00:26:34,880 --> 00:26:35,100
Speaker 1: Right.

558
00:26:35,180 --> 00:26:37,060
Speaker 2: You know, it's like, yeah. And it was like, do

559
00:26:37,119 --> 00:26:39,060
Speaker 2: you want to choose the more obvious one? The one

560
00:26:39,080 --> 00:26:41,139
Speaker 2: that you maybe know is a little bit better, or

561
00:26:41,160 --> 00:26:43,120
Speaker 2: do you want to choose the more obscure one? Like

562
00:26:43,180 --> 00:26:48,850
Speaker 2: what gives you more credibility? Yes. And this was vexing.

563
00:26:48,890 --> 00:26:52,080
Speaker 2: Like this was tricky as a young person to, to

564
00:26:52,160 --> 00:26:57,550
Speaker 2: navigate like what to like and what to know, like

565
00:26:57,609 --> 00:27:00,470
Speaker 2: how much information, you know, I was just always like

566
00:27:00,970 --> 00:27:04,090
Speaker 2: collecting this information. I was voracious and like wanting and

567
00:27:04,109 --> 00:27:06,710
Speaker 2: feeling like I needed to know this and to know

568
00:27:06,730 --> 00:27:07,230
Speaker 2: the right things.

569
00:27:08,369 --> 00:27:14,850
Speaker 1: Yes. I think the thing that's happened over time though,

570
00:27:14,869 --> 00:27:20,629
Speaker 1: not though, is that Now I hear the Clash argument,

571
00:27:20,670 --> 00:27:24,010
Speaker 1: which my whole life has been like, there's the Clash. Okay,

572
00:27:24,030 --> 00:27:26,470
Speaker 1: they had their hit singles on Combat Rock. We talk

573
00:27:26,510 --> 00:27:29,770
Speaker 1: about that in the sketch. Now enough time has passed

574
00:27:29,790 --> 00:27:33,450
Speaker 1: that that is no longer an issue where now it's

575
00:27:33,490 --> 00:27:37,109
Speaker 1: all been shrunk down into like, do you even know

576
00:27:37,130 --> 00:27:37,830
Speaker 1: who the Clash are?

577
00:27:38,730 --> 00:27:38,950
Speaker 2: Yes.

578
00:27:39,150 --> 00:27:43,550
Speaker 1: Unfortunately. I'm just, just as time has gone, now I've

579
00:27:43,570 --> 00:27:45,230
Speaker 1: had to sort of tell people, you know.

580
00:27:46,030 --> 00:27:49,270
Speaker 2: Oh, it sounds ridiculous. I mean, this sounds just absolutely

581
00:27:49,750 --> 00:27:52,389
Speaker 2: trivial in some ways. And it's hard to kind of

582
00:27:52,430 --> 00:27:56,689
Speaker 2: stress like how serious it felt, you know, to err on,

583
00:27:57,080 --> 00:27:59,000
Speaker 2: you know, you didn't want to be wrong, but yes,

584
00:27:59,040 --> 00:28:02,720
Speaker 2: there is that conflating, that flattening effect. I think that

585
00:28:03,000 --> 00:28:06,040
Speaker 2: technology and the internet has had on these kinds of things. Whereas,

586
00:28:06,520 --> 00:28:09,399
Speaker 2: you know, like where there's just a list of songs,

587
00:28:09,869 --> 00:28:12,510
Speaker 2: you know, it's like, if you're listening to a streaming service,

588
00:28:12,990 --> 00:28:16,600
Speaker 2: it's like, the clash radio or like this is the clash.

589
00:28:16,640 --> 00:28:20,700
Speaker 2: And then it decontextualizes all the music. So it's, it

590
00:28:20,869 --> 00:28:23,389
Speaker 2: doesn't matter if should I stay or should I go

591
00:28:24,010 --> 00:28:27,290
Speaker 2: was on combat rock and whether you think that's peak clash,

592
00:28:27,310 --> 00:28:30,370
Speaker 2: that's just one of the many songs it doesn't like

593
00:28:30,550 --> 00:28:34,510
Speaker 2: provenance origin, you know, like even, you know, what was

594
00:28:34,550 --> 00:28:36,330
Speaker 2: happening in the world when the record came out, like

595
00:28:36,619 --> 00:28:40,500
Speaker 2: those things really don't matter, nor do like personnel, like the,

596
00:28:40,900 --> 00:28:43,410
Speaker 2: the people who played on it, you know, people used

597
00:28:43,450 --> 00:28:46,860
Speaker 2: to legitimately ask like, you know, your favorite band member,

598
00:28:47,080 --> 00:28:51,700
Speaker 2: who's your favorite Beatle or like Mick Jones, Joe Strummer,

599
00:28:51,740 --> 00:28:55,620
Speaker 2: like even in, you know, punk bands. But now it's like,

600
00:28:56,300 --> 00:29:01,040
Speaker 2: people don't care, which is fine, but it, it just,

601
00:29:01,140 --> 00:29:05,860
Speaker 2: it's so different. You know, that, that kind of like, it's, yeah,

602
00:29:06,020 --> 00:29:08,510
Speaker 2: it's just all kind of being sucked through a very

603
00:29:08,570 --> 00:29:10,210
Speaker 2: narrow straw. Yeah. Yeah.

604
00:29:10,290 --> 00:29:11,450
Speaker 1: That's a perfect description.

605
00:29:12,510 --> 00:29:19,020
Speaker 2: Yeah, it's just such a different kind of listening experience

606
00:29:20,340 --> 00:29:25,180
Speaker 2: for a lot of people. But this sketch really distilled,

607
00:29:25,580 --> 00:29:29,100
Speaker 2: I think, how intense the stakes felt and how your

608
00:29:29,200 --> 00:29:33,830
Speaker 2: identity was so married to what your opinion was about

609
00:29:34,190 --> 00:29:35,430
Speaker 2: music and what you knew.

610
00:29:36,570 --> 00:29:38,630
Speaker 1: Including bringing up a band like Mike and the Mechanics,

611
00:29:38,690 --> 00:29:41,680
Speaker 1: where in our sometimes you do try to bring up

612
00:29:41,860 --> 00:29:46,900
Speaker 1: a pop band as a sort of like this is

613
00:29:46,960 --> 00:29:48,320
Speaker 1: even cooler than what you think.

614
00:29:48,220 --> 00:29:52,340
Speaker 2: Is cool oh like and i like it's ironic.

615
00:29:52,060 --> 00:29:54,420
Speaker 1: It's ironic and they're like no let's really appreciate what

616
00:29:54,500 --> 00:29:57,540
Speaker 1: this yes for in a different way yeah which is

617
00:29:58,250 --> 00:29:59,950
Speaker 1: so realistic when people argue.

618
00:30:00,770 --> 00:30:04,150
Speaker 2: For sure. And then with time, there's reassessments of bands that,

619
00:30:04,170 --> 00:30:07,670
Speaker 2: you know, people, you know, dismissed and then realized later,

620
00:30:07,690 --> 00:30:11,430
Speaker 2: you know, because we were all falling prey to, you know,

621
00:30:11,470 --> 00:30:16,260
Speaker 2: this kind of like music snobbery or, you know, knee

622
00:30:16,300 --> 00:30:20,520
Speaker 2: jerk reaction to something that ends up being really, you know,

623
00:30:20,800 --> 00:30:25,960
Speaker 2: brilliant or interesting or seminal or something. But yeah, there

624
00:30:26,030 --> 00:30:30,210
Speaker 2: is something, I think for us, this sketch is just,

625
00:30:30,430 --> 00:30:34,530
Speaker 2: it's very real, despite it taking place in this preschool.

626
00:30:35,970 --> 00:30:39,140
Speaker 1: Like, I don't think any of us memorized anything. I

627
00:30:39,160 --> 00:30:41,500
Speaker 1: think we just knew what to say. This was a

628
00:30:41,520 --> 00:30:43,460
Speaker 1: case of like, not like, what should we, what is

629
00:30:43,500 --> 00:30:45,340
Speaker 1: our argument? It was just start talking.

630
00:30:45,760 --> 00:30:47,020
Speaker 2: Yes, exactly.

631
00:30:47,080 --> 00:30:47,640
Speaker 1: Start talking.

632
00:30:48,160 --> 00:30:50,310
Speaker 2: I mean, some, again, at this point we're season two.

633
00:30:51,490 --> 00:30:54,150
Speaker 2: There's definitely things that are more scripted. And again, every

634
00:30:54,190 --> 00:30:58,210
Speaker 2: sketch had an outline and specific beats. And we didn't

635
00:30:58,250 --> 00:31:02,190
Speaker 2: necessarily even adhere to those. Sometimes on the day, you

636
00:31:02,210 --> 00:31:04,400
Speaker 2: need all that stuff so that you can get a

637
00:31:04,420 --> 00:31:09,000
Speaker 2: location and costumes can do their work and production design

638
00:31:09,060 --> 00:31:11,479
Speaker 2: can do and art department can do their work. But

639
00:31:11,600 --> 00:31:14,680
Speaker 2: often we would discard the script when we got there.

640
00:31:14,760 --> 00:31:17,460
Speaker 2: And as, as we go further into the seasons, we

641
00:31:17,800 --> 00:31:19,990
Speaker 2: do follow the script more. And sometimes you need it

642
00:31:20,010 --> 00:31:22,470
Speaker 2: to like rats, which we were just talking about. There's

643
00:31:22,510 --> 00:31:24,490
Speaker 2: a script you have, we have to read and follow

644
00:31:24,510 --> 00:31:27,290
Speaker 2: the script because somebody is going to animate that. Um,

645
00:31:27,910 --> 00:31:30,930
Speaker 2: but this was definitely one that I agree. Like I doubt,

646
00:31:31,150 --> 00:31:33,860
Speaker 2: I bet Jana is saying at the top what was

647
00:31:33,900 --> 00:31:37,470
Speaker 2: in the script to introduce the setups. But after that,

648
00:31:37,630 --> 00:31:40,430
Speaker 2: you know, I don't think Mike and the Mechanics was

649
00:31:40,690 --> 00:31:43,530
Speaker 2: mentioned in there, or Cannes, or Noy, or Krawack, or

650
00:31:43,590 --> 00:31:44,190
Speaker 2: anything like that.

651
00:31:44,650 --> 00:31:45,930
Speaker 1: They were good as the other couple, too.

652
00:31:46,040 --> 00:31:46,210
Speaker 2: Yes.

653
00:31:46,230 --> 00:31:51,120
Speaker 1: You know, their tone was perfect.

654
00:31:51,180 --> 00:31:55,040
Speaker 2: And then at the end, Isaac Brock, singer, songwriter, Modest Mouse,

655
00:31:55,220 --> 00:31:58,880
Speaker 2: comes in, and he's donating albums.

656
00:31:58,960 --> 00:31:59,180
Speaker 1: Yep.

657
00:31:59,260 --> 00:32:01,660
Speaker 2: And I think he templed the dog, right? Yeah. Yeah.

658
00:32:02,320 --> 00:32:03,320
Speaker 1: He's great in it, too. Yeah.

659
00:32:05,720 --> 00:32:08,840
Speaker 2: There are always more musicians than I remember being in.

660
00:32:08,880 --> 00:32:11,060
Speaker 2: That's one thing in rewatching. I'm like, oh, my God.

661
00:32:11,700 --> 00:32:11,840
Speaker 1: Right.

662
00:32:11,860 --> 00:32:16,510
Speaker 2: We had this guy. Again, Portland has a very rich

663
00:32:16,570 --> 00:32:19,090
Speaker 2: music scene. But also when people were coming through, we'll

664
00:32:19,130 --> 00:32:21,370
Speaker 2: get to other episodes where people would be on tour.

665
00:32:21,690 --> 00:32:24,170
Speaker 2: And if they had a day off before or after,

666
00:32:24,230 --> 00:32:26,989
Speaker 2: we would have them on the show. And, you know,

667
00:32:27,050 --> 00:32:29,910
Speaker 2: for us, that was such an extension of our of

668
00:32:29,970 --> 00:32:33,590
Speaker 2: our world. Our real life world was to be surrounded by.

669
00:32:34,700 --> 00:32:37,160
Speaker 2: music people yeah it was a comfortable yeah and in

670
00:32:37,180 --> 00:32:40,100
Speaker 2: addition to obviously you know comedians and stand-ups and stuff

671
00:32:40,140 --> 00:32:44,350
Speaker 2: the the music community felt just as intrinsic and innate

672
00:32:44,370 --> 00:32:47,730
Speaker 2: to the show like i didn't i didn't really differentiate

673
00:32:47,770 --> 00:32:50,870
Speaker 2: between like having a you know a musician act on

674
00:32:50,890 --> 00:32:52,990
Speaker 2: the show or yeah comedian act on the show at

675
00:32:53,010 --> 00:32:54,530
Speaker 2: all yeah the same.

676
00:32:55,290 --> 00:32:58,650
Speaker 1: Yeah definitely yeah i want to say i'm enjoying this.

677
00:32:59,060 --> 00:33:02,240
Speaker 2: Yeah me too um but yeah i enjoyed watching that

678
00:33:02,300 --> 00:33:05,280
Speaker 2: and this is a sketch that i see people reposting

679
00:33:05,620 --> 00:33:09,140
Speaker 2: because I think it, it, it does, it is an extension.

680
00:33:09,160 --> 00:33:11,320
Speaker 2: I think of whether it's about music or something else

681
00:33:11,840 --> 00:33:14,150
Speaker 2: where people are just so impassioned about something that almost

682
00:33:14,170 --> 00:33:17,390
Speaker 2: takes you by surprise, like, you know, for the context

683
00:33:17,530 --> 00:33:18,450
Speaker 2: or that.

684
00:33:18,650 --> 00:33:25,130
Speaker 1: Yeah. I, I've had some experiences recently, whatever the last

685
00:33:25,310 --> 00:33:28,750
Speaker 1: five years or something in this zone. And I can't

686
00:33:28,770 --> 00:33:30,650
Speaker 1: really bring it up because I don't want to talk

687
00:33:30,690 --> 00:33:33,780
Speaker 1: about any artists in any way, but I just want

688
00:33:33,800 --> 00:33:40,540
Speaker 1: to say, I've had recent discussions about bands and pop

689
00:33:40,600 --> 00:33:46,280
Speaker 1: artists where I'm still trying to make that, even though

690
00:33:46,440 --> 00:33:49,920
Speaker 1: I've gotten older, I'm still like, there's some things I've

691
00:33:49,940 --> 00:33:53,910
Speaker 1: held on to. Some things I've let go of. Thankfully. Yeah.

692
00:33:54,170 --> 00:33:56,630
Speaker 1: Couple little things where I still kind of hang on

693
00:33:57,990 --> 00:33:59,710
Speaker 1: and I'll just leave it at that.

694
00:34:00,910 --> 00:34:05,400
Speaker 2: For me, I have that. similar experience but my journey

695
00:34:05,520 --> 00:34:09,990
Speaker 2: is more like when I first discovered punk and alternative

696
00:34:10,030 --> 00:34:12,970
Speaker 2: music and by the way I think it predated alternative

697
00:34:13,010 --> 00:34:16,589
Speaker 2: music because that term came about post Nirvana like when

698
00:34:16,630 --> 00:34:19,190
Speaker 2: I anyway so when I was first listening to punk

699
00:34:21,390 --> 00:34:24,030
Speaker 2: it required a forced rejection of all the pop music

700
00:34:24,070 --> 00:34:27,719
Speaker 2: that I actually loved when I was in elementary and

701
00:34:27,760 --> 00:34:30,439
Speaker 2: middle school you know I really listened to a lot

702
00:34:30,520 --> 00:34:35,140
Speaker 2: of I mean it was like peak MTV and, you know,

703
00:34:35,239 --> 00:34:37,640
Speaker 2: I knew kids on the block and Wilson Phillips and

704
00:34:37,660 --> 00:34:40,640
Speaker 2: it was just, you know, stuff that pretty cheesy. Um,

705
00:34:42,560 --> 00:34:46,130
Speaker 2: and I went back, I think as I got older, um,

706
00:34:47,430 --> 00:34:49,170
Speaker 2: some of that music, not all of it, but I

707
00:34:49,250 --> 00:34:52,930
Speaker 2: was like, no, I love Van Halen 1984, you know,

708
00:34:52,950 --> 00:34:54,509
Speaker 2: but that was the kind of stuff that was like

709
00:34:54,590 --> 00:34:55,609
Speaker 2: too mainstream.

710
00:34:55,770 --> 00:34:58,049
Speaker 1: Oh yeah. Yeah. I was there too. Yeah.

711
00:34:58,190 --> 00:35:01,300
Speaker 2: And now I'm like, okay. I like a lot of

712
00:35:01,340 --> 00:35:03,600
Speaker 2: that stuff or Madonna who, I mean, I was obsessed

713
00:35:03,620 --> 00:35:04,880
Speaker 2: with as a kid and there was sort of a

714
00:35:04,920 --> 00:35:06,940
Speaker 2: moment of like, well, I'm, you know, not listening to

715
00:35:06,960 --> 00:35:11,490
Speaker 2: Madonna now. Now I'm listening to like Lena Lovitch and like,

716
00:35:11,800 --> 00:35:14,250
Speaker 2: and now it's like, of course I like love the

717
00:35:14,290 --> 00:35:17,830
Speaker 2: Madonna album or something, you know? I mean, some musicians

718
00:35:17,890 --> 00:35:21,549
Speaker 2: transcend that like Prince, always cool. I could listen to

719
00:35:21,590 --> 00:35:24,880
Speaker 2: Prince in elementary school and I never had to You know,

720
00:35:25,280 --> 00:35:29,080
Speaker 2: artists transcended it, you know. Zeppelin was another band. Although

721
00:35:29,160 --> 00:35:32,080
Speaker 2: Zeppelin was on the bubble. There was definitely, like, it

722
00:35:32,120 --> 00:35:34,560
Speaker 2: was too indulgent. So much punk music was a reaction.

723
00:35:35,340 --> 00:35:35,839
Speaker 1: Exactly that.

724
00:35:35,860 --> 00:35:39,970
Speaker 2: To the grandiosity and all that, like, you know, guitar stuff. Sure.

725
00:35:40,070 --> 00:35:45,350
Speaker 2: I love that guitar stuff. So it's like this whole, like, indoctrination, right,

726
00:35:45,390 --> 00:35:48,350
Speaker 2: into these subcultures where you're like, as part of your

727
00:35:48,550 --> 00:35:50,549
Speaker 2: new membership, you must.

728
00:35:50,850 --> 00:35:51,610
Speaker 1: You have to.

729
00:35:51,670 --> 00:35:53,950
Speaker 2: You have to get rid of anything that was there.

730
00:35:54,330 --> 00:35:57,149
Speaker 2: it seemed uncool. And then, you know, slowly you let that,

731
00:35:57,790 --> 00:35:58,990
Speaker 2: you don't care. You stop caring.

732
00:35:59,250 --> 00:35:59,450
Speaker 1: Yeah.

733
00:35:59,530 --> 00:36:03,150
Speaker 2: And you're like, I, I like all this stuff. Um, yeah.

734
00:36:03,310 --> 00:36:04,450
Speaker 1: You know, it was a good place to see it

735
00:36:05,170 --> 00:36:08,710
Speaker 1: because now a lot of those artists know each other,

736
00:36:10,050 --> 00:36:13,859
Speaker 1: meaning like I've seen pictures of Bob Weir and Joe

737
00:36:13,880 --> 00:36:14,500
Speaker 1: Strummer together.

738
00:36:14,660 --> 00:36:14,879
Speaker 2: Right.

739
00:36:15,000 --> 00:36:17,299
Speaker 1: And I'm like, of course, they all like.

740
00:36:17,000 --> 00:36:17,560
Speaker 2: In our minds.

741
00:36:17,620 --> 00:36:18,140
Speaker 1: Oh my God.

742
00:36:18,160 --> 00:36:21,300
Speaker 2: They're grateful dead. And the clash, they were like diametrically opposed.

743
00:36:21,760 --> 00:36:26,300
Speaker 1: So sometimes on Instagram, um, a rock star will comment

744
00:36:26,420 --> 00:36:28,979
Speaker 1: on an other rock star. And you think that they're

745
00:36:29,680 --> 00:36:31,500
Speaker 1: from different planets, but I'm like, oh no, they all

746
00:36:31,540 --> 00:36:33,600
Speaker 1: know each other and are like trying to support each other.

747
00:36:33,860 --> 00:36:36,880
Speaker 2: Wait, it's a narrative that other people came up with. Yeah.

748
00:36:36,960 --> 00:36:38,840
Speaker 1: And they're all like, hey, good show or whatever.

749
00:36:38,860 --> 00:36:40,990
Speaker 2: Because it's more interesting to think that like, especially when

750
00:36:41,070 --> 00:36:45,009
Speaker 2: genre was really important, that, you know, there was no relationship.

751
00:36:45,290 --> 00:36:47,730
Speaker 2: You know, a good example of that when Jimmy Buffett

752
00:36:47,750 --> 00:36:50,890
Speaker 2: died and people think of Jimmy Buffett, you know, very

753
00:36:50,930 --> 00:36:53,820
Speaker 2: in a reductive way, you know, Um, and all of

754
00:36:53,880 --> 00:36:58,109
Speaker 2: these songwriters, Paul Simon, you know, like, um, people were

755
00:36:58,130 --> 00:36:58,910
Speaker 2: like everybody. Yes.

756
00:36:59,110 --> 00:36:59,450
Speaker 1: Everyone.

757
00:36:59,489 --> 00:37:02,110
Speaker 2: Like anyone who's sort of still alive from that era

758
00:37:02,790 --> 00:37:04,830
Speaker 2: was like, Oh my God, Jimmy Buffett, nicest guy.

759
00:37:04,870 --> 00:37:05,009
Speaker 1: Great.

760
00:37:05,030 --> 00:37:07,350
Speaker 2: So, and, and it had that same effect on me

761
00:37:07,370 --> 00:37:09,649
Speaker 2: where I was like, of course they just know him. Sure.

762
00:37:09,710 --> 00:37:12,009
Speaker 2: He has some hits that people, you know, think of

763
00:37:12,140 --> 00:37:14,520
Speaker 2: as a little bit corny, but he also has an

764
00:37:14,719 --> 00:37:18,029
Speaker 2: extensive catalog. And he was a guy that held on

765
00:37:18,070 --> 00:37:20,090
Speaker 2: to a fan base for decades, which is.

766
00:37:20,110 --> 00:37:21,069
Speaker 1: A huge fan base.

767
00:37:21,230 --> 00:37:24,819
Speaker 2: A huge fan base. Like an ardent, fervent fan base.

768
00:37:25,260 --> 00:37:27,800
Speaker 2: And that's what these other people are respecting. And in

769
00:37:27,840 --> 00:37:31,640
Speaker 2: addition to his songwriting and musicianship, it's like, no, to last,

770
00:37:31,840 --> 00:37:34,500
Speaker 2: to have not just a moment, but a career, hats

771
00:37:34,900 --> 00:37:37,060
Speaker 2: off to you. And know him as a person and

772
00:37:37,680 --> 00:37:41,739
Speaker 2: all of the sort of noise around this person is

773
00:37:42,280 --> 00:37:45,030
Speaker 2: only this kind of artist. That just goes away.

774
00:37:45,420 --> 00:37:45,620
Speaker 1: Yeah.

775
00:37:45,820 --> 00:37:48,549
Speaker 2: And so, yeah. But that was really one where all

776
00:37:48,590 --> 00:37:50,770
Speaker 2: these people came out of the woodwork. Yeah. And were

777
00:37:50,790 --> 00:37:51,149
Speaker 2: just like.

778
00:37:51,450 --> 00:37:54,630
Speaker 1: Yeah. Paul McCartney had this long statement.

779
00:37:55,110 --> 00:37:57,910
Speaker 2: Yeah. And I never would have guessed. Yeah.

780
00:37:59,310 --> 00:37:59,630
Speaker 1: Anyway.

781
00:37:59,770 --> 00:38:02,570
Speaker 2: Anyway. What a detour.

782
00:38:12,160 --> 00:38:15,890
Speaker 1: Cops Redesign Part Two. Is the fashion show.

783
00:38:16,010 --> 00:38:16,790
Speaker 2: Is a fashion show.

784
00:38:17,090 --> 00:38:19,129
Speaker 1: On a table in a meeting room.

785
00:38:19,390 --> 00:38:19,589
Speaker 2: Yes.

786
00:38:19,950 --> 00:38:21,569
Speaker 1: And the chief of police is there.

787
00:38:22,550 --> 00:38:25,960
Speaker 2: Who is just looking at us like a bunch of idiots.

788
00:38:26,180 --> 00:38:30,000
Speaker 1: So we, Carrie and Fred, are sort of doing the

789
00:38:30,020 --> 00:38:31,020
Speaker 1: fashion show.

790
00:38:31,040 --> 00:38:33,219
Speaker 2: We're treating it like a full fashion show.

791
00:38:33,239 --> 00:38:33,920
Speaker 1: Yeah, the commentary.

792
00:38:34,140 --> 00:38:35,180
Speaker 2: Yeah, there's three models.

793
00:38:35,440 --> 00:38:35,660
Speaker 1: Yeah.

794
00:38:36,260 --> 00:38:36,440
Speaker 2: Yeah.

795
00:38:36,760 --> 00:38:37,640
Speaker 1: One of them is Annie Clark.

796
00:38:37,840 --> 00:38:39,240
Speaker 2: Yeah, aka St. Vincent.

797
00:38:39,739 --> 00:38:46,759
Speaker 1: Another huge part of the... list of musical guests. Yeah.

798
00:38:46,800 --> 00:38:50,270
Speaker 2: And she actually comes back and is in other, other episodes.

799
00:38:51,110 --> 00:38:54,270
Speaker 1: So they've got all these, I think those are well-designed.

800
00:38:54,750 --> 00:38:56,330
Speaker 2: Yeah. This is a sweatshirt. Yeah.

801
00:38:56,489 --> 00:38:57,370
Speaker 1: Cop uniforms.

802
00:38:57,710 --> 00:38:57,890
Speaker 2: Yeah.

803
00:38:58,210 --> 00:39:00,129
Speaker 1: So I just, I enjoyed watching that.

804
00:39:00,450 --> 00:39:03,730
Speaker 2: Yeah. And in some ways it's like, we're, yeah, we're,

805
00:39:03,910 --> 00:39:06,330
Speaker 2: we're trying to like defang this, you know, it's like,

806
00:39:06,870 --> 00:39:11,060
Speaker 2: and it's the, the cops, you know, we're sort of like, okay,

807
00:39:11,640 --> 00:39:13,839
Speaker 2: you know, what if it was more like this? And, Yeah,

808
00:39:13,860 --> 00:39:16,859
Speaker 2: the guy wants nothing to do with us. But we're

809
00:39:16,880 --> 00:39:17,800
Speaker 2: really proud of our designs.

810
00:39:18,860 --> 00:39:21,460
Speaker 1: I will say, I do sometimes look at the military

811
00:39:21,500 --> 00:39:28,969
Speaker 1: of North Korea and go, guys, it's 2026. Like, update this.

812
00:39:29,310 --> 00:39:32,980
Speaker 1: They have these balls. hats that are from like another

813
00:39:33,040 --> 00:39:34,460
Speaker 1: time come.

814
00:39:34,400 --> 00:39:37,759
Speaker 2: On have you have you told them this.

815
00:39:37,980 --> 00:39:40,200
Speaker 1: I want to i want to i want to get

816
00:39:40,239 --> 00:39:42,969
Speaker 1: in touch with them like do you Read the planet.

817
00:39:43,010 --> 00:39:46,130
Speaker 2: If anyone listening has... Yeah, if you.

818
00:39:46,010 --> 00:39:48,170
Speaker 1: Have connections to the North Korean military.

819
00:39:48,330 --> 00:39:51,730
Speaker 2: Yeah. We would love a chance to redesign that. Yeah.

820
00:39:52,090 --> 00:39:52,989
Speaker 1: Let's heighten it up.

821
00:39:53,150 --> 00:39:56,029
Speaker 2: Oh, watch this episode. I mean, see, our work speaks

822
00:39:56,050 --> 00:39:56,490
Speaker 2: for itself.

823
00:39:57,340 --> 00:40:04,380
Speaker 1: These long winter coats that just look bulky. Take a

824
00:40:04,640 --> 00:40:09,600
Speaker 1: look at the French military. That's all I'm saying. Yeah.

825
00:40:10,260 --> 00:40:11,640
Speaker 2: I think you're onto something. Yeah.

826
00:40:12,630 --> 00:40:14,990
Speaker 1: And I'm sure they're listening. Except, I don't know if these,

827
00:40:15,890 --> 00:40:24,580
Speaker 1: we might have to, do we dub this in other languages? Anyway,

828
00:40:24,640 --> 00:40:29,020
Speaker 1: so that's a, that has a good cliffhanger in that

829
00:40:29,910 --> 00:40:30,969
Speaker 1: the chief of police is like.

830
00:40:31,150 --> 00:40:33,029
Speaker 2: Oh, well, he's like, okay. He's sort of like, he

831
00:40:33,070 --> 00:40:38,089
Speaker 2: dares us. He's like, really? Yeah, you police the city then. Yeah. Yeah.

832
00:40:38,610 --> 00:40:39,310
Speaker 1: So that's a good.

833
00:40:39,370 --> 00:40:39,990
Speaker 2: It's a cliffhanger.

834
00:40:40,050 --> 00:40:42,060
Speaker 1: Yeah. Okay, wow.

835
00:40:42,140 --> 00:40:44,740
Speaker 2: This is a real music one because now the next

836
00:40:45,660 --> 00:40:47,739
Speaker 2: sketch is Do You Know, which is kind of a

837
00:40:47,760 --> 00:40:49,880
Speaker 2: take on Did You Read, which is from season one,

838
00:40:50,440 --> 00:40:54,600
Speaker 2: where our characters are kind of one-upping each other, which

839
00:40:54,660 --> 00:40:57,400
Speaker 2: is very apropos of this episode, I guess, and the

840
00:40:57,460 --> 00:41:00,819
Speaker 2: conversation we were having earlier about music. Did You Read was,

841
00:41:00,840 --> 00:41:03,340
Speaker 2: of course, like how many articles have you seen, trying

842
00:41:03,410 --> 00:41:06,730
Speaker 2: to drill down on who's seen more, who knows more,

843
00:41:06,770 --> 00:41:08,330
Speaker 2: and this is with people.

844
00:41:08,670 --> 00:41:08,790
Speaker 1: Yeah.

845
00:41:09,340 --> 00:41:12,460
Speaker 2: And what our characters do essentially is we end up

846
00:41:12,960 --> 00:41:16,320
Speaker 2: riffing on all of the musicians we know in Washington, D.C.

847
00:41:16,320 --> 00:41:16,600
Speaker 2: And it's real.

848
00:41:17,180 --> 00:41:18,620
Speaker 1: And it's real. These are all real people.

849
00:41:18,660 --> 00:41:19,469
Speaker 2: These are real people.

850
00:41:19,489 --> 00:41:20,390
Speaker 1: Who we really know.

851
00:41:20,410 --> 00:41:23,009
Speaker 2: Who we really know. And so really, this was not

852
00:41:23,050 --> 00:41:24,970
Speaker 2: a sketch at all. This was just us and Wigs

853
00:41:25,550 --> 00:41:27,890
Speaker 2: asking each other, do you know this person? And you

854
00:41:27,969 --> 00:41:28,870
Speaker 2: really were like, yeah, I do.

855
00:41:30,230 --> 00:41:33,210
Speaker 1: But also... I think we have had that discussion.

856
00:41:33,230 --> 00:41:34,350
Speaker 2: We have had this discussion.

857
00:41:34,530 --> 00:41:36,330
Speaker 1: We name a city and it's always like, well.

858
00:41:36,590 --> 00:41:37,549
Speaker 2: Yeah. Who do you know from that city?

859
00:41:37,590 --> 00:41:40,740
Speaker 1: Where did you play? Oh, well then Minneapolis becomes.

860
00:41:40,900 --> 00:41:42,620
Speaker 2: Yeah. And it's not just who you know, but like,

861
00:41:42,640 --> 00:41:43,460
Speaker 2: do you know the bands from there?

862
00:41:43,600 --> 00:41:46,080
Speaker 1: Yeah. Yeah. And the people who ran the clubs, all

863
00:41:46,100 --> 00:41:46,339
Speaker 1: that stuff.

864
00:41:46,360 --> 00:41:47,359
Speaker 2: Oh gosh. Yeah.

865
00:41:47,860 --> 00:41:49,060
Speaker 1: I mean, Olympia.

866
00:41:49,880 --> 00:41:50,540
Speaker 2: Don't get me started.

867
00:41:50,560 --> 00:41:55,830
Speaker 1: San Francisco. Yeah. So yeah. So that was, DC seems

868
00:41:55,870 --> 00:41:56,950
Speaker 1: to be like the most.

869
00:41:58,890 --> 00:42:01,319
Speaker 2: I don't know why we, we, picked that one but

870
00:42:01,640 --> 00:42:02,080
Speaker 2: that one.

871
00:42:02,260 --> 00:42:04,319
Speaker 1: It's maybe that when neither of us are from there

872
00:42:04,380 --> 00:42:05,260
Speaker 1: so it's easy to.

873
00:42:05,380 --> 00:42:07,540
Speaker 2: Yeah right no and there's no cheat like if it

874
00:42:07,560 --> 00:42:10,140
Speaker 2: was you know chicago if it was chicago for you

875
00:42:10,180 --> 00:42:13,799
Speaker 2: you and you would win yeah yeah um so yeah

876
00:42:13,860 --> 00:42:17,650
Speaker 2: so that's the sketch and again weirdly i wouldn't call

877
00:42:17,670 --> 00:42:21,549
Speaker 2: it self-referential but i think as as we look back

878
00:42:21,590 --> 00:42:23,430
Speaker 2: i realize there are just tropes like oh this is

879
00:42:23,469 --> 00:42:27,350
Speaker 2: that kind of sketch yeah you know um anyway so

880
00:42:27,370 --> 00:42:29,390
Speaker 2: this is that kind of sketch um.

881
00:42:30,390 --> 00:42:34,170
Speaker 1: Bad art, good walls is from the observation that coffee

882
00:42:34,210 --> 00:42:40,730
Speaker 1: shops have bad art on the walls always. It's always some,

883
00:42:42,969 --> 00:42:48,090
Speaker 1: just some painting that is just very amateurish, but not students,

884
00:42:48,130 --> 00:42:50,710
Speaker 1: not art students, something like adults who are trying to

885
00:42:50,750 --> 00:42:54,469
Speaker 1: make art. And it's just an observation from that. And

886
00:42:54,530 --> 00:42:56,610
Speaker 1: then the company that is making this.

887
00:42:57,110 --> 00:42:59,739
Speaker 2: Right. The joke is that instead of it actually being,

888
00:43:00,300 --> 00:43:03,320
Speaker 2: you know, someone's attempt at, you know, a painting or

889
00:43:03,400 --> 00:43:07,010
Speaker 2: photography that there's just a company that's providing bad art

890
00:43:07,469 --> 00:43:08,670
Speaker 2: for every coffee shop.

891
00:43:08,690 --> 00:43:10,210
Speaker 1: Yeah. And like, this is bad. This is all, this

892
00:43:10,230 --> 00:43:13,790
Speaker 1: one's terrible. Let's get this out here. Yeah. Yeah. Yeah.

893
00:43:14,430 --> 00:43:18,110
Speaker 2: And, uh, we have, um, there's an improvement.

894
00:43:18,170 --> 00:43:19,830
Speaker 1: I wish Sean Hayes is in it.

895
00:43:19,989 --> 00:43:22,190
Speaker 2: Sean Hayes is in it. Great. And he comes in

896
00:43:22,250 --> 00:43:24,310
Speaker 2: kind of late. Like, I remember that Sean was in

897
00:43:24,350 --> 00:43:26,790
Speaker 2: this as I started the sketch starts and I'm like, wow, he,

898
00:43:27,150 --> 00:43:28,350
Speaker 2: Kind of a late entry into this.

899
00:43:28,430 --> 00:43:29,089
Speaker 1: Yeah. Yeah.

900
00:43:29,190 --> 00:43:32,630
Speaker 2: And weird characters. Although these are recurring characters for us. Yes. Rarely,

901
00:43:32,770 --> 00:43:34,330
Speaker 2: but they, they reoccur a couple of times.

902
00:43:35,310 --> 00:43:37,660
Speaker 1: An improvement I would have made on it is that

903
00:43:37,739 --> 00:43:42,040
Speaker 1: I wish we referenced the order of what coffee shop

904
00:43:42,080 --> 00:43:44,640
Speaker 1: it's going to. Like this is going to, you know,

905
00:43:45,080 --> 00:43:47,200
Speaker 1: Billy's in Lincoln, Nebraska.

906
00:43:47,219 --> 00:43:47,540
Speaker 2: Right.

907
00:43:47,560 --> 00:43:49,320
Speaker 1: We've got to send these out, get this out to,

908
00:43:49,560 --> 00:43:50,740
Speaker 1: but now it's too late.

909
00:43:51,510 --> 00:43:54,569
Speaker 2: Yes, it is too late. I, I, I have had

910
00:43:54,590 --> 00:43:56,270
Speaker 2: that experience where I just think, oh, there would be

911
00:43:56,310 --> 00:44:00,130
Speaker 2: a better button here. Like, you know, a better ending. Um,

912
00:44:00,430 --> 00:44:02,589
Speaker 2: I do like the moment where we all, this is

913
00:44:02,670 --> 00:44:04,210
Speaker 2: a common thing that we do because I think it

914
00:44:04,250 --> 00:44:06,450
Speaker 2: makes us laugh on the day, but it, it did

915
00:44:06,469 --> 00:44:09,089
Speaker 2: make me laugh rewatching it just where we repeat each

916
00:44:09,150 --> 00:44:12,290
Speaker 2: other's lines in a way that's very silly. And Sean

917
00:44:12,530 --> 00:44:13,270
Speaker 2: gets in on that too.

918
00:44:13,489 --> 00:44:14,509
Speaker 1: Yeah.

919
00:44:14,530 --> 00:44:20,110
Speaker 2: Um, yeah. And then, uh, that was our, uh, AD

920
00:44:20,170 --> 00:44:21,089
Speaker 2: at the end. Jay.

921
00:44:21,430 --> 00:44:22,089
Speaker 1: That's right.

922
00:44:22,219 --> 00:44:27,009
Speaker 2: And, uh, Sophia. who had a myriad of roles on

923
00:44:27,030 --> 00:44:28,830
Speaker 2: the show, but costume and.

924
00:44:29,950 --> 00:44:33,050
Speaker 1: Yeah, she's in a bunch, yeah. And also art-wise, I

925
00:44:33,870 --> 00:44:39,319
Speaker 1: think legally, we're not allowed to use art that's out there.

926
00:44:39,340 --> 00:44:40,940
Speaker 2: Yeah, so we created... We had to have.

927
00:44:40,860 --> 00:44:42,160
Speaker 1: People make all those paintings.

928
00:44:42,180 --> 00:44:43,840
Speaker 2: Yeah, exactly.

929
00:44:44,000 --> 00:44:46,180
Speaker 1: Which is, yeah, its own task.

930
00:44:46,280 --> 00:44:48,380
Speaker 2: Which is its own task, yeah. I would say that

931
00:44:48,420 --> 00:44:51,940
Speaker 2: the photography was worse than the... When I was watching, objectively,

932
00:44:51,980 --> 00:44:55,010
Speaker 2: I thought some of that Like the frets. Oh, yeah, yeah.

933
00:44:55,050 --> 00:44:59,640
Speaker 2: F-holes on the guitar. Yeah, yeah, yeah. It was really, yeah.

934
00:44:59,739 --> 00:45:00,220
Speaker 1: Bad stuff.

935
00:45:00,360 --> 00:45:00,560
Speaker 2: Yeah.

936
00:45:00,820 --> 00:45:03,060
Speaker 1: But I liked describing to an artist, like, you've got

937
00:45:03,080 --> 00:45:09,950
Speaker 1: to make this bad. Yeah. So, yeah. Yeah. All right.

938
00:45:09,989 --> 00:45:12,489
Speaker 1: We're coming to the last part of Cop's redesign.

939
00:45:13,250 --> 00:45:15,569
Speaker 2: Part three. We are at the skate park, a real

940
00:45:15,610 --> 00:45:16,450
Speaker 2: skate park in Portland.

941
00:45:16,650 --> 00:45:16,850
Speaker 1: Yes.

942
00:45:16,890 --> 00:45:17,890
Speaker 2: Under the Burnside Bridge.

943
00:45:17,930 --> 00:45:18,169
Speaker 1: Yes.

944
00:45:19,530 --> 00:45:21,110
Speaker 2: With real skaters.

945
00:45:21,330 --> 00:45:21,469
Speaker 1: Yep.

946
00:45:21,950 --> 00:45:26,390
Speaker 2: And we are in our redesigned uniforms.

947
00:45:26,610 --> 00:45:28,589
Speaker 1: And we have some makeup on, I think. Some sort

948
00:45:28,610 --> 00:45:30,109
Speaker 1: of pink lines or something.

949
00:45:30,130 --> 00:45:33,970
Speaker 2: Sort of like Bowie kind of. Yeah. I mean, David Bowie.

950
00:45:34,190 --> 00:45:36,830
Speaker 2: I mean, it's ridiculous. I mean, we have shoulder pads.

951
00:45:36,850 --> 00:45:39,469
Speaker 2: I think we mentioned shoulder pads earlier on. And now

952
00:45:39,510 --> 00:45:42,950
Speaker 2: we're wearing shoulder pads.

953
00:45:43,370 --> 00:45:44,610
Speaker 1: It looks like we're cold.

954
00:45:46,320 --> 00:45:47,440
Speaker 2: Oh, you know what? I mean, yeah.

955
00:45:47,640 --> 00:45:49,420
Speaker 1: I think that might have been a cold day or something.

956
00:45:50,440 --> 00:45:52,440
Speaker 1: Or maybe it's the makeup that may look that way.

957
00:45:52,460 --> 00:45:58,180
Speaker 2: Yeah. There's another episode where I know that we're really hot.

958
00:45:58,510 --> 00:45:59,360
Speaker 1: Okay.

959
00:45:59,390 --> 00:46:03,430
Speaker 2: But I know that, yeah, we might have been cold. Yeah.

960
00:46:03,510 --> 00:46:05,910
Speaker 2: And basically we fail terribly.

961
00:46:06,710 --> 00:46:10,170
Speaker 1: Yeah. Yeah. And we're chasing people around. A lot of

962
00:46:10,210 --> 00:46:10,830
Speaker 1: sound effects.

963
00:46:10,910 --> 00:46:11,970
Speaker 2: And Keystone Cops.

964
00:46:11,989 --> 00:46:12,989
Speaker 1: Keystone Cops. Yeah.

965
00:46:13,430 --> 00:46:16,180
Speaker 2: And so they speed up and sort of cartoony and

966
00:46:16,200 --> 00:46:17,840
Speaker 2: we're chasing.

967
00:46:18,160 --> 00:46:18,339
Speaker 1: Yeah.

968
00:46:18,739 --> 00:46:22,860
Speaker 2: These skateboards around and they're mocking us and mocking the police.

969
00:46:22,980 --> 00:46:24,760
Speaker 2: And yeah.

970
00:46:24,840 --> 00:46:28,480
Speaker 1: And then the cops really did let us use their car. Yeah.

971
00:46:28,660 --> 00:46:32,230
Speaker 2: And then they let us burn. Like then there's a

972
00:46:32,270 --> 00:46:35,590
Speaker 2: cop car that's graffiti and up on blocks and basically

973
00:46:36,489 --> 00:46:44,590
Speaker 2: totally messed up and destroyed. So yeah. Um, which is yeah.

974
00:46:44,630 --> 00:46:45,830
Speaker 2: Good on them for just being like, sure.

975
00:46:46,150 --> 00:46:46,330
Speaker 1: Yeah.

976
00:46:47,550 --> 00:46:51,130
Speaker 2: Um, And that was it. And then we're trapped in

977
00:46:51,170 --> 00:46:51,910
Speaker 2: the back of the car.

978
00:46:52,670 --> 00:46:53,049
Speaker 1: That's it.

979
00:46:53,430 --> 00:46:57,010
Speaker 2: And then, yeah, that's the end. And we've failed.

980
00:47:00,030 --> 00:47:02,810
Speaker 1: But we succeeded in making a good episode.

981
00:47:03,790 --> 00:47:08,710
Speaker 2: I liked this episode. This episode made me laugh. And yeah,

982
00:47:08,750 --> 00:47:12,280
Speaker 2: I remembered. I was actually shocked to see myself actually driving.

983
00:47:12,340 --> 00:47:14,070
Speaker 2: I was like, right, they let us use that car.

984
00:47:15,320 --> 00:47:16,399
Speaker 1: I think about that all the time.

985
00:47:17,960 --> 00:47:18,520
Speaker 2: It's crazy.

986
00:47:19,969 --> 00:47:23,210
Speaker 1: I remember we did scenes where I was driving and

987
00:47:23,250 --> 00:47:27,510
Speaker 1: I remember really thinking if I hit someone on a bicycle,

988
00:47:27,570 --> 00:47:31,589
Speaker 1: because there's bicycles everywhere. That's a real thing. So I

989
00:47:31,650 --> 00:47:33,830
Speaker 1: felt kind of nervous that there was.

990
00:47:33,850 --> 00:47:36,739
Speaker 2: I did a lot of my own stunts on that show.

991
00:47:36,820 --> 00:47:37,379
Speaker 1: Oh, yes, you did.

992
00:47:37,440 --> 00:47:39,660
Speaker 2: And I think I'm not saying that driving is a stunt,

993
00:47:39,680 --> 00:47:42,939
Speaker 2: although technically it is actually. But there were two things.

994
00:47:43,880 --> 00:47:47,060
Speaker 2: John Kreisel, again, he always was like, oh, and Carrie,

995
00:47:47,080 --> 00:47:48,080
Speaker 2: you'll just fall off the couch.

996
00:47:48,120 --> 00:47:48,239
Speaker 1: Yeah.

997
00:47:48,880 --> 00:47:53,569
Speaker 2: And I would just say, okay. Or jump or do things.

998
00:47:53,650 --> 00:47:55,430
Speaker 2: And it was very physical. I did hurt myself a

999
00:47:55,469 --> 00:47:58,210
Speaker 2: couple of times. I do remember having to have a

1000
00:47:58,830 --> 00:48:01,989
Speaker 2: massage therapist come and work on my back. I hurt

1001
00:48:02,050 --> 00:48:06,219
Speaker 2: myself numerous times. I think we rarely, if ever, had

1002
00:48:06,260 --> 00:48:06,820
Speaker 2: stunt doubles.

1003
00:48:08,440 --> 00:48:11,900
Speaker 1: Interestingly, he didn't do that much with me. He must

1004
00:48:11,940 --> 00:48:13,210
Speaker 1: have known how fragile I am.

1005
00:48:14,469 --> 00:48:15,520
Speaker 2: Yeah, how brittle your bones are.

1006
00:48:15,719 --> 00:48:17,830
Speaker 1: How brittle I am with you. It was just like,

1007
00:48:18,330 --> 00:48:21,650
Speaker 1: you go do it. The only stunt person I had

1008
00:48:22,010 --> 00:48:24,450
Speaker 1: was because I'm afraid of heights. And I was at

1009
00:48:24,489 --> 00:48:28,089
Speaker 1: the top of this prison building. And I was like,

1010
00:48:28,130 --> 00:48:29,930
Speaker 1: I can't go to the edge. So we had someone

1011
00:48:30,510 --> 00:48:31,770
Speaker 1: from a distance who looked like me.

1012
00:48:31,930 --> 00:48:36,250
Speaker 2: You know what? There was some motorcycle stunts where Lance,

1013
00:48:37,430 --> 00:48:40,069
Speaker 2: my character Lance, is driving a motorcycle. That's obviously not me.

1014
00:48:40,190 --> 00:48:40,770
Speaker 1: Oh, okay. But.

1015
00:48:41,260 --> 00:48:42,800
Speaker 2: I often had to ride on the back of a

1016
00:48:42,820 --> 00:48:45,029
Speaker 2: motorcycle and we were not up on a rig.

1017
00:48:45,050 --> 00:48:45,629
Speaker 1: You're right.

1018
00:48:45,670 --> 00:48:46,650
Speaker 2: We were not on a trailer.

1019
00:48:46,750 --> 00:48:47,370
Speaker 1: And that wasn't me.

1020
00:48:48,230 --> 00:48:49,089
Speaker 2: That definitely wasn't you.

1021
00:48:49,250 --> 00:48:49,390
Speaker 1: Yeah.

1022
00:48:49,690 --> 00:48:51,890
Speaker 2: That was Aaron, Danger Aaron.

1023
00:48:51,930 --> 00:48:52,330
Speaker 1: That's right.

1024
00:48:53,450 --> 00:48:57,270
Speaker 2: He was a stunt guy and motorcycle rider and part

1025
00:48:57,290 --> 00:48:59,969
Speaker 2: of the Jackass crew happens to live the show and

1026
00:49:00,010 --> 00:49:03,290
Speaker 2: movie Jackass that he lives in Portland. Yeah. And they

1027
00:49:03,310 --> 00:49:05,109
Speaker 2: would just throw me on the back of a motorcycle

1028
00:49:06,210 --> 00:49:08,830
Speaker 2: and I was wearing a helmet, but Yeah, that's scary.

1029
00:49:08,850 --> 00:49:10,890
Speaker 2: I think. I don't know if I always. Anyway, that

1030
00:49:10,930 --> 00:49:14,680
Speaker 2: was really. Yeah. At the time, it didn't feel scary.

1031
00:49:14,820 --> 00:49:17,780
Speaker 2: But when I think about it now, I feel scared.

1032
00:49:17,850 --> 00:49:21,899
Speaker 2: even somehow like retroactively it seems dangerous but yeah yeah

1033
00:49:22,719 --> 00:49:24,840
Speaker 2: um yeah it's sort of a blessing and a curse

1034
00:49:24,880 --> 00:49:25,380
Speaker 2: to be.

1035
00:49:25,260 --> 00:49:27,620
Speaker 1: Yeah operating so loosely.

1036
00:49:27,239 --> 00:49:31,000
Speaker 2: Yeah so loosely um you you get away with a

1037
00:49:31,020 --> 00:49:34,819
Speaker 2: lot of stuff which can be exciting but also maybe

1038
00:49:34,840 --> 00:49:42,730
Speaker 2: you want more rules yeah Yep. Anyway, that's Cop Redesign.

1039
00:49:43,150 --> 00:49:47,609
Speaker 1: That's right. Thank you all so much for listening and watching,

1040
00:49:47,860 --> 00:49:50,160
Speaker 1: I guess. Thank you for watching.

1041
00:49:51,840 --> 00:49:52,840
Speaker 2: Thank you for watching.

1042
00:49:53,340 --> 00:49:54,359
Speaker 1: Thank you for listening to me.

1043
00:49:54,640 --> 00:50:06,260
Speaker 2: Thanks for listening to me. Thanks, everyone. We watch.