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

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Speaker 1: 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 Keri.

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Speaker 1: I'm Fred.

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Speaker 2: And this is a rewatch.

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Speaker 1: A Portlandia rewatch podcast.

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Speaker 2: Welcome. How are you?

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Speaker 1: I'm good. I'm very excited to talk about this episode.

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Speaker 2: Me too. I want to quickly acknowledge that we were

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Speaker 2: wearing these clothes for the last podcast episode. One, I mean,

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Speaker 2: I've You know me. I like to wear the same thing.

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Speaker 2: I don't want to create a high bar where people

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Speaker 2: think that I have so many clothes that I'm just

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Speaker 2: going to change them all the time. I want to

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Speaker 2: just be comfortable. Same.

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Speaker 1: I just wish it was just like a uniform.

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Speaker 2: A uniform. Eventually, we will settle on a uniform.

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Speaker 1: Yes.

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Speaker 2: For now, we will just do some repeats.

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Speaker 1: Yes.

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Speaker 2: Some comfort repeats.

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Speaker 1: And this is twice in a row we've done this one.

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Speaker 2: Twice in a row.

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Speaker 1: Yeah.

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Speaker 2: We didn't do laundry in between.

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Speaker 1: That's right.

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Speaker 2: Never.

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Speaker 1: I mean, not never, but no. No laundry in between.

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Speaker 2: Yeah.

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Speaker 1: And this is the second time we've worn it. This

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Speaker 1: is season two, and this is episode two. So two

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Speaker 1: is the magic number today.

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Speaker 2: This episode, we were just saying before we started recording,

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Speaker 2: but we'll repeat it. One of our all-time favorites. Yeah. Truly,

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Speaker 2: I think if I was going to show someone Portlandia,

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Speaker 2: And they, and they asked me what episode, where should

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Speaker 2: I start? I might have them start here. This would

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Speaker 2: be one of five episodes. I would show them. Same. Yeah. Uh,

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Speaker 2: it's very satisfying. I just, yeah, just creatively artistically. This

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Speaker 2: feels very satisfying to me. A lot of things that

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Speaker 2: we were trying for feel like we were able to

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Speaker 2: pull them off in this episode, particularly with the wraparound,

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Speaker 2: which again is the three-part sketch. the through line, and

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Speaker 2: this one to me is one of the most satisfying

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Speaker 2: ones we did, most successful.

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Speaker 1: Yes, I'm glad how we, I'm happy about how I

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Speaker 1: was executed as well. Yes. Like we really.

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Speaker 2: That we were able to pull it off.

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Speaker 1: Yes. Yes. Because there's a lot. And what would seem

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Speaker 1: like a nonsensical tangent is very logical. It all works.

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Speaker 2: Yes.

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Speaker 1: Towards the end. the idea of the sketch itself. The

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Speaker 1: main one being one more episode.

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Speaker 2: Yes.

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Speaker 1: That's the name of it.

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Speaker 2: But before we get to that, we will start with

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Speaker 2: the cold open. Before we dive further into this episode

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Speaker 2: that now we're really raving about.

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Speaker 1: Yes. I know. We apologize. I'm sorry to rave about it,

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Speaker 1: but where an episode didn't work as well for us,

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Speaker 1: we'll make sure to address that as well.

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Speaker 2: We've talked about the stuff that we don't love. But also,

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Speaker 2: I just want to say, One false modesty can be obnoxious,

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Speaker 2: but more than that, we truly enjoyed making this show,

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Speaker 2: which is one of the reasons we're doing this podcast,

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Speaker 2: because we're still friends. We were friends before Portlandia. We've

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Speaker 2: been friends since Portlandia. And we are proud of what

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Speaker 2: we've done. And I would rather approach it as like, hey,

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Speaker 2: we're proud of this than when we are actually proud

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Speaker 2: of something. Anyway, onward. The cold opened. Allergy parade.

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Speaker 1: That's right. Allergy pride. Parade. Allergy pride parade.

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Speaker 2: Yeah.

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Speaker 1: The idea that we're proud of our allergies, which I

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Speaker 1: think people are. I think people do kind of embrace

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Speaker 1: the specialness of their allergies.

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Speaker 2: The specialness of anything that just, you know, sets them apart,

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Speaker 2: you know, yeah, from someone else. I mean, I think

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Speaker 2: this is something we discussed a lot in the writer's room.

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Speaker 2: Just when something that's, uh, a trait or a preference

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Speaker 2: becomes an identity, right? It crosses over from, you know,

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Speaker 2: just a mere, you know, a description or characteristic and

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Speaker 2: really becomes an identity. I think that's something that we

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Speaker 2: just dwelled on a lot and discussed and there's different

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Speaker 2: iterations of that idea. It's one of the things I

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Speaker 2: would say that we were exploring and critiquing about culture

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Speaker 2: a little bit, just like throughout the whole show. Yeah. And,

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Speaker 2: and what is that? Not just again, not other people,

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Speaker 2: but what is it about ourselves? You know, that what

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Speaker 2: it is about me that like take something and it's like, no,

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Speaker 2: this needs to be what I'm known for. This is

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Speaker 2: my identity. We've talked about that a lot with, with music. And, um,

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Speaker 2: you know, that, that just becomes, you're taking it so personally.

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Speaker 2: And we certainly observed, um, this with some people's allergies.

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Speaker 2: We both have, Yes.

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Speaker 1: And it is kind of, I do.

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Speaker 2: I'm sorry. Just even the way I said that was like,

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Speaker 2: just so you guys know, I also, I understand I

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Speaker 2: have an allergy. I'm so annoyed. If I was like,

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Speaker 2: I wish I could take a cane and remove myself

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Speaker 2: from the stage right now. As if I need to justify, like, just,

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Speaker 2: you know, I really understand. I also have an allergy.

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Speaker 1: I have this affliction. But there is something about like

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Speaker 1: at a restaurant, there is, I think everyone feels this way.

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Speaker 1: Where it's not like, oh, what a bummer that I'm

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Speaker 1: bringing everyone down about my allergy. It's a little bit like,

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Speaker 1: you know what? This is part of me.

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Speaker 2: Yeah.

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Speaker 1: I'm allergic to avocado. Those words kind of like, it's

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Speaker 1: like real estate. At this table.

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Speaker 2: Oh, it's so commanding.

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Speaker 1: It's like, this is my world.

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Speaker 2: I heard you say it the other day.

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Speaker 1: It's true.

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Speaker 2: Yeah. And the reaction. It's like we've all been trained

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Speaker 2: to just be like, oh my God. You know, like I,

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Speaker 2: let me create some space for your allergy. Yes. Yeah.

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Speaker 2: And now it's absolutely normal at a restaurant. I went,

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Speaker 2: I think it was for my birthday this year and

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Speaker 2: I have, you know, friends with allergies or dietary preferences

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Speaker 2: and there were separate menus. There were like three or

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Speaker 2: four menus, you know, and that's, yeah, it's just part

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Speaker 2: of the way we operate now is to just sort

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Speaker 2: of you know, cater to those differences. And yeah, I,

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Speaker 2: am I just because I feel like you shared. So no,

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Speaker 2: I have to share what my allergies are. Um, soy,

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Speaker 2: it's very specific kind of soy allergy. And this makes

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Speaker 2: me extra special. Um, it's an exercise induced allergy. So

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Speaker 2: it's called exercise induced anaphylaxis.

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Speaker 1: Stop laughing.

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Speaker 2: And, um, I didn't know I had a soy allergy

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Speaker 2: because it only like happens, manifests when I exercise and

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Speaker 2: it's like I sweat and my heart rate goes up

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Speaker 2: and the histamines just go crazy. So I would eat

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Speaker 2: soy or tofu or soy sauce or whatever and be fine.

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Speaker 2: And then every once in a while, every couple of years,

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Speaker 2: I would like go to the gym or sometimes I,

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Speaker 2: a couple of times it happened. I would perform with

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Speaker 2: my band Slater-Kinney on stage and I'd be sweating, jumping

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Speaker 2: around and I would have these terrible allergic reactions. I

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Speaker 2: would have covered in hives, but it happened so rarely

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Speaker 2: that I wasn't able to pinpoint when it was. And

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Speaker 2: then eventually it happened kind of in quick succession. And,

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Speaker 2: and this was the worst reaction that I've ever had. Um,

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Speaker 2: my face, I mean, my eyes were swollen, swollen, shut, um, Um, I,

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Speaker 2: every time, by the way, I end up in the ER,

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Speaker 2: like it's, Oh, it's that serious. Yeah. And, but this

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Speaker 2: time it was, it was getting worse, but also I

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Speaker 2: was like, Oh, it had just happened a month before.

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Speaker 2: And I sort of put two and two together, but

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Speaker 2: also at the ER, you know, they were like, well,

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Speaker 2: you should get, you know, get tested. Um, cause before

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Speaker 2: I didn't, I thought it was just from exercising or

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Speaker 2: sweating or something. And they were like, it might be

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Speaker 2: related to food. Um, or something you're ingesting, and yeah,

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Speaker 2: those are just soy. So for years, I just, if

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Speaker 2: I ate anything with soy, yeah, I wouldn't exercise afterwards

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Speaker 2: or sweat in any way. But I still eat soy.

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Speaker 2: But I just don't do anything active. I just sit

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Speaker 2: on the couch afterwards.

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Speaker 1: Good.

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Speaker 2: Yeah. So my allergy feels a little more special than yours.

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Speaker 1: It definitely is. The lightness of my allergy is what makes...

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Speaker 1: Mine feels special. Mine is that my mouth just gets itchy.

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Speaker 2: That's a con a contact allergy.

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Speaker 1: And I like the lightness of it. It's a little

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Speaker 1: bit like, cause then I've got to tell a story.

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Speaker 1: So when they're like, Oh, we'll make sure that I'm like, no, no,

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Speaker 1: it's okay. If there's some avocado in here, right. I

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Speaker 1: won't die.

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Speaker 2: That's true. That is part of your story is reassuring.

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Speaker 2: I feel like you, yeah. You have to reassure people

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Speaker 2: that like, it's actually not life threatening.

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Speaker 1: Yeah. It's like, I bring them in and then like,

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Speaker 1: Oh yeah, I'm going to, you won't be responsible for

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Speaker 1: my death. So it's both. It's a few things at once. Yeah.

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Speaker 2: I'm also allergic to hazelnuts, by the way. But the

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Speaker 2: contact allergy part.

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Speaker 1: Okay.

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Speaker 2: Yeah. So it makes my mouth a little itchy.

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Speaker 1: I'm also allergic to apples, by the way.

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Speaker 2: Well, I have another one, too, if you want to

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Speaker 2: hear it.

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Speaker 1: All right. Let's hear it.

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Speaker 2: Pitted fruits. Okay. So, I mean, keep going. What else

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Speaker 2: do you have? Walnuts. Really?

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Speaker 1: Yep.

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Speaker 2: Okay.

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Speaker 1: Same thing. Just itchy mouth.

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Speaker 2: What about environmental stuff? Do you get hay fever?

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Speaker 1: Hay fever, yep.

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Speaker 2: Oh, you have a big one. Dogs. Yep.

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Speaker 1: Dogs where if I pet them or they lick my skin,

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Speaker 1: I get little hives.

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Speaker 2: No, that's a real one. And I am such a

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Speaker 2: dog person. And you have befriended two of my dogs.

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Speaker 2: My current dog is a little antisocial, but my two

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Speaker 2: previous dogs, R.I.P., Toby and Cricket, loved you and you,

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Speaker 2: to your credit, loved them and pet them. And then

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Speaker 2: you would just go wash your hands. Yeah. Which to

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Speaker 2: me is the best version of being, I mean, obviously

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Speaker 2: some people just can't even get near them, but you

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Speaker 2: were able to like hang out with them.

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Speaker 1: Yes.

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Speaker 2: Yeah. Which I appreciated. Um, this is a good example

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Speaker 2: of probably how the writer's room went, which is just

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Speaker 2: us telling these stories and then creating a sketch with a, um,

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Speaker 2: about analogy pride parade, where we played the, um, parade, um, hosts.

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Speaker 1: Or commentators, commentators, correspondents.

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Speaker 2: Yeah. Um, yeah. And people are going by on floats and.

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Speaker 1: And it's well, I like the way it was shot.

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Speaker 1: Like I like, it feels like a parade. It's like

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Speaker 1: little floats going by and it really spells out the

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Speaker 1: idea that, you know, everyone's sort of singing their own

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Speaker 1: song or whatever, doing their own chant.

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Speaker 2: Yeah.

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Speaker 1: Um, my character is named after, My mother's husband.

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Speaker 2: And mine's named after my mom. Yeah.

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Speaker 1: So very parental there.

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Speaker 2: Very parental. And then my character actually eats something with

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Speaker 2: an ingredient she's allergic to, dextrose.

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Speaker 1: Yes.

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Speaker 2: And then passes away and joins the parade in a hearse.

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Speaker 1: Yes. She's at the end.

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Speaker 2: Yeah. Yeah. That's the ending.

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Speaker 1: Good, solid, cold open. Yeah. We had an idea and then. Yeah.

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Speaker 1: it made sense on screen.

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Speaker 2: Yeah, exactly. All right. Now we get to this wraparound. So,

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Speaker 2: so very, in a very, this was felt very zeitgeisty.

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Speaker 2: Like people, this was kind of the early stages of

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Speaker 2: binge watching, like people, you know, in the, it was like,

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Speaker 2: streaming era, also people binge watch DVDs too. So obviously

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Speaker 2: DVDs like these, you know, a show would end and

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Speaker 2: you could buy like a box set of a show.

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Speaker 2: And so even just the term like binge watching, this

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Speaker 2: is like as it's starting to like happen and people

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Speaker 2: are talking about it and it's kind of a phenomenon.

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Speaker 2: And so we wanted to like write a sketch, write

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Speaker 2: a piece about that, you know, how like it's hard,

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Speaker 2: you don't even want to return to your regular life.

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Speaker 2: Like I remember having saying this exact thing that we

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Speaker 2: were talking about six feet under, which I think was

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Speaker 2: one of the shows. So we'll get to this, but

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Speaker 2: there were many, we needed to get permission from whatever

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Speaker 2: show we chose. And so we had like a list

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Speaker 2: of shows and we're fans of all these shows. And

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Speaker 2: I remember saying that when six feet under ended, I

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Speaker 2: missed Nate. with one of the characters. And we just

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Speaker 2: talked about that feeling of like when a show ends

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Speaker 2: and you, it's almost like you're grieving the end of it.

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Speaker 2: You are so immersed in these characters' lives. You feel

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Speaker 2: it's that parasocial thing. You just, you feel like you

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Speaker 2: know them. You feel like they're your friends. And then

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Speaker 2: they're gone. There is no more story to tell. Like

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Speaker 2: you know how their life, their story ends. And there's

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Speaker 2: something very heartbreaking about that. Cause you're going on without

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Speaker 2: them essentially.

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Speaker 1: Yeah.

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Speaker 2: Which is what it feels like when someone dies and it's,

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Speaker 2: it's a very real thing. And we wanted to capture that,

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Speaker 2: like figure out a way of just writing about this

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Speaker 2: thing as, as fans, mostly just as fans of great TV.

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Speaker 1: Yes. And we all had our different experiences with shows

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Speaker 1: that we've loved that had ended or that we were

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Speaker 1: still watching. And I remember the wire came up a bunch.

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Speaker 2: Of, Why are Sopranos six feet under Breaking Bad maybe?

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Speaker 1: Something in there.

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Speaker 2: Including Battlestar Galactica. Right. And then there's always when you're

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Speaker 2: writing and you're borrowing from IP, real life intellectual property,

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Speaker 2: you have to get permission. You can't just throw that

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Speaker 2: into the show, whether you're using an image, a likeness,

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Speaker 2: a song. So we needed, we had to sort of

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Speaker 2: have our business affairs legal people go and find out

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Speaker 2: who was willing to sort of let us do this.

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Speaker 1: Yes.

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Speaker 2: And we were very fortunate that the folks at Battlestar

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Speaker 2: Galactica said, yeah, okay. Yeah.

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Speaker 1: And there was a sort of, I remember at the

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Speaker 1: time also, just people were talking about that show, even

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Speaker 1: after it had ended.

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Speaker 2: Yeah.

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Speaker 1: I remember- Patton Oswalt had something about it in his standup.

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Speaker 1: There was a, it was definitely like a good reference.

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Speaker 1: That was a good one to pick.

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Speaker 2: Yeah. And it had to be a show that had

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Speaker 2: many seasons and that once the show had stopped airing

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Speaker 2: that you could binge it, you know, that you could

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Speaker 2: just waste hours, days, weeks of your life. And, you know,

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Speaker 2: and I remember doing that with various shows, you know,

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Speaker 2: just lying in bed or sitting on my couch, just

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Speaker 2: unable to stop bingeing. hitting play. And yeah, this is

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Speaker 2: more of the DVD era than it was streaming, which

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Speaker 2: obviously it's just like autoplay. You're sort of even more

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Speaker 2: at the hook or on the hook and at the mercy,

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Speaker 2: but you know, but this sort of required a little more,

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Speaker 2: like it was a little more tactile, but still it was,

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Speaker 2: it was a lot. Um, anyway, so this is the

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Speaker 2: introduction of Doug and Claire who become another duo that

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Speaker 2: we write for, um, again this year. And then in

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Speaker 2: the remaining seasons. This is our intro to them.

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Speaker 1: Yeah.

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Speaker 2: And Claire is, she's kind of wears the pants in

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Speaker 2: the family in terms of like, she's the breadwinner. Doug

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Speaker 2: is a little more of a slacker, stay at home guy,

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Speaker 2: kind of maybe like prolonged adolescence.

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Speaker 1: Yeah.

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Speaker 2: You know, but he's like, Claire's like a little all

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Speaker 2: business at the beginning. Yeah.

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Speaker 1: And it's good for the sketch in that she really

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Speaker 1: is going to a dinner party.

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Speaker 2: Yeah.

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Speaker 1: A birthday dinner.

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Speaker 2: Yeah.

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Speaker 1: And in a way that's like, it can't just be

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Speaker 1: a couple that like just ends up watching TV. She

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Speaker 1: actually does have something important to do.

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Speaker 2: There's a ticking clock. It's that it's a very classic,

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Speaker 2: like storytelling, you know, sort of method. It's like, okay,

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Speaker 2: there's here to the stakes. Like we've got to get

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Speaker 2: to this dinner. Doug has, you know, friends keep telling

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Speaker 2: him about the show. Actually Claire's like, Oh wait, someone

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Speaker 2: mentioned this show to me. It feels very grounded premise. Like, okay.

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Speaker 2: And you know, it always seems like sure we'll just

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Speaker 2: do one who needs to be to this you know

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Speaker 2: on time to this thing we can show up a

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Speaker 2: little later yeah like it's a nice like this is

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Speaker 2: another one of one of our many couples who really

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Speaker 2: like hanging out with each other and it's just like

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Speaker 2: oh that would be fun I'm trying I'll do something

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Speaker 2: that Doug likes and then he'll come with me to

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Speaker 2: the dinner kind of classic couple compromise so you pull

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Speaker 2: out the the box set season one episode one and

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Speaker 2: we watch it we get into it And we're like, wow,

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Speaker 2: that was good. We should watch another one.

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Speaker 1: Yeah.

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Speaker 2: And suddenly it cuts to it's morning. And we've been

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Speaker 2: up all night.

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Speaker 1: And you've already texted the people at dinner. Happy birthday. Yeah.

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Speaker 1: And the way you send the text is very sort

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Speaker 1: of like an errand.

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Speaker 2: Yeah.

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Speaker 1: Okay. I said happy birthday and. Right.

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Speaker 2: Well, very quickly, the rest of our lives becoming unimportant.

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Speaker 1: Yeah.

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Speaker 2: You know, it's like this is like moving into like

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Speaker 2: pole position, like, OK, everything else is kind of receding. Soon,

347
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Speaker 2: Claire loses her job. Bills are stacking up. I mean, right.

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Speaker 2: It escalates very quickly. It's getting we're just watching episode

349
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Speaker 2: after episode, not getting up from the couch. We're, you know,

350
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Speaker 2: not eating.

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Speaker 1: The lighting is changing. It's just, we're looking more disheveled.

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Speaker 1: I think we do something also with our, we're both

353
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Speaker 1: sounding more tired. Yeah.

354
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Speaker 2: I'm wearing like a really, like a threadbare pajama shirt,

355
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Speaker 2: you know, everything we, we go from like, you know,

356
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Speaker 2: a clean living room to, yeah, very slovenly. Like we

357
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Speaker 2: only have one thing that we live for and that's

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Speaker 2: this show.

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Speaker 1: Yes.

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Speaker 2: And then at the end of this sketch, what happens

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Speaker 2: is we finish the show. We get to the last

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Speaker 2: episode and we're devastated. In fact, I scream.

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Speaker 1: You scream.

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Speaker 2: I scream.

365
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Speaker 1: A very real scream. Yeah.

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Speaker 2: By the way, you know I love screaming.

367
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Speaker 1: Yes.

368
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Speaker 2: It's a thing that we do a lot on the show.

369
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Speaker 1: Yeah.

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Speaker 2: I love to scream.

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Speaker 1: It's a real.

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Speaker 2: Very cathartic.

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Speaker 1: Yes.

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00:19:01,630 --> 00:19:05,570
Speaker 2: But appropriate in this setting. So it's like playing into

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Speaker 2: the horror of like, oh my God, this has been

376
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Speaker 2: stolen from us. We don't know what to do.

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Speaker 1: It's unacceptable.

378
00:19:10,940 --> 00:19:14,580
Speaker 2: It's unacceptable. I mean, we have nothing else anymore, but

379
00:19:14,619 --> 00:19:14,960
Speaker 2: the show.

380
00:19:15,760 --> 00:19:17,960
Speaker 1: So we see that the show is created by Ronald D. Moore.

381
00:19:18,380 --> 00:19:21,560
Speaker 2: Yeah. And we are like, where does he live? Why

382
00:19:21,600 --> 00:19:25,430
Speaker 2: don't we have the creator showrunner writer of the show?

383
00:19:25,970 --> 00:19:27,130
Speaker 2: He needs to write more episodes.

384
00:19:27,369 --> 00:19:29,410
Speaker 1: Yeah. Like we're, we're like, this is a problem.

385
00:19:29,470 --> 00:19:32,410
Speaker 2: Yeah. We need more. We need more. We need the fix.

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Speaker 1: So we looked at the phone book and there he is.

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Speaker 1: Ronald D.

388
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Speaker 2: Moore.

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Speaker 1: He lives in town.

390
00:19:36,310 --> 00:19:40,040
Speaker 2: He lives in Portland. Yeah. Um, But that's just, then we,

391
00:19:40,160 --> 00:19:40,920
Speaker 2: that's the end of this.

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00:19:41,220 --> 00:19:42,180
Speaker 1: That's the cliffhanger.

393
00:19:42,200 --> 00:19:45,240
Speaker 2: Yeah, that's the cliffhanger. We realize the creator of our

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00:19:45,270 --> 00:19:47,730
Speaker 2: favorite show that we are now addicted to lives in

395
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Speaker 2: Portland and part.

396
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Speaker 1: One ends yes now we go to the Knott's store

397
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Speaker 1: Artisan Knott's and Jeff Goldblum is our guest star.

398
00:20:00,060 --> 00:20:05,040
Speaker 2: He's the proprietor of the Artisan Knott shop you're playing

399
00:20:05,080 --> 00:20:08,219
Speaker 2: a character that comes back but not usually with partnered

400
00:20:08,240 --> 00:20:12,130
Speaker 2: with me yes Gavin right yeah Um, a great wig,

401
00:20:12,930 --> 00:20:15,400
Speaker 2: ginger kind of ginger hair.

402
00:20:15,560 --> 00:20:17,800
Speaker 1: We got it from a photo reference. There was an article,

403
00:20:17,980 --> 00:20:19,680
Speaker 1: I think in the New York times or something.

404
00:20:19,700 --> 00:20:21,500
Speaker 2: Of that guy, of the guy.

405
00:20:21,580 --> 00:20:24,720
Speaker 1: Um, of something about artisan something. And there's a guy

406
00:20:24,760 --> 00:20:27,600
Speaker 1: with that hair and that mustache. And we put it

407
00:20:27,640 --> 00:20:29,639
Speaker 1: up on our, in the writer's room on the bulletin

408
00:20:29,680 --> 00:20:32,720
Speaker 1: board of like this guy we have to do whoever

409
00:20:32,790 --> 00:20:36,590
Speaker 1: this is. I think he even had that sweater. I

410
00:20:36,630 --> 00:20:38,250
Speaker 1: can't remember what the article was, but.

411
00:20:39,630 --> 00:20:42,449
Speaker 2: Yes. There was, I, I kind of remember that, but

412
00:20:42,470 --> 00:20:46,290
Speaker 2: I also remember the artisan not thing, just an era

413
00:20:46,390 --> 00:20:49,129
Speaker 2: of artisan, whatever, you know, that if, if you just

414
00:20:49,170 --> 00:20:51,840
Speaker 2: put the word artisan in front of anything that was

415
00:20:52,020 --> 00:20:55,660
Speaker 2: pedestrian or ordinary, all of a sudden you could like

416
00:20:55,859 --> 00:20:57,820
Speaker 2: create a whole store around it. Yeah. You know, a

417
00:20:57,859 --> 00:20:59,879
Speaker 2: market for it. You could jack up the prices. It's,

418
00:20:59,920 --> 00:21:01,360
Speaker 2: you know, a little bit in the put a bird

419
00:21:01,460 --> 00:21:04,220
Speaker 2: on it. Like how, you know, it's feels a little

420
00:21:04,260 --> 00:21:07,379
Speaker 2: bit like a racket. You're like, Oh, okay. Really? Artisan knots. Like,

421
00:21:07,920 --> 00:21:09,570
Speaker 2: I can just tie it on, right? Like, but no,

422
00:21:09,609 --> 00:21:12,350
Speaker 2: this is something more elevated than that.

423
00:21:12,950 --> 00:21:16,250
Speaker 1: I wonder if in general retail was just different back then.

424
00:21:16,750 --> 00:21:19,230
Speaker 1: Cause I feel like that happened. People would just open shops.

425
00:21:20,050 --> 00:21:22,970
Speaker 2: Well, I mean, I think for one thing, like real

426
00:21:23,030 --> 00:21:26,129
Speaker 2: estate was more affordable, you know? So you have a

427
00:21:26,210 --> 00:21:31,949
Speaker 2: spirit of entrepreneurship and experimentation and people, you know, not

428
00:21:31,970 --> 00:21:34,970
Speaker 2: that these are all successful business models, But I think

429
00:21:35,320 --> 00:21:38,560
Speaker 2: there was a proliferation of those stores in like certain neighborhoods.

430
00:21:38,600 --> 00:21:40,560
Speaker 2: It was also a big sign of gentrification, right? Like,

431
00:21:40,980 --> 00:21:43,520
Speaker 2: you know, all of a sudden, you know, locksmith goes

432
00:21:43,560 --> 00:21:46,100
Speaker 2: out of business or a shoeshine place and it's replaced

433
00:21:46,140 --> 00:21:48,919
Speaker 2: by an artisan knot store. You know, so like to me,

434
00:21:48,940 --> 00:21:50,960
Speaker 2: it was also a shorthand of you're like, oh, wow.

435
00:21:51,590 --> 00:21:55,510
Speaker 2: Like that's when, you know, this neighborhood is shifting and

436
00:21:55,950 --> 00:21:58,610
Speaker 2: people are being displaced because now there's this shop that

437
00:21:58,950 --> 00:22:01,830
Speaker 2: has like a futility to it almost. You're like, wow,

438
00:22:01,850 --> 00:22:03,609
Speaker 2: the other shop actually served a real purpose.

439
00:22:03,950 --> 00:22:04,429
Speaker 1: And this?

440
00:22:04,850 --> 00:22:08,620
Speaker 2: And this serves very little purpose. So it's an interesting

441
00:22:09,100 --> 00:22:11,000
Speaker 2: sort of story of a city as well. It's like

442
00:22:11,020 --> 00:22:13,139
Speaker 2: a story of gentrification and then also a story of

443
00:22:13,180 --> 00:22:17,060
Speaker 2: just more affordability in general where people just had the

444
00:22:17,100 --> 00:22:21,980
Speaker 2: opportunity to sort of take these chances, you know, even

445
00:22:22,040 --> 00:22:25,489
Speaker 2: if like, yeah, now none of it exists, right? Not

446
00:22:25,570 --> 00:22:28,429
Speaker 2: only were the first wave of people, you know, pushed out,

447
00:22:28,470 --> 00:22:29,290
Speaker 2: but now the second.

448
00:22:29,090 --> 00:22:32,120
Speaker 1: Wave is pushed out and now it's... Buildings are empty, really.

449
00:22:32,140 --> 00:22:33,280
Speaker 2: Yeah.

450
00:22:35,080 --> 00:22:41,960
Speaker 1: But Jeff Goldblum is so, he's fantastic at this and

451
00:22:42,480 --> 00:22:44,660
Speaker 1: he's really enjoying doing it.

452
00:22:45,070 --> 00:22:48,390
Speaker 2: He relishes things. And I mean, that's just Jeff in general.

453
00:22:48,490 --> 00:22:51,850
Speaker 2: He very much lives in the moment. He's very present

454
00:22:51,950 --> 00:22:54,310
Speaker 2: as a scene partner and as a person. He's a

455
00:22:54,330 --> 00:23:00,010
Speaker 2: wonderful listener. He's immensely curious. He's very smart.

456
00:23:01,070 --> 00:23:04,929
Speaker 1: And also somehow comes up with a character. There are

457
00:23:04,970 --> 00:23:08,169
Speaker 1: things that are the way about this, the way that

458
00:23:08,190 --> 00:23:11,840
Speaker 1: this character was speaking that might not have been him.

459
00:23:11,859 --> 00:23:16,260
Speaker 1: There's one thing I noticed he did, which some people do,

460
00:23:16,320 --> 00:23:19,520
Speaker 1: is when we're asking him questions, when someone's sure of something,

461
00:23:20,200 --> 00:23:22,540
Speaker 1: they do this thing where he goes like this, nope, yep.

462
00:23:23,560 --> 00:23:27,200
Speaker 1: This immediate, like, he's just sure.

463
00:23:27,220 --> 00:23:27,810
Speaker 2: Mm-hmm.

464
00:23:28,310 --> 00:23:28,889
Speaker 1: Of his answers.

465
00:23:29,070 --> 00:23:31,010
Speaker 2: And it also gives you the feeling that he knows

466
00:23:31,430 --> 00:23:33,050
Speaker 2: what you're going to say before you say it, which

467
00:23:33,109 --> 00:23:36,790
Speaker 2: is very disarming. Yes. And it almost makes what you're

468
00:23:36,850 --> 00:23:38,230
Speaker 2: saying seem pointless.

469
00:23:38,590 --> 00:23:38,830
Speaker 1: Yeah.

470
00:23:38,910 --> 00:23:41,389
Speaker 2: He's like, just let's get to the part where I

471
00:23:41,630 --> 00:23:44,389
Speaker 2: actually lead this conversation. And also you don't know what

472
00:23:44,410 --> 00:23:44,890
Speaker 2: you're talking about.

473
00:23:45,130 --> 00:23:45,370
Speaker 1: Yes.

474
00:23:45,710 --> 00:23:47,290
Speaker 2: Yeah. So it's a little bit of a power move,

475
00:23:48,290 --> 00:23:49,750
Speaker 2: which I think he's very good at playing.

476
00:23:51,070 --> 00:23:51,290
Speaker 1: Yes.

477
00:23:52,230 --> 00:23:56,330
Speaker 2: But in a way that's like kind of like deceiving because,

478
00:23:56,550 --> 00:24:00,119
Speaker 2: you know, he's sort of, couching it in niceness but

479
00:24:00,140 --> 00:24:02,240
Speaker 2: there's just a little bit of an edge to it

480
00:24:02,640 --> 00:24:05,060
Speaker 2: and I mean that's just him being a great actor

481
00:24:05,180 --> 00:24:08,020
Speaker 2: but he really brings all of that again to a

482
00:24:08,380 --> 00:24:13,780
Speaker 2: short sketch and that's we were so fortunate so many

483
00:24:13,820 --> 00:24:16,560
Speaker 2: people who come in shoot for hours but everything is

484
00:24:16,640 --> 00:24:19,260
Speaker 2: reduced to like two and a half minutes were able

485
00:24:19,300 --> 00:24:22,500
Speaker 2: to bring like some depth and you know layer to

486
00:24:22,540 --> 00:24:25,000
Speaker 2: these characters which he did and Jeff is someone who

487
00:24:25,619 --> 00:24:27,700
Speaker 2: comes back year after year after this.

488
00:24:27,619 --> 00:24:31,120
Speaker 1: Oh so so great and the premise of this one

489
00:24:31,260 --> 00:24:33,260
Speaker 1: is that we're buying we're going to a dinner party

490
00:24:33,320 --> 00:24:35,439
Speaker 1: so we've got to bring a gift yes and so

491
00:24:35,460 --> 00:24:36,240
Speaker 1: we're trying to bring.

492
00:24:36,100 --> 00:24:39,760
Speaker 2: A knot yeah and also there's that these characters they

493
00:24:39,800 --> 00:24:42,379
Speaker 2: definitely have that feeling like we are going to be

494
00:24:42,400 --> 00:24:44,780
Speaker 2: the ones to bring a really special gift and a

495
00:24:44,859 --> 00:24:48,970
Speaker 2: classic thing that we've all fallen prey to i read

496
00:24:48,990 --> 00:24:51,310
Speaker 2: an article about it oh i read about this like

497
00:24:51,510 --> 00:24:54,970
Speaker 2: yeah you know and i still do that I'll yeah.

498
00:24:55,130 --> 00:24:57,850
Speaker 2: And we specifically say, I read about this in the

499
00:24:57,869 --> 00:24:58,410
Speaker 2: New York times.

500
00:24:58,690 --> 00:24:58,970
Speaker 1: Yes.

501
00:24:59,109 --> 00:25:02,250
Speaker 2: You know, you go to check it out. So there's just, again,

502
00:25:02,270 --> 00:25:05,330
Speaker 2: that's that sense of like, I don't know, just that

503
00:25:05,369 --> 00:25:07,620
Speaker 2: we're doing the right thing. We're doing something. We're sort

504
00:25:07,640 --> 00:25:10,800
Speaker 2: of special and we're at the special store. And anyway,

505
00:25:11,440 --> 00:25:15,100
Speaker 2: then a very, despite looking at all these knots, we

506
00:25:15,160 --> 00:25:17,100
Speaker 2: can't find the right thing. We just can't settle on it.

507
00:25:17,200 --> 00:25:21,479
Speaker 2: And he thinks he has the perfect thing for us.

508
00:25:21,640 --> 00:25:23,850
Speaker 2: And he goes into the back and and comes out

509
00:25:23,910 --> 00:25:32,580
Speaker 2: with a knot, but it is made of iPhone, yeah,

510
00:25:32,930 --> 00:25:35,520
Speaker 2: Apple wired headphones. That are tangled.

511
00:25:37,080 --> 00:25:38,900
Speaker 1: And they're under glass.

512
00:25:38,960 --> 00:25:40,180
Speaker 2: And a cloture or whatever that.

513
00:25:40,119 --> 00:25:40,420
Speaker 1: Is, yeah.

514
00:25:41,060 --> 00:25:48,320
Speaker 2: And yes, so we had talked about this, like basically

515
00:25:48,380 --> 00:25:53,830
Speaker 2: your Apple, any wired headphones, are always in a knot anyway.

516
00:25:54,330 --> 00:25:57,210
Speaker 2: I mean, I still spend a lot of time untangling.

517
00:25:57,330 --> 00:25:59,450
Speaker 2: Sometimes I prefer my little wired AirPods. I do too.

518
00:25:59,510 --> 00:26:00,510
Speaker 1: I keep them in my car.

519
00:26:00,550 --> 00:26:04,510
Speaker 2: Yeah, to the wireless ones. Anyway, but I am always

520
00:26:04,570 --> 00:26:09,370
Speaker 2: untangling them. So we buy this overpriced piece of art

521
00:26:09,410 --> 00:26:14,860
Speaker 2: that's essentially just headphones. And we bring them to the party.

522
00:26:16,000 --> 00:26:17,679
Speaker 1: And many other people at the party have bought the

523
00:26:17,700 --> 00:26:18,020
Speaker 1: same thing.

524
00:26:18,040 --> 00:26:19,180
Speaker 2: Yeah, that's sort of the reveal.

525
00:26:19,280 --> 00:26:19,840
Speaker 1: Yeah.

526
00:26:20,420 --> 00:26:23,389
Speaker 2: Our friend accepts the gift. with kind of a sigh

527
00:26:23,510 --> 00:26:25,790
Speaker 2: and we realize that everyone's read the same article and

528
00:26:25,830 --> 00:26:27,850
Speaker 2: purchased her the same gift and most of them from

529
00:26:27,869 --> 00:26:28,350
Speaker 2: the same store.

530
00:26:28,550 --> 00:26:28,790
Speaker 1: Yes.

531
00:26:29,210 --> 00:26:30,430
Speaker 2: So.

532
00:26:32,230 --> 00:26:35,340
Speaker 1: After this, we've got Fire Pit.

533
00:26:37,040 --> 00:26:39,560
Speaker 2: Okay. This one, this is Malcolm and Chris again, which

534
00:26:39,580 --> 00:26:42,580
Speaker 2: we talked about in episode one. I'll call them the Seattleites.

535
00:26:42,680 --> 00:26:45,260
Speaker 1: Sure. Maybe slightly older.

536
00:26:45,280 --> 00:26:47,500
Speaker 2: A little bit older than some of our other characters.

537
00:26:47,760 --> 00:26:52,350
Speaker 2: I have gray hair and I remember Jessica Needham she

538
00:26:52,530 --> 00:26:56,050
Speaker 2: gave Chris, her signature lip color was a burgundy, which

539
00:26:56,070 --> 00:26:59,350
Speaker 2: is very different than, none of my other characters had burgundy.

540
00:26:59,730 --> 00:27:02,689
Speaker 2: And it always gave me, it was a very specific aesthetic,

541
00:27:02,710 --> 00:27:05,109
Speaker 2: like this gray hair burgundy. To me, it was like

542
00:27:05,150 --> 00:27:07,469
Speaker 2: a little bit of a shorthand for like someone who

543
00:27:07,510 --> 00:27:10,710
Speaker 2: likes art. You know, just like, you know, enjoys a

544
00:27:10,730 --> 00:27:15,929
Speaker 2: good gallery opening. Yeah. So this kind of sketch is

545
00:27:16,060 --> 00:27:20,800
Speaker 2: one that we do, we repeat. It's the kind of

546
00:27:20,820 --> 00:27:26,270
Speaker 2: sketch where, we imagine one thing. There's sort of the

547
00:27:27,090 --> 00:27:30,710
Speaker 2: physical version of something, like the literal version of something.

548
00:27:30,850 --> 00:27:34,969
Speaker 2: And then there is the imagined version of something. And

549
00:27:35,080 --> 00:27:40,420
Speaker 2: that disparity is where the humor comes from. And I

550
00:27:40,460 --> 00:27:46,000
Speaker 2: think that is a very real thing. This sense that

551
00:27:46,380 --> 00:27:51,479
Speaker 2: an object has the ability to change your life. It's

552
00:27:51,540 --> 00:27:55,780
Speaker 2: just like, we always think like, oh, if then, you know,

553
00:27:55,880 --> 00:27:57,840
Speaker 2: if I had this, then I would be happy. If

554
00:27:57,880 --> 00:28:00,000
Speaker 2: I had this, I would be more exciting. We kind

555
00:28:00,040 --> 00:28:02,540
Speaker 2: of talked about this. So we will get to this

556
00:28:02,600 --> 00:28:03,720
Speaker 2: later with motorcycle.

557
00:28:04,040 --> 00:28:04,700
Speaker 1: Yeah.

558
00:28:05,440 --> 00:28:08,140
Speaker 2: And even later with van life.

559
00:28:08,320 --> 00:28:08,800
Speaker 1: That's right.

560
00:28:09,340 --> 00:28:11,160
Speaker 2: But this is sort of the first version of that.

561
00:28:11,180 --> 00:28:13,260
Speaker 2: But I will say that this becomes a kind of

562
00:28:13,359 --> 00:28:15,419
Speaker 2: sketch that we do. Yeah. And I think something that

563
00:28:15,440 --> 00:28:18,000
Speaker 2: we've all in the writer's room had experienced.

564
00:28:18,720 --> 00:28:18,940
Speaker 1: Yeah.

565
00:28:18,960 --> 00:28:26,790
Speaker 2: Just really like, imposing upon an object, like a lot

566
00:28:26,910 --> 00:28:30,990
Speaker 2: of just like hope. Yes. This transference of hope and

567
00:28:31,250 --> 00:28:37,280
Speaker 2: like a life-changing ability. And so it's a very simple

568
00:28:38,040 --> 00:28:39,840
Speaker 2: setup and a way of shooting a sketch, which is

569
00:28:41,140 --> 00:28:44,760
Speaker 2: your Malcolm is just literally putting together a fire pit

570
00:28:44,780 --> 00:28:47,870
Speaker 2: in the backyard. Yep. Really simple, not even that fancy one.

571
00:28:48,670 --> 00:28:52,370
Speaker 2: And as you're building it, you're imagining what a fire

572
00:28:52,430 --> 00:28:57,130
Speaker 2: pit brings to you. Yeah. How it would transform you.

573
00:28:57,370 --> 00:29:02,690
Speaker 1: Yes. And it is a underworld.

574
00:29:02,850 --> 00:29:11,720
Speaker 2: Bacchanalian. It is absolutely like it's, it's full like orgiastic

575
00:29:12,640 --> 00:29:17,560
Speaker 2: leather daddy ball gag. Like there, I remember, so we're

576
00:29:17,600 --> 00:29:22,000
Speaker 2: literally shooting half the sketches, In an afternoon in someone's backyard.

577
00:29:22,060 --> 00:29:22,240
Speaker 1: Yeah.

578
00:29:22,800 --> 00:29:26,380
Speaker 2: The other part, the part that we're imagining, you know,

579
00:29:26,420 --> 00:29:28,560
Speaker 2: that we cut to. Yeah. Like sort of Malcolm like

580
00:29:28,840 --> 00:29:30,880
Speaker 2: looks off into the distance and then we cut and

581
00:29:30,920 --> 00:29:35,560
Speaker 2: we shot this other thing. We shot it after Ayo River.

582
00:29:36,420 --> 00:29:39,270
Speaker 2: We finished out at the river and we waited till

583
00:29:39,290 --> 00:29:43,380
Speaker 2: it got dark. And then we shot this scene.

584
00:29:44,000 --> 00:29:44,380
Speaker 1: Wow.

585
00:29:44,400 --> 00:29:46,740
Speaker 2: I didn't know that. And everyone is dressed. So the

586
00:29:46,780 --> 00:29:51,520
Speaker 2: background are truly just in like SM gear.

587
00:29:51,600 --> 00:29:54,420
Speaker 1: Yes. I remember when they showed up too. They were...

588
00:29:54,380 --> 00:29:55,500
Speaker 1: Because I think they're the real deal.

589
00:29:55,600 --> 00:29:58,680
Speaker 2: It's the real deal. And... To me, that's very intimidating.

590
00:29:58,740 --> 00:30:00,680
Speaker 2: And this happens a lot on the show with background.

591
00:30:00,720 --> 00:30:03,570
Speaker 2: And it was part of the fun of doing the

592
00:30:03,610 --> 00:30:08,750
Speaker 2: show is that our background extras casting would go and

593
00:30:08,830 --> 00:30:11,560
Speaker 2: just say like, hey, we need this group of people

594
00:30:12,260 --> 00:30:13,960
Speaker 2: we know you do this in real life. We'd rather

595
00:30:14,000 --> 00:30:17,160
Speaker 2: just get you guys than, you know, take a bunch

596
00:30:17,200 --> 00:30:19,390
Speaker 2: of people who have no experience with this and put

597
00:30:19,410 --> 00:30:21,490
Speaker 2: them in costume. Like you kind of get to show

598
00:30:21,510 --> 00:30:22,010
Speaker 2: off your thing.

599
00:30:22,150 --> 00:30:23,150
Speaker 1: Yeah.

600
00:30:23,170 --> 00:30:24,969
Speaker 2: And this was an example of that. And they were

601
00:30:24,990 --> 00:30:26,750
Speaker 2: really enjoying it. I mean, it was, it was night.

602
00:30:26,810 --> 00:30:30,910
Speaker 2: We built a huge bonfire and there, you know, there's

603
00:30:30,990 --> 00:30:35,880
Speaker 2: like people with collars and leashes and, you know, spikes

604
00:30:36,020 --> 00:30:40,720
Speaker 2: and whips and weird. We're in character as Chris and

605
00:30:40,740 --> 00:30:44,510
Speaker 2: Malcolm with a little bit like you have maybe a

606
00:30:44,870 --> 00:30:46,910
Speaker 2: shirt on with like flames on it or something.

607
00:30:46,950 --> 00:30:49,430
Speaker 1: And also the sounds we're making are demonic.

608
00:30:50,030 --> 00:30:58,190
Speaker 2: Animalistic, demonic. Yeah. Just fully hedonistic. And I remember there was.

609
00:30:58,630 --> 00:31:02,890
Speaker 2: So then Chris comes out in the movie. like more

610
00:31:02,930 --> 00:31:06,370
Speaker 2: grounded version of this, she then has her own fantasy.

611
00:31:06,430 --> 00:31:08,930
Speaker 2: You know, she looks at the pit. Malcolm first has

612
00:31:09,030 --> 00:31:11,020
Speaker 2: it and you're out with these people. And then in

613
00:31:11,160 --> 00:31:14,320
Speaker 2: my fantasy, there is a man in a leather mask

614
00:31:14,420 --> 00:31:17,740
Speaker 2: and I'm licking his face. And I was like, I

615
00:31:17,800 --> 00:31:22,470
Speaker 2: remember just that level of like having to surrender to

616
00:31:22,530 --> 00:31:25,370
Speaker 2: a scene, you know? And like, I feel like this is,

617
00:31:26,880 --> 00:31:29,560
Speaker 2: one of those instances where when you're writing something versus

618
00:31:29,600 --> 00:31:32,740
Speaker 2: when you're performing it, there's a huge gulf, right? You don't,

619
00:31:32,880 --> 00:31:36,010
Speaker 2: I don't think as we're, you know, writing this and

620
00:31:36,050 --> 00:31:37,850
Speaker 2: talking about it that, oh, there will be a time

621
00:31:38,390 --> 00:31:42,010
Speaker 2: in the near future where I will be like down

622
00:31:42,210 --> 00:31:47,780
Speaker 2: next to someone's crotch, you know, and very close to it.

623
00:31:47,870 --> 00:31:51,820
Speaker 2: And it's just like a little leather, you know, bikini

624
00:31:51,860 --> 00:31:55,000
Speaker 2: bottom and you know, then I'm looking a person's face

625
00:31:55,020 --> 00:31:57,380
Speaker 2: who's wearing a leather mask. Like it just, there's something

626
00:31:57,540 --> 00:32:00,360
Speaker 2: really exhilarating about it. And then there's just something absolutely

627
00:32:00,400 --> 00:32:00,920
Speaker 2: nerve wracking.

628
00:32:01,140 --> 00:32:02,520
Speaker 1: Yeah. And these are strangers.

629
00:32:02,580 --> 00:32:05,440
Speaker 2: These are strangers and you have very little time. Again,

630
00:32:05,480 --> 00:32:08,160
Speaker 2: this is not like, Hey guys, how's it going? I'm Carrie,

631
00:32:08,180 --> 00:32:10,440
Speaker 2: you know, I'm playing, there's no like, and this is

632
00:32:10,480 --> 00:32:13,880
Speaker 2: what the scene is. You just, I mean, obviously like

633
00:32:14,330 --> 00:32:18,410
Speaker 2: our AD had said, you know, like give, given some direction,

634
00:32:18,850 --> 00:32:22,830
Speaker 2: but there's not, like one, there's no intimacy coordinator, which

635
00:32:22,890 --> 00:32:24,650
Speaker 2: now there would be for a scene like this, you know, well,

636
00:32:24,670 --> 00:32:27,130
Speaker 2: what are you comfortable with? Um, she's going to bend

637
00:32:27,170 --> 00:32:30,620
Speaker 2: down and wrap her hands around your upper thigh or,

638
00:32:30,670 --> 00:32:33,040
Speaker 2: you know, um, and I'm not even saying I would

639
00:32:33,060 --> 00:32:34,700
Speaker 2: have needed one, but I'm just saying it is definitely

640
00:32:34,740 --> 00:32:39,880
Speaker 2: like a headfirst dive into something that can just be

641
00:32:39,920 --> 00:32:42,620
Speaker 2: very jarring. Yeah. And you, you don't have a lot

642
00:32:42,640 --> 00:32:45,140
Speaker 2: of time to be like, Oh, I'm not ready for this.

643
00:32:45,800 --> 00:32:48,810
Speaker 2: And again, I was not uncomfortable, but it is just,

644
00:32:49,330 --> 00:32:51,290
Speaker 2: it's like a cold splash of water to the face.

645
00:32:51,510 --> 00:32:52,510
Speaker 2: You know, you're just like, here we go.

646
00:32:52,870 --> 00:32:56,830
Speaker 1: And it didn't feel like, to your point, like actors

647
00:32:57,150 --> 00:32:58,890
Speaker 1: in costume. It actually felt like.

648
00:32:59,340 --> 00:33:00,420
Speaker 2: No, they were really enjoying it.

649
00:33:00,500 --> 00:33:03,460
Speaker 1: Yeah. And there's something about them in general, their whole.

650
00:33:03,560 --> 00:33:05,800
Speaker 2: They're really engaged in. Yeah. In this.

651
00:33:05,820 --> 00:33:06,800
Speaker 1: This is what we do.

652
00:33:06,820 --> 00:33:10,280
Speaker 2: Yeah. Yeah. And, like, the costumes were very comfortable for them,

653
00:33:11,380 --> 00:33:14,440
Speaker 2: which really helped, actually, that it wasn't just like, hey,

654
00:33:14,500 --> 00:33:14,980
Speaker 2: and we'll need.

655
00:33:14,880 --> 00:33:15,720
Speaker 1: You to put on this.

656
00:33:15,780 --> 00:33:20,550
Speaker 2: Yeah. So I just remember when I was watching this,

657
00:33:21,670 --> 00:33:23,850
Speaker 2: I was remembering that night and how earlier in the

658
00:33:23,870 --> 00:33:25,930
Speaker 2: day I was playing Kath and we were doing, you know,

659
00:33:26,350 --> 00:33:29,910
Speaker 2: AO River, and then I switched into Chris in this,

660
00:33:30,250 --> 00:33:34,320
Speaker 2: you know, sort of... like crazy orgy. And then also

661
00:33:34,360 --> 00:33:37,450
Speaker 2: there's this real bonfire, giant.

662
00:33:37,470 --> 00:33:37,950
Speaker 1: That's right.

663
00:33:38,150 --> 00:33:40,930
Speaker 2: You know, and we have talked about certain elements of

664
00:33:40,950 --> 00:33:43,770
Speaker 2: the show being lawless. We did actually, we had, you know,

665
00:33:44,530 --> 00:33:46,870
Speaker 2: people there that were in charge of the fire. We

666
00:33:46,890 --> 00:33:51,900
Speaker 2: had fire department there and that was actually all, you know,

667
00:33:52,520 --> 00:33:56,640
Speaker 2: following regulations and rules, but it was really hot and

668
00:33:57,200 --> 00:34:01,459
Speaker 2: it was a real fire. And yeah, that was... it's

669
00:34:01,480 --> 00:34:04,400
Speaker 2: a funny sketch, but I really brought me back to

670
00:34:04,440 --> 00:34:07,440
Speaker 2: that night and just like all just sort of wandering

671
00:34:07,480 --> 00:34:11,800
Speaker 2: through this field of a bunch of sort of SM

672
00:34:11,860 --> 00:34:15,140
Speaker 2: folks and just, and being in this like little gray wig.

673
00:34:15,510 --> 00:34:15,820
Speaker 1: Yes.

674
00:34:16,590 --> 00:34:20,069
Speaker 2: Just sort of feeling both as Chris, but also as

675
00:34:20,130 --> 00:34:21,430
Speaker 2: Carrie a little out of my element.

676
00:34:21,690 --> 00:34:21,910
Speaker 1: Yeah.

677
00:34:22,510 --> 00:34:22,690
Speaker 2: Yeah.

678
00:34:23,070 --> 00:34:29,250
Speaker 1: And then the sketch ends, um, kind of quietly, which, well,

679
00:34:29,310 --> 00:34:32,160
Speaker 1: I mean, I guess the very last shot might be screaming,

680
00:34:32,200 --> 00:34:32,779
Speaker 1: but like, I think.

681
00:34:33,280 --> 00:34:35,000
Speaker 2: No, no, it does. Oh, right. You're right.

682
00:34:35,060 --> 00:34:37,480
Speaker 1: For a second. But I think, but we're sort of like,

683
00:34:37,540 --> 00:34:39,240
Speaker 1: I think I almost get burnt.

684
00:34:39,860 --> 00:34:40,780
Speaker 2: Well, you drop your glasses.

685
00:34:40,960 --> 00:34:41,220
Speaker 1: Yeah.

686
00:34:41,500 --> 00:34:44,089
Speaker 2: And you're, you sort of like, yeah, that thing where

687
00:34:44,110 --> 00:34:45,310
Speaker 2: you sort of shatter the illusion.

688
00:34:45,590 --> 00:34:45,810
Speaker 1: Yeah.

689
00:34:46,150 --> 00:34:48,529
Speaker 2: Which, you know, we were talking about that in the

690
00:34:48,550 --> 00:34:52,330
Speaker 2: last episode with mixologists, like how this big wraparound ends

691
00:34:52,370 --> 00:34:54,680
Speaker 2: with you and Andy just kind of doing that little thing.

692
00:34:54,700 --> 00:34:57,859
Speaker 2: I think that's another. sort of part of the Portlandia

693
00:34:57,920 --> 00:35:01,660
Speaker 2: vernacular is like, instead of just heightening, heightening, heightening, we

694
00:35:01,680 --> 00:35:05,100
Speaker 2: sort of revert to like a small moment.

695
00:35:05,219 --> 00:35:05,480
Speaker 1: Yeah.

696
00:35:05,980 --> 00:35:07,840
Speaker 2: And I think that detail is sort of where the

697
00:35:07,890 --> 00:35:11,089
Speaker 2: show lives. You know, like instead of just like making

698
00:35:11,110 --> 00:35:13,969
Speaker 2: the explosion bigger, it's like you pop back to the

699
00:35:14,010 --> 00:35:14,670
Speaker 2: source for a second.

700
00:35:14,790 --> 00:35:16,750
Speaker 1: Yeah.

701
00:35:16,830 --> 00:35:19,850
Speaker 2: All right. But I will say, I really enjoyed watching

702
00:35:19,890 --> 00:35:20,370
Speaker 2: this sketch.

703
00:35:20,430 --> 00:35:31,299
Speaker 1: Same. A-L-L One more episode, part two.

704
00:35:31,610 --> 00:35:35,050
Speaker 2: One more episode, part two. Also one of my favorite

705
00:35:35,190 --> 00:35:37,730
Speaker 2: sketches of the season, but maybe.

706
00:35:37,670 --> 00:35:38,870
Speaker 1: Of the show.

707
00:35:38,910 --> 00:35:43,150
Speaker 2: Of the whole run. So we, as Doug and Claire,

708
00:35:44,310 --> 00:35:46,920
Speaker 2: go to Ronald D. Moore's house. We think he lives

709
00:35:46,960 --> 00:35:49,279
Speaker 2: in Portland. And so we go to his house. Yes.

710
00:35:49,600 --> 00:35:50,680
Speaker 1: And it's a Ronald D.

711
00:35:50,719 --> 00:35:50,919
Speaker 2: Moore.

712
00:35:50,980 --> 00:35:53,880
Speaker 1: It is Ronald D. Moore. But not the writer. Not

713
00:35:53,920 --> 00:35:54,700
Speaker 1: the writer Ronald D.

714
00:35:54,739 --> 00:35:57,660
Speaker 2: Moore. Right. It's not the writer of Battlestar Galactica. galactica

715
00:35:57,680 --> 00:36:01,290
Speaker 2: but we think it is yes and um this guy

716
00:36:01,450 --> 00:36:03,870
Speaker 2: answers the door or does his wife answer the door

717
00:36:03,890 --> 00:36:05,590
Speaker 2: i think his wife.

718
00:36:05,489 --> 00:36:09,859
Speaker 1: Answers his wife is uh cutting plants edges yeah that's

719
00:36:09,900 --> 00:36:12,040
Speaker 1: right and she shouts for him.

720
00:36:12,000 --> 00:36:13,880
Speaker 2: She shouts for him and then he comes out and

721
00:36:13,920 --> 00:36:18,690
Speaker 2: he's like yeah i'm ronald d moore Um, now these actors, um,

722
00:36:18,750 --> 00:36:21,190
Speaker 2: one of them is Henry Cottrell who went by Chico.

723
00:36:21,870 --> 00:36:24,989
Speaker 2: He becomes, he comes back every season after this. And, uh,

724
00:36:25,290 --> 00:36:27,379
Speaker 2: the other one is, um, Evelyn Murrah. She also comes

725
00:36:27,420 --> 00:36:29,779
Speaker 2: back a couple of times. Yeah. Um, but they're great

726
00:36:29,900 --> 00:36:30,819
Speaker 2: and they're so good in this.

727
00:36:31,560 --> 00:36:38,640
Speaker 1: So good. Yeah. And yeah, perfect. And they're not lying about,

728
00:36:38,760 --> 00:36:39,879
Speaker 1: he's not lying about who he is.

729
00:36:40,120 --> 00:36:41,690
Speaker 2: No. In fact, he keeps saying like, oh yeah, I

730
00:36:41,710 --> 00:36:44,330
Speaker 2: did some writing when I was a kid. Yeah. And

731
00:36:44,370 --> 00:36:47,430
Speaker 2: so we're both operating like both Doug and Claire and

732
00:36:47,830 --> 00:36:50,690
Speaker 2: Ronald are just, we're, we're all believing in the same.

733
00:36:51,190 --> 00:36:53,469
Speaker 2: We're all believing in a reality, but there are two

734
00:36:53,489 --> 00:36:57,040
Speaker 2: different realities and we never acknowledge or are even aware

735
00:36:57,080 --> 00:36:58,759
Speaker 2: that they're conflicting in any way.

736
00:36:58,940 --> 00:37:04,940
Speaker 1: Yeah. I remember Seth Meyers describing these moments to someone

737
00:37:05,020 --> 00:37:08,460
Speaker 1: else and I felt good about it. Just that in

738
00:37:08,520 --> 00:37:12,690
Speaker 1: his description of us looking through the phone book, you know,

739
00:37:12,710 --> 00:37:13,469
Speaker 1: the logic of that.

740
00:37:13,489 --> 00:37:13,669
Speaker 2: Yeah.

741
00:37:15,890 --> 00:37:19,280
Speaker 1: I liked that. And also as I'm watching it too,

742
00:37:20,400 --> 00:37:23,260
Speaker 1: we both do seem very excited. Like when we're talking

743
00:37:23,300 --> 00:37:23,839
Speaker 1: to Ronald D.

744
00:37:23,880 --> 00:37:27,359
Speaker 2: Moore. Oh, I mean, we're both like, also we're like

745
00:37:27,430 --> 00:37:30,430
Speaker 2: honored to meet him. We're like in the presence of,

746
00:37:30,710 --> 00:37:33,950
Speaker 2: you know, a genius and the writer of, this show

747
00:37:34,050 --> 00:37:36,410
Speaker 2: that we're obsessed with. And so we get to work.

748
00:37:36,450 --> 00:37:39,750
Speaker 2: We ask him like, please, we need one more episode.

749
00:37:39,850 --> 00:37:40,130
Speaker 1: Yes.

750
00:37:40,670 --> 00:37:43,989
Speaker 2: And he's like, sure. I, you know, and so we

751
00:37:44,010 --> 00:37:46,469
Speaker 2: get to work in his kitchen. Meanwhile, his wife just

752
00:37:46,650 --> 00:37:47,830
Speaker 2: is like, what is going on?

753
00:37:47,870 --> 00:37:48,009
Speaker 1: Yeah.

754
00:37:48,450 --> 00:37:50,230
Speaker 2: She's sort of the voice of reason. She just sort

755
00:37:50,270 --> 00:37:53,279
Speaker 2: of can't believe like, like, why are these strangers in

756
00:37:53,320 --> 00:37:56,760
Speaker 2: my house? Yeah. Why are you writing a script?

757
00:37:57,060 --> 00:37:57,860
Speaker 1: Yeah.

758
00:37:57,900 --> 00:38:00,750
Speaker 2: She keeps kind of telling us to move. And actually

759
00:38:00,790 --> 00:38:03,470
Speaker 2: we stay there so long that she gets into bed

760
00:38:03,550 --> 00:38:08,109
Speaker 2: and we're writing in the closet in their bedroom. Yeah. Yeah.

761
00:38:08,930 --> 00:38:11,700
Speaker 1: And she's trying to get to sleep and we are

762
00:38:11,780 --> 00:38:14,299
Speaker 1: still moved. We're moved. We're like, come on, we've got

763
00:38:14,320 --> 00:38:15,840
Speaker 1: to do this. We have a mission.

764
00:38:15,860 --> 00:38:18,839
Speaker 2: We're like, we're pitching ideas, Ronald's pitching ideas. And I mean,

765
00:38:18,860 --> 00:38:22,520
Speaker 2: we're sort of, we're literally writing a script, a television script.

766
00:38:23,020 --> 00:38:25,420
Speaker 1: Using references, like real references from the show.

767
00:38:25,540 --> 00:38:25,719
Speaker 2: Yeah.

768
00:38:26,560 --> 00:38:26,759
Speaker 1: Yeah.

769
00:38:27,380 --> 00:38:29,000
Speaker 2: Um, Yeah.

770
00:38:29,120 --> 00:38:30,480
Speaker 1: So we're at the house and this is, it's a

771
00:38:30,520 --> 00:38:33,060
Speaker 1: really good middle part. Yeah. We're going to write this thing.

772
00:38:33,200 --> 00:38:33,359
Speaker 2: Yeah.

773
00:38:33,700 --> 00:38:34,680
Speaker 1: And it seems like hard work.

774
00:38:34,800 --> 00:38:36,239
Speaker 2: And that's where, where that ends. Yeah.

775
00:38:36,940 --> 00:38:38,759
Speaker 1: Now the next, so this next one.

776
00:38:39,420 --> 00:38:40,000
Speaker 2: Bad tattoo.

777
00:38:40,280 --> 00:38:40,460
Speaker 1: Yeah.

778
00:38:41,360 --> 00:38:45,140
Speaker 2: Based on a real story. I remember telling you guys

779
00:38:45,760 --> 00:38:49,230
Speaker 2: about living when I, I went to college, um, in

780
00:38:49,250 --> 00:38:51,969
Speaker 2: a small town in Washington state, Olympia, Washington. It's where

781
00:38:51,989 --> 00:38:55,339
Speaker 2: I formed Slater Kinney and it was, yeah, really vibrant

782
00:38:55,550 --> 00:38:59,120
Speaker 2: music scene, uh, especially in that era, like Nirvana played

783
00:38:59,140 --> 00:39:00,980
Speaker 2: some of their first shows there. There was a lot

784
00:39:01,020 --> 00:39:04,140
Speaker 2: of like indie record labels. It was just, it was

785
00:39:04,180 --> 00:39:12,000
Speaker 2: a real, like kind of avant-garde slash punk indie Mecca. And, um, yeah,

786
00:39:12,300 --> 00:39:16,020
Speaker 2: it's kind of definitely like my formative years were there

787
00:39:16,360 --> 00:39:20,640
Speaker 2: and there was a guy there, uh, like he, no

788
00:39:20,700 --> 00:39:24,819
Speaker 2: one really was into in this community, into like conventional attractiveness.

789
00:39:25,080 --> 00:39:28,690
Speaker 2: You know, it was like UBU, like, you know, whatever,

790
00:39:28,770 --> 00:39:30,980
Speaker 2: everyone was like doing their own thing. There happened to

791
00:39:31,000 --> 00:39:36,000
Speaker 2: be a guy that was definitely conventionally attractive. Like he

792
00:39:36,040 --> 00:39:38,280
Speaker 2: could have, he was attractive in New York or London,

793
00:39:38,300 --> 00:39:41,040
Speaker 2: you know, one of those guys. And he, you know,

794
00:39:41,100 --> 00:39:43,500
Speaker 2: and he would come to shows and you'd see him

795
00:39:43,520 --> 00:39:46,970
Speaker 2: and it was like, it was conspicuous because everyone else

796
00:39:47,010 --> 00:39:49,649
Speaker 2: like sort of had their little, like, weirdo thing going

797
00:39:49,930 --> 00:39:51,670
Speaker 2: on and we're attractive in their own ways. And he

798
00:39:51,690 --> 00:39:54,190
Speaker 2: would kind of float in like this model. Like, Whoa,

799
00:39:54,230 --> 00:39:56,609
Speaker 2: like you all, you sort of remembered that we were like,

800
00:39:57,010 --> 00:40:00,549
Speaker 2: did live in like, like, Oh, the world does not

801
00:40:00,570 --> 00:40:03,730
Speaker 2: just exist in Olympia. He sort of reminded you of that.

802
00:40:04,650 --> 00:40:07,359
Speaker 2: And one night I was at the Capitol theater, which

803
00:40:07,390 --> 00:40:10,340
Speaker 2: is where we saw a lot of shows and it

804
00:40:10,380 --> 00:40:14,560
Speaker 2: was summer. And he had like a t-shirt or a

805
00:40:14,600 --> 00:40:17,770
Speaker 2: little like, um, sleeveless shirt on. And he had a

806
00:40:17,770 --> 00:40:21,430
Speaker 2: Red Hot Chili Peppers tattoo. And I was like, whoa, like,

807
00:40:22,650 --> 00:40:24,210
Speaker 2: it ruined it for me. I was like.

808
00:40:24,530 --> 00:40:26,149
Speaker 1: No offense to the Red Hot Chili Peppers, just.

809
00:40:26,969 --> 00:40:30,089
Speaker 2: I mean, yeah, sure. Like, I mean, this is like

810
00:40:30,110 --> 00:40:31,590
Speaker 2: the most offensive thing I could say about the Red

811
00:40:31,630 --> 00:40:32,390
Speaker 2: Hot Chili Peppers set.

812
00:40:33,010 --> 00:40:33,140
Speaker 1: Like.

813
00:40:33,700 --> 00:40:35,180
Speaker 2: We've talked about it in this podcast and I don't

814
00:40:35,200 --> 00:40:36,440
Speaker 2: want to go into it again, but you know, this

815
00:40:36,500 --> 00:40:38,359
Speaker 2: is like the height of like my sort of punk

816
00:40:38,460 --> 00:40:41,720
Speaker 2: era music. Everyone's a music snob, right? We would think

817
00:40:41,760 --> 00:40:44,859
Speaker 2: of them as mainstream stream, you know, like even though

818
00:40:44,910 --> 00:40:47,430
Speaker 2: they also came from like a Southern California punk scene,

819
00:40:47,910 --> 00:40:49,360
Speaker 2: you know, I knew I don't want to over explain it.

820
00:40:50,010 --> 00:40:52,270
Speaker 2: If you imagine my 22 year old self. And I

821
00:40:52,330 --> 00:40:54,230
Speaker 2: see a guy with the red hot chili pepper symbol

822
00:40:54,290 --> 00:40:57,150
Speaker 2: in the middle of like a really like underground punk scene.

823
00:40:57,290 --> 00:41:01,049
Speaker 2: It was like, forget it. This guy was like, he's

824
00:41:01,590 --> 00:41:06,810
Speaker 2: no way. Deal breaker. Literally tattoo as deal breaker. So I,

825
00:41:06,969 --> 00:41:09,170
Speaker 2: you know, I'm telling the story. And so we were

826
00:41:09,190 --> 00:41:13,700
Speaker 2: talking about like, let's write a sketch about me going

827
00:41:13,820 --> 00:41:16,560
Speaker 2: on a date with a really amazing guy. Yeah. And

828
00:41:16,620 --> 00:41:20,359
Speaker 2: everything's going great until I realized he's got this bad tattoo. Yeah.

829
00:41:21,219 --> 00:41:23,770
Speaker 2: And in the sketch, it's kind of like this, it's

830
00:41:23,810 --> 00:41:27,770
Speaker 2: Fred and Carrie. I'm telling you that I've met this guy. It's,

831
00:41:27,810 --> 00:41:31,720
Speaker 2: he's played by Scott Green who, um, Scott was like

832
00:41:31,840 --> 00:41:34,759
Speaker 2: a early, like Gus Van Zandt collaborator. He's actually in

833
00:41:34,800 --> 00:41:37,580
Speaker 2: my own private Idaho. He's a stills photographer as well.

834
00:41:38,360 --> 00:41:39,799
Speaker 2: I think he did stills the first season of our

835
00:41:39,820 --> 00:41:43,140
Speaker 2: show or did some, some of it. Yeah. Um, behind

836
00:41:43,160 --> 00:41:46,319
Speaker 2: the scenes photography for us, but he's, uh, plays my

837
00:41:46,360 --> 00:41:48,319
Speaker 2: boyfriend in this sketch and he is, he's a, he's

838
00:41:48,360 --> 00:41:51,259
Speaker 2: a cute guy, handsome man. And, Anyway, so we're on

839
00:41:51,280 --> 00:41:53,440
Speaker 2: these dates and I'm telling you about it. And as

840
00:41:53,520 --> 00:41:55,360
Speaker 2: I talk to you about it, it flashes to these dates.

841
00:41:56,300 --> 00:42:00,350
Speaker 2: And I realize that he has an Eddie Vedder tattoo. Yeah.

842
00:42:01,150 --> 00:42:04,790
Speaker 2: And it's Eddie Vedder playing, holding two tambourines.

843
00:42:04,830 --> 00:42:04,989
Speaker 1: Yes.

844
00:42:05,070 --> 00:42:05,950
Speaker 2: A tambourine in each hand.

845
00:42:06,010 --> 00:42:07,549
Speaker 1: Yeah. Yeah.

846
00:42:07,690 --> 00:42:11,270
Speaker 2: And I just can't get over it. I just, I

847
00:42:11,310 --> 00:42:13,390
Speaker 2: can't see past the tattoo. In fact, there are scenes

848
00:42:13,790 --> 00:42:16,009
Speaker 2: like where I keep covering up the tattoo, like putting

849
00:42:16,050 --> 00:42:18,470
Speaker 2: my hand over it. Yes. Or we're bicycling and I keep,

850
00:42:19,180 --> 00:42:20,840
Speaker 2: riding around to the other side so I don't have

851
00:42:20,880 --> 00:42:22,700
Speaker 2: to look at that tattoo I mean it's very ridiculous

852
00:42:23,320 --> 00:42:23,640
Speaker 2: and the.

853
00:42:23,600 --> 00:42:26,670
Speaker 1: Music they choose is first of all we couldn't get

854
00:42:26,910 --> 00:42:30,469
Speaker 1: we couldn't afford real Pearl Jam music so they find

855
00:42:30,510 --> 00:42:33,339
Speaker 1: a sound alike which is works perfect perfect for this

856
00:42:33,960 --> 00:42:37,760
Speaker 1: and in that bicycle scene it's nice it's.

857
00:42:37,780 --> 00:42:40,480
Speaker 2: The Sort of like rom-com music, like, right?

858
00:42:41,280 --> 00:42:44,450
Speaker 1: Yeah, or it's for his, it's like that fake Pearl Jam.

859
00:42:44,590 --> 00:42:44,790
Speaker 2: Yeah.

860
00:42:44,950 --> 00:42:46,649
Speaker 1: And then when the bicycle goes down the other side,

861
00:42:46,690 --> 00:42:48,489
Speaker 1: it's like rom-com sweet music.

862
00:42:48,510 --> 00:42:51,170
Speaker 2: Yeah, and then every time that tattoo comes in, it's like,

863
00:42:51,190 --> 00:42:54,360
Speaker 2: I see Pearl Jam. And some context for Pearl Jam.

864
00:42:55,640 --> 00:43:01,219
Speaker 2: So Slater Kinney opened for Pearl Jam in 2004, and

865
00:43:01,260 --> 00:43:02,859
Speaker 2: we did a whole tour with them. I became very

866
00:43:02,900 --> 00:43:06,480
Speaker 2: close with the band and Eddie Vedder in particular, and

867
00:43:07,690 --> 00:43:10,690
Speaker 2: This is an example of in the show, Carrie as

868
00:43:10,730 --> 00:43:14,489
Speaker 2: a character says to Fred, like, I mean, I liked

869
00:43:14,530 --> 00:43:16,629
Speaker 2: Pearl Jam in high school. Like I'm a little bit

870
00:43:17,270 --> 00:43:18,410
Speaker 2: dismissive of that. Yeah.

871
00:43:18,530 --> 00:43:18,710
Speaker 1: Yeah.

872
00:43:19,230 --> 00:43:24,750
Speaker 2: And I say that only because it's another example of

873
00:43:25,550 --> 00:43:27,740
Speaker 2: a band or people we know like being able to

874
00:43:28,090 --> 00:43:32,239
Speaker 2: make fun of themselves and their reputation because as this

875
00:43:32,700 --> 00:43:37,939
Speaker 2: sketch continues, I end up on a date with Eddie Vedder.

876
00:43:38,160 --> 00:43:38,399
Speaker 1: Yeah.

877
00:43:39,320 --> 00:43:43,590
Speaker 2: Um, and Ed came down to Portland and in the

878
00:43:43,630 --> 00:43:46,110
Speaker 2: way that he is so game and so generous and

879
00:43:46,170 --> 00:43:49,670
Speaker 2: so aware of just, yeah, he's, he's fine with it.

880
00:43:49,710 --> 00:43:52,950
Speaker 2: He got it. He totally got the whole thing. And

881
00:43:53,030 --> 00:43:55,700
Speaker 2: so now I'm on a date with Eddie and I'm

882
00:43:56,000 --> 00:43:58,020
Speaker 2: laughing and it's just like, Oh my God, I can't

883
00:43:58,040 --> 00:44:02,100
Speaker 2: believe it. And then he reaches for something like there's

884
00:44:02,140 --> 00:44:05,279
Speaker 2: a little picnic spread and I see a little ink

885
00:44:05,340 --> 00:44:08,540
Speaker 2: on his arm. I'm like, what is that? And he's like,

886
00:44:08,580 --> 00:44:10,220
Speaker 2: it's a tattoo. And I'm like, is it a bad tattoo?

887
00:44:10,260 --> 00:44:13,859
Speaker 2: And he's like, yeah. And it's Ani DeFranco.

888
00:44:13,880 --> 00:44:14,120
Speaker 1: Yeah.

889
00:44:14,739 --> 00:44:16,100
Speaker 2: With what though? She has like, it's.

890
00:44:16,500 --> 00:44:18,640
Speaker 1: I think he mentioned that she has nose ring.

891
00:44:18,860 --> 00:44:20,779
Speaker 2: Yeah. Ani DeFranco with a nose ring. Yeah.

892
00:44:21,940 --> 00:44:28,259
Speaker 1: And, and, and, and the sketch even more sketchier. There's

893
00:44:28,280 --> 00:44:29,739
Speaker 1: like the Warner Brothers cartoon.

894
00:44:30,180 --> 00:44:30,680
Speaker 2: Looney Tunes.

895
00:44:30,760 --> 00:44:31,969
Speaker 1: Looney Tunes thing. Yeah.

896
00:44:32,160 --> 00:44:33,609
Speaker 2: Yeah. Like I'm like, yeah.

897
00:44:33,650 --> 00:44:39,330
Speaker 1: Yeah. But it's just a great, I just love this one.

898
00:44:39,630 --> 00:44:43,469
Speaker 2: It's a very, like, it's a very satisfying story. Like,

899
00:44:43,489 --> 00:44:45,859
Speaker 2: I feel like it really operates as like a good,

900
00:44:46,460 --> 00:44:48,920
Speaker 2: weird sort of dreamlike story.

901
00:44:49,380 --> 00:44:50,720
Speaker 1: And they animated that tattoo.

902
00:44:51,120 --> 00:44:52,980
Speaker 2: And they animated the better tattoo. Because it speaks to you.

903
00:44:53,000 --> 00:44:56,160
Speaker 2: Because I'm going to, yeah, Scott and I are falling asleep.

904
00:44:56,280 --> 00:44:59,400
Speaker 2: We're in bed together and he falls asleep and the

905
00:44:59,460 --> 00:45:00,589
Speaker 2: tattoo is talking to me.

906
00:45:00,719 --> 00:45:00,930
Speaker 1: Yep.

907
00:45:01,969 --> 00:45:04,489
Speaker 2: And sort of taunting me. Yeah.

908
00:45:04,630 --> 00:45:09,840
Speaker 1: Yeah. When I was watching it, I was like, the

909
00:45:11,400 --> 00:45:15,640
Speaker 1: Eddie Vedder tattoo speaking. I was like, is that my voice?

910
00:45:16,640 --> 00:45:17,300
Speaker 2: Oh, maybe.

911
00:45:17,320 --> 00:45:20,180
Speaker 1: I don't know. I don't know. But I was like,

912
00:45:20,910 --> 00:45:21,469
Speaker 1: I couldn't tell.

913
00:45:21,550 --> 00:45:22,669
Speaker 2: Yeah, it's definitely not Eddie.

914
00:45:23,010 --> 00:45:23,290
Speaker 1: Yeah.

915
00:45:23,610 --> 00:45:28,370
Speaker 2: Yeah. But yeah, this is one of my favorites. One,

916
00:45:28,390 --> 00:45:32,480
Speaker 2: because it is... I do love when we are in

917
00:45:32,500 --> 00:45:34,279
Speaker 2: that blue sky period or just any part of the

918
00:45:34,300 --> 00:45:36,640
Speaker 2: writer's room and we're sharing stories from our lives. And

919
00:45:36,980 --> 00:45:39,820
Speaker 2: you get to see that come to life in a

920
00:45:39,840 --> 00:45:46,669
Speaker 2: way that's heightened and exaggerated and silly. And then to

921
00:45:46,850 --> 00:45:50,850
Speaker 2: then actually have Eddie Vedder be in the scene. Yeah.

922
00:45:50,870 --> 00:45:53,549
Speaker 2: It's sort of a dream. You feel... like the luckiest

923
00:45:53,570 --> 00:45:57,950
Speaker 2: person alive. It just, it's like all the things at once. And, um,

924
00:45:58,250 --> 00:46:01,730
Speaker 2: it just makes me really happy. And it was so like,

925
00:46:01,750 --> 00:46:05,150
Speaker 2: I'm such a fan of Eddie and Pearl jam and

926
00:46:05,190 --> 00:46:10,000
Speaker 2: everything he's done for music. And so admiring of the

927
00:46:10,040 --> 00:46:12,719
Speaker 2: longevity of that band that, yeah, it was just a

928
00:46:13,100 --> 00:46:15,160
Speaker 2: real privilege. Sometimes on the show, I just felt it

929
00:46:15,180 --> 00:46:17,640
Speaker 2: was just for lack of a better word, just feel

930
00:46:17,680 --> 00:46:21,290
Speaker 2: lucky and, and privileged. And that was, Just one of

931
00:46:21,330 --> 00:46:23,560
Speaker 2: those moments and it was fun to rewatch it.

932
00:46:23,810 --> 00:46:28,589
Speaker 1: Yeah. That brings us to one more episode, part three,

933
00:46:28,610 --> 00:46:29,649
Speaker 1: which is the table read.

934
00:46:31,030 --> 00:46:31,640
Speaker 2: The table read.

935
00:46:33,760 --> 00:46:37,500
Speaker 1: And we've got some guests from Battlestar Galactica.

936
00:46:37,860 --> 00:46:37,940
Speaker 2: Yeah.

937
00:46:38,020 --> 00:46:40,680
Speaker 1: Including the real, the writer, Ronald D. Moore.

938
00:46:40,820 --> 00:46:45,560
Speaker 2: Yeah, who's in the sketch introduces himself as a local actor.

939
00:46:45,700 --> 00:46:45,960
Speaker 1: Yes.

940
00:46:46,460 --> 00:46:49,770
Speaker 2: Because we think we're with him. the creator of Battlestar Galactica,

941
00:46:49,950 --> 00:46:54,820
Speaker 2: our Ronald D. Moore, played by Chico. So the actual

942
00:46:55,460 --> 00:46:59,739
Speaker 2: Ronald D. Moore guest stars as a local actor, but

943
00:46:59,780 --> 00:47:03,219
Speaker 2: we also have James Callis and Edward James Olmos, which is,

944
00:47:03,880 --> 00:47:06,140
Speaker 2: he is another actor that I literally just kept looking

945
00:47:06,219 --> 00:47:08,080
Speaker 2: over going, I can't believe we have Edward James Olmos

946
00:47:08,460 --> 00:47:11,160
Speaker 2: in this house. Like, again, by the way, we're just

947
00:47:11,219 --> 00:47:14,300
Speaker 2: shooting we talked about it before on location.

948
00:47:14,520 --> 00:47:14,739
Speaker 1: Yeah.

949
00:47:14,980 --> 00:47:18,710
Speaker 2: Just in someone's house. Like, and here, you know, I just,

950
00:47:18,850 --> 00:47:22,469
Speaker 2: sometimes I would just look at actors that have had

951
00:47:22,670 --> 00:47:24,350
Speaker 2: flown in and just be like, I wonder what they

952
00:47:24,370 --> 00:47:26,230
Speaker 2: thought when they got on the plane.

953
00:47:26,330 --> 00:47:26,630
Speaker 1: Yeah.

954
00:47:26,870 --> 00:47:30,760
Speaker 2: You know, and, but again, everyone was super gracious, super game.

955
00:47:31,320 --> 00:47:34,940
Speaker 2: And again, and they're, you know, poking fun. Like so

956
00:47:34,980 --> 00:47:38,620
Speaker 2: many people sort of willing to just zoom out and

957
00:47:39,020 --> 00:47:42,140
Speaker 2: just have fun with who they were. what their work

958
00:47:42,180 --> 00:47:46,719
Speaker 2: was like that to me is like, I like, I

959
00:47:46,780 --> 00:47:48,690
Speaker 2: want art to be serious and I want the role

960
00:47:48,730 --> 00:47:52,330
Speaker 2: of art in culture to be taken seriously and valued.

961
00:47:52,650 --> 00:47:56,250
Speaker 2: But I also really like when people can also see the,

962
00:47:56,650 --> 00:47:59,730
Speaker 2: the ways that it's frivolous and the ways that it

963
00:48:00,130 --> 00:48:03,940
Speaker 2: is joyful or funny or just, you know, like can

964
00:48:03,980 --> 00:48:06,759
Speaker 2: just kind of like take the, you know, find it

965
00:48:06,780 --> 00:48:07,940
Speaker 2: a little bit, take a little of the air out

966
00:48:07,960 --> 00:48:11,600
Speaker 2: of it. Like to me, that contrast is really satisfying

967
00:48:11,840 --> 00:48:15,759
Speaker 2: that both can exist. Like it's not just like there

968
00:48:15,800 --> 00:48:18,930
Speaker 2: are other things in life and that it's always a

969
00:48:19,219 --> 00:48:21,690
Speaker 2: good feeling when that happens. When you watch someone else

970
00:48:21,750 --> 00:48:23,750
Speaker 2: able to do that, someone you admire able to do that.

971
00:48:24,750 --> 00:48:28,350
Speaker 1: And then also seeing the show creator, Ronald D. Warren,

972
00:48:28,430 --> 00:48:32,180
Speaker 1: like just seeing him act.

973
00:48:32,719 --> 00:48:32,969
Speaker 2: Yeah.

974
00:48:33,360 --> 00:48:36,780
Speaker 1: So for his experience, you know, he created this show.

975
00:48:37,780 --> 00:48:39,739
Speaker 1: I like that in his life, Then he had to

976
00:48:39,840 --> 00:48:43,780
Speaker 1: play someone who was doing a table read.

977
00:48:44,340 --> 00:48:46,120
Speaker 2: Of a script that three novices wrote.

978
00:48:46,200 --> 00:48:49,779
Speaker 1: Yes. I like that in his life that he was

979
00:48:49,800 --> 00:48:51,529
Speaker 1: like all of a sudden acting. I'm like, well, you

980
00:48:51,550 --> 00:48:53,310
Speaker 1: created this thing. Now you're an actor in this.

981
00:48:53,370 --> 00:48:57,910
Speaker 2: Yeah. So these three actors are, yeah, they do a

982
00:48:57,930 --> 00:49:01,270
Speaker 2: table read of this sketch that Doug Clare and the

983
00:49:01,330 --> 00:49:04,650
Speaker 2: local Ronald D. Moore write. A full table read. And

984
00:49:04,670 --> 00:49:08,109
Speaker 2: they're a little bit like perplexed, you know, but they

985
00:49:08,140 --> 00:49:08,380
Speaker 2: do it.

986
00:49:08,790 --> 00:49:09,710
Speaker 1: And it's poorly written.

987
00:49:09,989 --> 00:49:10,250
Speaker 2: Yes.

988
00:49:12,610 --> 00:49:18,290
Speaker 1: And the original Ronald D. Moore, not the show creator,

989
00:49:18,710 --> 00:49:19,589
Speaker 1: his wife is coming home.

990
00:49:20,140 --> 00:49:20,410
Speaker 2: Yes.

991
00:49:20,570 --> 00:49:22,930
Speaker 1: And so he's like, we guys, we have to finish

992
00:49:22,950 --> 00:49:23,629
Speaker 1: this table read.

993
00:49:23,810 --> 00:49:24,009
Speaker 2: Yeah.

994
00:49:24,050 --> 00:49:24,390
Speaker 1: Please.

995
00:49:24,410 --> 00:49:26,250
Speaker 2: She has had enough. She has definitely had enough.

996
00:49:26,270 --> 00:49:26,469
Speaker 1: Yeah.

997
00:49:27,110 --> 00:49:30,649
Speaker 2: And she does walk in. We are not able to,

998
00:49:30,770 --> 00:49:32,609
Speaker 2: he's not able to clear us out before she gets back.

999
00:49:32,640 --> 00:49:35,520
Speaker 2: She walks in the door and there's this, it's very tense.

1000
00:49:35,739 --> 00:49:35,979
Speaker 1: Yes.

1001
00:49:37,080 --> 00:49:42,460
Speaker 2: And then James Callis recommends a solution. He has a

1002
00:49:42,480 --> 00:49:45,630
Speaker 2: solution for this, which is that we watch something.

1003
00:49:46,450 --> 00:49:48,129
Speaker 1: And we watch Doctor Who.

1004
00:49:48,170 --> 00:49:51,220
Speaker 2: Doctor Who. the reason he recommends it is because there's

1005
00:49:51,719 --> 00:49:54,629
Speaker 2: like 18 seasons. Yeah. And so that will just never

1006
00:49:54,670 --> 00:49:58,110
Speaker 2: run out of episodes. And it also just, as I

1007
00:49:58,110 --> 00:50:00,040
Speaker 2: was watching, it just sort of has this message of like, Oh,

1008
00:50:00,050 --> 00:50:01,609
Speaker 2: TV is going to bring us all together. It's going

1009
00:50:01,630 --> 00:50:04,700
Speaker 2: to be sort of this like antidote. And so it

1010
00:50:04,760 --> 00:50:08,020
Speaker 2: cuts to us all sitting together, like a little family

1011
00:50:08,400 --> 00:50:11,000
Speaker 2: all smushed in on the couch and on the floor.

1012
00:50:12,120 --> 00:50:16,299
Speaker 2: And the first, you know, episode of Dr. Who ends and,

1013
00:50:17,760 --> 00:50:21,520
Speaker 2: ronald d moore the local one says one more episode.

1014
00:50:21,190 --> 00:50:24,350
Speaker 1: And he sort of has the remote yeah and there's

1015
00:50:24,390 --> 00:50:26,609
Speaker 1: something about it i think we might may have used

1016
00:50:26,630 --> 00:50:29,469
Speaker 1: it for a poster yeah where he just clicks it

1017
00:50:29,489 --> 00:50:33,680
Speaker 1: there's something about it that's sweet yeah and it just

1018
00:50:33,760 --> 00:50:36,440
Speaker 1: makes me feel good about the whole season and the

1019
00:50:36,460 --> 00:50:39,120
Speaker 1: whole show just one more episode.

1020
00:50:38,840 --> 00:50:44,750
Speaker 2: Yeah it it ties up very nicely and I agree.

1021
00:50:44,790 --> 00:50:49,330
Speaker 2: This is definitely one of my favorite Portlandia episodes.

1022
00:50:49,770 --> 00:50:50,009
Speaker 1: Same.

1023
00:50:51,330 --> 00:50:51,870
Speaker 2: Good job on it.

1024
00:50:52,390 --> 00:50:52,910
Speaker 1: Good job, you.

1025
00:50:53,250 --> 00:50:56,770
Speaker 2: All right. Well, that concludes our rewatch of one more episode.

1026
00:50:57,469 --> 00:50:59,089
Speaker 2: And we agree, this is one of our favorites.

1027
00:51:00,800 --> 00:51:02,000
Speaker 1: And, yeah.

1028
00:51:02,140 --> 00:51:13,220
Speaker 2: So, thank you. Rewind.