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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: I'm Carrie Brownstein.

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Speaker 1: I'm Fred Armisen.

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Speaker 2: And this is AO Rewatch.

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Speaker 1: This is the Portlandia podcast where we look back at

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Speaker 1: all our episodes. Yes.

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Speaker 2: Finally.

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Speaker 1: I hope you were taping. Yep. So today we're going

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Speaker 1: to talk about the episode called Grover, which is from

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Speaker 1: our second season. And we... watch these episodes the night

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Speaker 1: before we do this. And it's a weird thing because

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Speaker 1: I really, you know, we're in it and then it

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Speaker 1: feels weird to laugh at it. But I have to say,

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Speaker 1: I really laughed watching this.

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Speaker 2: See, this one, I actually cringed during most of it.

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Speaker 1: Oh, really?

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Speaker 2: Yeah. I laughed, but I also cringed. I think watching Grover, well,

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Speaker 2: let's explain what and who Grover is.

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Speaker 1: Yeah.

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Speaker 2: Not that cringing is bad. I feel like a lot

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Speaker 2: of comedy that I watch, but I was like, oh

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Speaker 2: my God.

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Speaker 1: Yeah.

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Speaker 2: These parents are terrible. Anyway, let's explain Grover.

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Speaker 1: So Grover is the name. So we have these characters.

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Speaker 1: I think that's Brendan and Michelle, right?

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Speaker 2: Yes.

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Speaker 1: So these characters, Brendan and Michelle, who the look was

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Speaker 1: based on people we know.

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Speaker 2: Yes.

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Speaker 1: Named Brendan and Michelle.

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Speaker 2: Named Brendan and Michelle.

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Speaker 1: Yeah.

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Speaker 2: And this is not the first time they would be

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Speaker 2: hearing of that either. Hi, Brendan and Michelle. Hi. Doubt

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Speaker 2: you're listening or watching.

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Speaker 1: Yeah.

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Speaker 2: But we told them this. Yes. We said, hey, we've

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Speaker 2: modeled characters after you.

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Speaker 1: Just some friends of ours from Washington, D.C. Yeah. Who

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Speaker 1: I believe in the writer's room we had a picture

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Speaker 1: of them up.

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Speaker 2: Yes.

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Speaker 1: Just to sort of reference.

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Speaker 2: Yes.

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Speaker 1: Anyway, so they're this Portland couple and they've got this

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Speaker 1: kid who's about to start school.

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Speaker 2: Preschool.

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Speaker 1: Preschool. Start preschool. So I don't know who this idea

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Speaker 1: came from or maybe John.

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Speaker 2: I bet Jonathan– Jonathan Kreisel, our co-creator and the director

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Speaker 2: for really the first two seasons, which is fairly rare.

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Speaker 2: He directed every single episode for the first couple of seasons.

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Speaker 2: He had a young kid, a kid who was born

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Speaker 2: the first season of the show. And so he was,

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Speaker 2: parenthood was at the forefront of his mind. And even

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Speaker 2: though his child was probably only, you know, a year

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Speaker 2: and a half, I'm sure as a guy, like, With

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Speaker 2: a kid in LA, especially, he was already thinking like,

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Speaker 2: where is my child going to go to preschool and

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Speaker 2: how is that going to affect the rest of his life? Yeah.

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Speaker 1: And he's probably told also like, this is the right

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Speaker 1: school to go to or if you want to get into.

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Speaker 2: You have to start now.

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Speaker 1: Yeah. So this couple is just really, they've got a

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Speaker 1: real agenda. They've got a, they really make it, it's

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Speaker 1: almost like a campaign campaign.

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Speaker 2: It's a campaign. There's graphics. They have an easel up.

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Speaker 2: They've basically printed out these charts. This is what your

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Speaker 2: life will look like if you go to Shooting Star.

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Speaker 2: Is it Shooting Star? I think Shooting Star Preschool. And

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Speaker 2: this is what your life will look like if you

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Speaker 2: don't get into this school. And the young actor playing

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Speaker 2: Grover could not care less.

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Speaker 1: He's just sitting there.

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Speaker 2: Grover's like, why?

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Speaker 1: In another world. But they're really, they're speaking to him

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Speaker 1: as an adult.

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Speaker 2: Yes.

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Speaker 1: In that way also, that's probably not appropriate.

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Speaker 2: Yes.

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Speaker 1: That they think, oh, we're just talking to him like

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Speaker 1: an adult, but this is a case where.

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Speaker 2: This is like the beginning of the inappropriate things they do. Yeah.

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Speaker 2: They're also so disparaging. And I will say like, this

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Speaker 2: is like, I know people like this, like people who just,

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Speaker 2: what they say outwardly about not caring.

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Speaker 1: Yeah.

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Speaker 2: In terms of what they're actually thinking or how they're

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Speaker 2: judging other people and where their kids go to school.

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Speaker 2: I mean, this is very real. Definitely. It's pretty gross,

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Speaker 2: but these people are absolutely right in there.

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Speaker 1: Yeah, they've got graphics and an easel and everything, and

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Speaker 1: they're going through it. Eventually what happens is they make

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Speaker 1: a short film.

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Speaker 2: So part one is basically... Brendan and Michelle are introducing

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Speaker 2: the idea of this preschool to Grover.

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Speaker 1: Yes.

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Speaker 2: Showing what the two paths his life could take.

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Speaker 1: And the exterior is this house that we, it's got

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Speaker 1: an interesting design that's in Portland that we've shot at

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Speaker 1: a lot. I think we might've even shot the interior

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Speaker 1: of it at some points. I think we've been in

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Speaker 1: that house.

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Speaker 2: And this to me is maybe the first sketch we

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Speaker 2: did We worked with a lot of really great child actors,

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Speaker 2: but this might be the first wraparound sketch, you know,

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Speaker 2: which is the three-part sketch that we did with a

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Speaker 2: young child actor. Yes. Yeah. Which can be challenging because it's,

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Speaker 2: you know, like it's hard to sort of contextualize. Of course.

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Speaker 2: And it's improvised. So, you know, even for a young

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Speaker 2: actor who's used to scripts and preparation, there's not much

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Speaker 2: prep to do and you're confronted with too. who probably

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Speaker 2: we must have seemed pretty intense. The characters are intense.

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Speaker 1: And to him, he's not like, oh, they're just acting.

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Speaker 2: No.

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Speaker 1: You know, it's like these two people. Really, he's talking

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Speaker 1: at him.

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Speaker 2: Yes.

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Speaker 1: Aggressively.

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Speaker 2: He actually doesn't say anything in this first part. Yeah.

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Speaker 1: The episode starts with this cold open where everyone's a DJ. Yes. And...

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Speaker 1: I think this came from experience that everyone was a DJ.

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Speaker 2: It's shot like a horror film.

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Speaker 1: Yeah.

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Speaker 2: Yeah. Where Fred and Carrie, so Fred and Carrie, like

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Speaker 2: the analog, the avatars of Fred and Carrie on the

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Speaker 2: show are sort of a much more, I would say guileless,

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Speaker 2: clueless version of us.

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Speaker 1: Yes. Somewhat.

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Speaker 2: Somewhat. I would definitely say a little more naive, I think,

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Speaker 2: which just gave us more allowance to be, yeah, to

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Speaker 2: just be a little more stupid. You know, you don't like, yeah,

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Speaker 2: to suspend the disbelief of the characters and to sort

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Speaker 2: of buy into the, like the tone of the show,

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Speaker 2: which can get absurd and, you know, you don't want

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Speaker 2: to be married to like, nope, this is me and

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Speaker 2: I'm representing me. Like it just allowed for a little

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Speaker 2: more leeway and creativity.

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Speaker 1: Yeah. And I mean, like a version of ourselves, but

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Speaker 1: also like really like, of every season naturally. Yes. We

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Speaker 1: did those characters. Yeah. You know, it was like the framework.

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Speaker 2: That's true. And I, I, I guess to your point,

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Speaker 2: like they did sort of vacillate, but some versions of

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Speaker 2: Fred and Carrie were a little more akin to who

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Speaker 2: we are. And I would say actually in this sketch

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Speaker 2: closer to who we are in real life. Yeah. And

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Speaker 2: then some versions of us were hopefully a slightly stupider version.

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Speaker 2: I hope. Yeah.

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Speaker 1: Yeah.

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Speaker 2: Um, but in, in, I guess I'm only saying that

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Speaker 2: because I realize you're, there's in the intro, you're talking about,

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Speaker 2: we're talking about buying greatest hits albums. And I know

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Speaker 2: that neither of us would buy a greatest hits album.

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Speaker 1: True. But we talk about sympathy, feeling bad for a record. Yes.

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Speaker 2: Which is something that I think we do. Yeah.

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Speaker 1: Sometimes I do buy a record. I'm like, oh, I

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Speaker 1: feel bad for this artist that they don't get enough

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Speaker 1: credit or whatever.

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Speaker 2: Yeah.

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Speaker 1: And it's a weird reason to buy an album. Yeah.

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Speaker 1: I wonder if there are any artists out there who

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Speaker 1: have made their career from sympathy or like, or people thinking,

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Speaker 1: or people thinking I should buy this record. So, I mean,

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Speaker 1: I don't want to, no one comes to mind except

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Speaker 1: for classical artists. So thinking that like, I wonder if

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Speaker 1: there are a number of records, whatever, Haydn or something,

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Speaker 1: The people were like, I guess I should know about

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Speaker 1: classical music, so I'll get this.

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Speaker 2: Oh, okay.

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Speaker 1: Yeah. Sort of just to make themselves feel a little

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Speaker 1: more educated on music. I'm also thinking of just artists

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Speaker 1: from the 50s and 40s.

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Speaker 2: Okay.

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Speaker 1: Where, okay, Glenn Miller is great, but I'm saying if

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Speaker 1: I have a Glenn Miller album, I'm not listening to

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Speaker 1: it actively. Right.

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Speaker 2: Right.

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Speaker 1: Where, wow, this is really moving me right now. I

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Speaker 1: appreciate it, but it's more in the record collection. Just like,

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Speaker 1: I should have Glenn Miller.

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Speaker 2: But are there bands for you that you thought, like,

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Speaker 2: this is a band that people really love that I

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Speaker 2: don't get, like a more contemporary band?

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Speaker 1: Oh, I must have a lot of those in my collection,

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Speaker 1: just from over the years.

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Speaker 2: Yes.

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Speaker 1: That's just.

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Speaker 2: It's not quite a sympathy buy, but it's definitely, to me,

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Speaker 2: like it feels... Like there's an imperative, like, oh, I

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Speaker 2: should have this in my collection, but then I don't

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Speaker 2: quite get it.

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Speaker 1: Yeah.

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Speaker 2: Like I actually like Captain Beefheart, but I think that's

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Speaker 2: another example of a band that people are like, oh,

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Speaker 2: you should check out Captain Beefheart.

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Speaker 1: Perfect example. Like you should have this album. Yeah.

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Speaker 2: And I think it's a pretty challenging listen for most people.

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Speaker 1: Yeah.

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Speaker 2: Including myself. And it's not something I would just put

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Speaker 2: on all the time. I do appreciate a lot of

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Speaker 2: their music, but it's not an easy listen. No. And

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Speaker 2: there's other, like, I think it is a sort of challenge,

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Speaker 2: like Can is another band, like anything that has a

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Speaker 2: little bit of that, or Frank Zappa, like just music

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Speaker 2: that's a little more challenging, but you know, like, oh,

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Speaker 2: this artist influenced these other artists.

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Speaker 1: Yes.

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Speaker 2: And so I should have them in my collection.

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Speaker 1: Sometimes they're a good listen, a song, like, oh, I

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Speaker 1: get what this is. Oh, I see.

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Speaker 2: Yes.

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Speaker 1: Yeah.

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Speaker 2: Like a whole album is a lot. Yeah. But yeah. Okay. Great. Yes.

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Speaker 1: Oh, everyone's a DJ. So that felt– also when we

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Speaker 1: went to the bank. Yes, yes. That's the first guy

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Speaker 1: who's got like a flyer for– but that felt a

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Speaker 1: little bit like a real version of us, maybe a

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Speaker 1: little jerkier. A little like impatient.

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Speaker 2: Yes.

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Speaker 1: With– Being at a bank.

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Speaker 2: Yeah.

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Speaker 1: But yeah, so it escalates and more and more people

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Speaker 1: are DJs. We meet your mother.

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Speaker 2: Yes, and she turns out to be a DJ.

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Speaker 1: Yes.

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Speaker 2: She's working on her... She's actually doing needlepoint of her

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Speaker 2: DJ name.

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Speaker 1: And it goes... And she goes... I think we've had

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Speaker 1: her in other episodes too as your mom.

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Speaker 2: Yes.

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Speaker 1: And then it ends with.

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Speaker 1: God.

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Speaker 2: That Earth is just a record that's being spun by

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Speaker 2: DJ God. Yeah. Yeah. So it has this sort of

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Speaker 2: heightening horror movie vibe.

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Speaker 1: I just really liked it as a sketch. And not

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Speaker 1: that this is all about critiquing these sketches, but I

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Speaker 1: felt very, I felt like, oh, that's a really good,

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Speaker 1: that felt in its own way, timeless to me. Yes. Yes.

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Speaker 1: even though someday maybe there will be no DJs, but

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Speaker 1: I'm saying for, but like.

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Speaker 2: Oh, a day we can only dream of. When we're

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Speaker 2: in a post DJ landscape. Yeah. I mean, we almost

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Speaker 2: are kind of. Yeah.

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Speaker 1: Yeah. That's true.

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Speaker 2: It is. I mean, literally everyone kind of is a

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Speaker 2: DJ now because everyone just makes a playlist. So this

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Speaker 2: was like the precursor to that when everyone just had

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Speaker 2: a DJ night. But I, I, I think we did

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Speaker 2: in the writer's room, we were speaking to a phenomenon

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Speaker 2: that of, you know, Some kind of hobby that everyone

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Speaker 2: was starting to, you.

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Speaker 1: Know, sort of have. I'm a this.

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Speaker 2: I'm a this. I'm doing this now.

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Speaker 1: Yeah.

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Speaker 2: This is a repeated trope for us. Like there's another

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Speaker 2: sketch that we'll talk about from another episode. She's making

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Speaker 2: jewelry now.

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Speaker 1: Yes.

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Speaker 2: Where these sort of trends and it feels like, oh

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Speaker 2: my gosh, this is so ubiquitous. Everyone's knitting now. Everyone,

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Speaker 2: you know, is making this kind of coffee now. Everyone

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Speaker 2: is doing mood boards now, you know, like.

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Speaker 1: Yeah.

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Speaker 2: Yeah, this is.

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Speaker 1: It went on to that for sure. Yeah.

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Speaker 2: And also the use of genre in like the filmmaking,

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Speaker 2: you know, where we sort of borrowed from a genre

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Speaker 2: and applied it to this show. You know, it really

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Speaker 2: was filmed like a horror film. There's that whole slow

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Speaker 2: motion sequence when we're running through the alley.

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Speaker 1: Yeah, it's like almost a strobe.

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Speaker 2: Yeah, yeah.

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Speaker 1: And then, yeah, that was a really... I guess it's

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Speaker 1: the editors or whatever, whoever put... Because the music is.

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Speaker 2: Yes.

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Speaker 1: Really, really good. And I think it ends with or

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Speaker 1: I know it ends with the guy who runs Voodoo Donuts.

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Speaker 2: Yeah, Tracy. Yeah. So Voodoo Donuts, which I think now

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Speaker 2: is all over the US or at least in a

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Speaker 2: handful of cities. Another. Place company that started in Portland.

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Speaker 2: And that's something I think we'll talk about a lot

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Speaker 2: in this podcast. We've talked about Stumptown. We'll probably end

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Speaker 2: up talking about Salt and Straw, Ace Hotel.

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Speaker 1: Yeah.

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Speaker 2: And Voodoo Donuts is the guy that started in Portland.

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Speaker 2: And that guy actually, Trace used to run one of

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Speaker 2: the best music venues in Portland called the X-Ray Cafe,

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Speaker 2: which had.

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Speaker 1: So- Oh, I remember that place.

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Speaker 2: Yeah, on Burnside. It's such a great- I didn't know

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Speaker 2: that he ran it. Music venue.

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Speaker 1: Yeah. I asked him to- cause it's such a success

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Speaker 1: even back then. And he was sort of local celebrity. Yeah.

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Speaker 1: I asked him, I don't know how, you know, I

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Speaker 1: was like, how, what is it about these donuts that

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Speaker 1: makes him so good? And he had a very simple

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Speaker 1: answer is that he changes out the oil frequently as

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Speaker 1: opposed to just letting it sit there.

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Speaker 2: That's a good answer. Yeah.

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Speaker 1: Yeah.

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Speaker 2: I hope you're not giving away like his secret.

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Speaker 1: You know, as, as we were talking, I was thinking

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Speaker 1: about that. And then I thought, I'm sure he said

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Speaker 1: it to a million people.

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Speaker 2: I'm sure. It's not like you gave away the KFC.

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Speaker 1: But if you're listening, no, no. Which I wouldn't.

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Speaker 2: You're one of the only people who knows that.

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Speaker 1: Yeah. And it's more simple than you think. But if

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Speaker 1: you're listening to this and you repeat this information, please

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Speaker 1: don't say you got it from this podcast. That's all

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Speaker 1: that we're asking.

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Speaker 2: We don't want to get sued.

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Speaker 1: No. That's something you heard.

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Speaker 2: A-L-L Then we go into the dog park sketch with

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Speaker 2: Kath and Dave, who are characters that have already been introduced.

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Speaker 2: And Kath and Dave are, I mean, we see Kath

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Speaker 2: and Dave's, Kath's and Dave's everywhere.

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Speaker 1: Yeah.

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Speaker 2: You know, they are the people who get really angry

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Speaker 2: over small infractions. I feel like Kath, like, In modern parlance,

325
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Speaker 2: a little bit, she would be a Karen, except that

326
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Speaker 2: her anger is ambient. It's directed at everything. And to me, Kath,

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Speaker 2: it's like the version of myself if I never had

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Speaker 2: music to sort of help mitigate some of my just

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Speaker 2: general angst. I feel like I would go through the

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Speaker 2: world a little more like Kath in the sense that

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Speaker 2: like just aggrieved and unable to sort of just like

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Speaker 2: tone things. Like everything, there's just a disproportionate amount of

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Speaker 2: like anger and vitriol. Like she's, and she has this pwn.

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Speaker 2: Like Kath's like hair was always this ponytail. I mean,

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Speaker 2: I just called it the pwn.

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Speaker 1: Yeah. Yeah. How was it applied? I think they just

337
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Speaker 1: tied it to.

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Speaker 2: The back of your hair. Yeah. Jen Serio, our hair person,

339
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Speaker 2: and potentially Jodi Mancuso before her, would just put my

340
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Speaker 2: hair back in a very small ponytail because my hair

341
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Speaker 2: is pretty short. And then they would attach this long

342
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Speaker 2: hair ponytail to it.

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Speaker 1: It did make you seem angrier for some reason.

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Speaker 2: And I was angry because my hair was being yanked back.

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Speaker 2: And I just see, you know, there's, I mean, Kath

346
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Speaker 2: and Dave are some of my favorite characters because they're

347
00:17:02,890 --> 00:17:07,379
Speaker 2: so unchecked. And they are very clueless. In this way,

348
00:17:07,390 --> 00:17:08,899
Speaker 2: that's very fun to play.

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Speaker 1: They're also righteous. Their anger is about, we are trying to,

350
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Speaker 1: by the way, the characters just, you know, if you

351
00:17:18,780 --> 00:17:21,850
Speaker 1: need more description of them, they have like, sort of

352
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Speaker 1: camping gear on most of the time. They're very prepared.

353
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Speaker 1: They're very sort of outdoorsy prepared.

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Speaker 2: Ready to hike.

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Speaker 1: Yeah. And their whole goal is like, or their whole

356
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Speaker 1: theme is we are doing the right thing. Why isn't

357
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Speaker 1: everybody else?

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Speaker 2: Yes.

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Speaker 1: And the part of Dave that is like myself is

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Speaker 1: that I do sometimes feel that way at the airport

361
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Speaker 1: where I'm very like, my thoughts, carry on is small. Oh,

362
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Speaker 1: why isn't everyone else's?

363
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Speaker 2: Yes.

364
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Speaker 1: And there, there is anger in that.

365
00:17:56,340 --> 00:17:56,540
Speaker 2: Yes.

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Speaker 1: When I see someone trying to force, you know, or

367
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Speaker 1: anything like that, just moving through the airport, I could

368
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Speaker 1: feel the Dave of like, I packed light for you

369
00:18:05,890 --> 00:18:07,990
Speaker 1: guys for the whole world. Yeah.

370
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Speaker 2: Like why didn't you pack light for me?

371
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Speaker 1: Yeah.

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Speaker 2: Yeah. I, I feel cast. Like if I'm at, a

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Speaker 2: grocery store. I really noticed this. Like I've, if I've

374
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Speaker 2: traveled outside of the Pacific Northwest, the Pacific Northwest, if

375
00:18:18,890 --> 00:18:22,430
Speaker 2: you don't live there, it has a specific pace to it. Um, it's,

376
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Speaker 2: it's a little slower than New York for instance, for sure. Um, it's,

377
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Speaker 2: and people are very friendly there and really like to

378
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Speaker 2: have conversations. And there's no sense that anyone else is waiting.

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00:18:38,920 --> 00:18:41,139
Speaker 2: People love to wait. People are happy to wait. So

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Speaker 2: if I've been out East and then I come back,

381
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Speaker 2: to Portland and I'm in line at a grocery store

382
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Speaker 2: and I'm third or fourth in line and everyone is

383
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Speaker 2: having a private, not private, sorry. It's a public, but conversation,

384
00:18:54,750 --> 00:18:59,670
Speaker 2: but it's personal, a doctor's appointment, a child with an illness,

385
00:19:00,109 --> 00:19:03,369
Speaker 2: you know, like a recent trip they took, like something

386
00:19:03,410 --> 00:19:06,490
Speaker 2: happening with a toe, you know, like that's a conversation

387
00:19:06,530 --> 00:19:10,730
Speaker 2: that's happening. And I want people to be more efficient

388
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Speaker 2: in that moment, just to move forward quick, more quickly.

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Speaker 2: And I feel the cath in me like, Hey, let's,

390
00:19:18,650 --> 00:19:19,250
Speaker 2: let's move along.

391
00:19:19,609 --> 00:19:19,810
Speaker 1: Yeah.

392
00:19:19,950 --> 00:19:23,109
Speaker 2: You know, let's sidebar this combo. Um, and I don't,

393
00:19:23,410 --> 00:19:25,949
Speaker 2: I'm not, I'm not proud of myself for that impatience,

394
00:19:26,230 --> 00:19:29,170
Speaker 2: but that impatience is, is cath.

395
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Speaker 1: It happened to me in Portland at a sports, uh,

396
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Speaker 1: like an outdoor, one of those camping shops.

397
00:19:36,280 --> 00:19:36,480
Speaker 2: Yeah.

398
00:19:37,160 --> 00:19:42,310
Speaker 1: Um, and When someone at the register or at the

399
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Speaker 1: counter says, do you want to join our rewards program?

400
00:19:45,830 --> 00:19:48,230
Speaker 1: We all know the answer is no. We just want

401
00:19:48,250 --> 00:19:50,810
Speaker 1: to buy whatever it is. And I remember someone saying

402
00:19:50,990 --> 00:19:52,730
Speaker 1: yes in front of me.

403
00:19:54,130 --> 00:19:55,070
Speaker 2: It's a how dare you.

404
00:19:56,050 --> 00:19:58,429
Speaker 1: So they had to take out a little whatever, however

405
00:19:58,450 --> 00:20:01,889
Speaker 1: they did it, a little form or something. As we

406
00:20:01,910 --> 00:20:04,720
Speaker 1: were speaking, I could feel the tingle in my body

407
00:20:04,820 --> 00:20:08,500
Speaker 1: of like, oh, that really is slowing everybody down.

408
00:20:08,900 --> 00:20:09,100
Speaker 2: Yes.

409
00:20:09,910 --> 00:20:15,330
Speaker 1: This whole store. Now we're all waiting for your meeting,

410
00:20:15,770 --> 00:20:18,550
Speaker 1: an appointment. Yeah. They turned it into an appointment.

411
00:20:18,770 --> 00:20:18,970
Speaker 2: Yeah.

412
00:20:19,950 --> 00:20:22,970
Speaker 1: Um, so, so that's where Captain Dave are at and

413
00:20:22,990 --> 00:20:24,200
Speaker 1: they're at a dog park.

414
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Speaker 2: They're at a dog park with their dog Quicksilver played

415
00:20:27,280 --> 00:20:32,300
Speaker 2: by my, uh, my first dog as an adult, Toby, RIP, um,

416
00:20:32,580 --> 00:20:35,480
Speaker 2: a German wire haired pointer mix that I got at

417
00:20:35,500 --> 00:20:40,040
Speaker 2: the Oregon Humane Society, um, And Toby at this point

418
00:20:40,100 --> 00:20:42,180
Speaker 2: actually in real life was a little bit older. I

419
00:20:42,220 --> 00:20:45,280
Speaker 2: can see the gray in his whiskers. And also my

420
00:20:45,400 --> 00:20:48,500
Speaker 2: other dog is in this too, Cricket, who at the

421
00:20:48,520 --> 00:20:51,219
Speaker 2: time I think was pretty young. But Cricket, we are

422
00:20:51,260 --> 00:20:55,060
Speaker 2: not the owners of Cricket in this. Our dog is Quicksilver.

423
00:20:56,060 --> 00:20:59,479
Speaker 2: And we walk in. Another thing Kath and Dave like

424
00:20:59,500 --> 00:21:03,700
Speaker 2: to do is announce their presence and also let everyone

425
00:21:03,720 --> 00:21:05,469
Speaker 2: know what's going on with them.

426
00:21:05,710 --> 00:21:05,870
Speaker 1: Yeah.

427
00:21:07,100 --> 00:21:11,879
Speaker 2: They, you know, it's like, this is Quicksilver and he

428
00:21:11,900 --> 00:21:15,320
Speaker 2: was rescued from a tsunami. Yeah.

429
00:21:15,640 --> 00:21:16,719
Speaker 1: Why did we think of a tsunami?

430
00:21:16,740 --> 00:21:17,100
Speaker 2: I don't know.

431
00:21:19,640 --> 00:21:23,000
Speaker 1: Because that equals that it was at a distance. Yes.

432
00:21:23,300 --> 00:21:26,619
Speaker 2: It doesn't, I mean, though the Oregon coast, there are

433
00:21:26,640 --> 00:21:30,300
Speaker 2: tsunamis at the Oregon coast. Again, you have to, it's

434
00:21:30,340 --> 00:21:34,350
Speaker 2: a reach. I mean, we can't go back and change it, but,

435
00:21:34,880 --> 00:21:38,760
Speaker 2: or anyway. Anyway. So we're asking everyone to be careful

436
00:21:38,800 --> 00:21:43,080
Speaker 2: with him and yeah. And then it just escalates from there.

437
00:21:44,660 --> 00:21:46,500
Speaker 1: I guess the announcing when you go into a part,

438
00:21:46,540 --> 00:21:48,760
Speaker 1: it just helps the sketch so that at least we're,

439
00:21:50,000 --> 00:21:51,900
Speaker 1: we've got some volume to what we're saying.

440
00:21:52,609 --> 00:21:56,750
Speaker 2: They are loud people, Kath and Dave. It is. Yeah.

441
00:21:57,109 --> 00:21:59,629
Speaker 1: And I think by then, as, as I watched it,

442
00:21:59,810 --> 00:22:02,750
Speaker 1: I realized that this is very different than the first

443
00:22:02,790 --> 00:22:06,149
Speaker 1: season and that we, got the characters. We kind of

444
00:22:06,190 --> 00:22:09,510
Speaker 1: knew what they were. We had a shorthand for how

445
00:22:09,550 --> 00:22:10,390
Speaker 1: Captain Dave were.

446
00:22:10,750 --> 00:22:13,590
Speaker 2: Although in the first season, it's them out at a

447
00:22:13,630 --> 00:22:15,840
Speaker 2: cafe complaining about a dog being tied up.

448
00:22:15,840 --> 00:22:16,760
Speaker 1: It's all dog stuff.

449
00:22:17,119 --> 00:22:17,940
Speaker 2: At least at the beginning.

450
00:22:17,960 --> 00:22:18,400
Speaker 1: That's right.

451
00:22:18,500 --> 00:22:21,800
Speaker 2: And actually, they were pretty bombastic and hectoring then, too.

452
00:22:22,000 --> 00:22:28,230
Speaker 1: Yeah. Yeah. My friend Kristen Rivers is in the sketch.

453
00:22:30,030 --> 00:22:31,510
Speaker 2: I have two friends in the sketch.

454
00:22:31,530 --> 00:22:31,629
Speaker 1: Yeah.

455
00:22:32,730 --> 00:22:35,010
Speaker 2: A woman that I volunteered with at the Humane Society, Jennifer.

456
00:22:35,070 --> 00:22:37,949
Speaker 2: And then my dog sitter at the time, Sam, is

457
00:22:38,010 --> 00:22:42,220
Speaker 2: in it. This is very common. One thing about rewatching

458
00:22:42,280 --> 00:22:46,379
Speaker 2: is just like, oh, this is who I was hanging

459
00:22:46,420 --> 00:22:49,480
Speaker 2: out with at the time. Because often it was like, oh,

460
00:22:49,500 --> 00:22:52,850
Speaker 2: let's call friends and text friends and see if they

461
00:22:52,869 --> 00:22:53,250
Speaker 2: can pin it.

462
00:22:54,030 --> 00:22:58,729
Speaker 1: When we did the DJ sketch, this is like, I mean,

463
00:22:58,750 --> 00:23:00,490
Speaker 1: it's not exactly about all our friends who are in it.

464
00:23:00,780 --> 00:23:04,280
Speaker 1: I also remember, you know, we ended on this top

465
00:23:04,320 --> 00:23:04,859
Speaker 1: of the hill.

466
00:23:04,940 --> 00:23:05,399
Speaker 2: Mount Tabor.

467
00:23:05,520 --> 00:23:09,659
Speaker 1: Yeah. And it's just a special thing about shooting in

468
00:23:09,720 --> 00:23:14,330
Speaker 1: Portland where all of these locations, my memory of it now,

469
00:23:14,510 --> 00:23:18,389
Speaker 1: it's like, it is like a postcard or something that

470
00:23:18,410 --> 00:23:20,070
Speaker 1: we were up on this hill. What a great.

471
00:23:20,930 --> 00:23:22,070
Speaker 2: And I could tell it was the end of the day.

472
00:23:22,230 --> 00:23:26,030
Speaker 2: It was like, it was starting to get dark. But yeah,

473
00:23:26,050 --> 00:23:28,950
Speaker 2: so the dog park sketch, we shot it at Normandale Park,

474
00:23:28,970 --> 00:23:34,140
Speaker 2: which is a real dog park. And yeah, it looks it. Yeah.

475
00:23:34,160 --> 00:23:35,639
Speaker 2: There's a photo shoot in the middle of it. We

476
00:23:35,660 --> 00:23:36,160
Speaker 2: decided to.

477
00:23:36,100 --> 00:23:37,920
Speaker 1: Take photoshoots of the dogs and.

478
00:23:37,820 --> 00:23:39,560
Speaker 2: Then we leave with the wrong dog. We leave with

479
00:23:39,600 --> 00:23:40,080
Speaker 2: a different dog.

480
00:23:40,119 --> 00:23:43,260
Speaker 1: Yeah. Nice tidy sketch.

481
00:23:43,300 --> 00:23:45,219
Speaker 2: Yeah. It made me miss both those dogs who are

482
00:23:45,640 --> 00:23:47,740
Speaker 2: both gone. I, that was the hardest part about watching

483
00:23:47,780 --> 00:23:51,590
Speaker 2: this for me. Both cricket and Toby are now deceased

484
00:23:52,700 --> 00:23:54,650
Speaker 2: and they made it to 15, both of them. So

485
00:23:54,890 --> 00:23:57,830
Speaker 2: I didn't lose them early, but it's really. Yeah, I

486
00:23:58,030 --> 00:24:00,290
Speaker 2: think that's the hard thing about watching, going back and

487
00:24:00,330 --> 00:24:03,369
Speaker 2: watching any of this stuff. I see people who are

488
00:24:03,410 --> 00:24:07,060
Speaker 2: no longer with us and animals and just, yeah, that's,

489
00:24:07,380 --> 00:24:09,909
Speaker 2: I think just on a personal note, that's a tricky

490
00:24:09,950 --> 00:24:12,780
Speaker 2: part as much as it's really enjoyable. There's some moments

491
00:24:12,800 --> 00:24:15,400
Speaker 2: that are a little bit heartbreaking for me too.

492
00:24:16,359 --> 00:24:20,119
Speaker 1: Yeah, those, both Cricket and Toby were a big part

493
00:24:20,160 --> 00:24:23,940
Speaker 1: of the show, including the writer's room. They were there

494
00:24:23,980 --> 00:24:29,600
Speaker 1: all the time or, you know, I have many pictures,

495
00:24:29,700 --> 00:24:30,260
Speaker 1: photos of them.

496
00:24:30,280 --> 00:24:32,400
Speaker 2: I was just going to say you and, yeah, both

497
00:24:32,440 --> 00:24:35,760
Speaker 2: of them. They were in the little Airstream that we

498
00:24:35,859 --> 00:24:38,629
Speaker 2: used for our dressing room. They were always around.

499
00:24:39,050 --> 00:24:42,630
Speaker 1: Yeah. Yeah. Oh, right. You're right.

500
00:24:42,670 --> 00:24:42,989
Speaker 2: You're right.

501
00:24:43,030 --> 00:24:43,570
Speaker 1: You're right. Okay.

502
00:24:43,590 --> 00:24:44,270
Speaker 2: Good point.

503
00:24:44,510 --> 00:24:48,270
Speaker 1: We were just corrected that we leave with no dogs.

504
00:24:48,530 --> 00:24:49,910
Speaker 2: Yeah. It's worse than we thought.

505
00:24:50,230 --> 00:24:50,510
Speaker 1: Yeah.

506
00:24:50,690 --> 00:24:51,350
Speaker 2: Yeah.

507
00:24:51,369 --> 00:24:52,290
Speaker 1: We abandoned them both.

508
00:24:52,510 --> 00:24:54,470
Speaker 2: First, we leave with the incorrect dog.

509
00:24:54,490 --> 00:24:54,930
Speaker 1: Yeah.

510
00:24:55,350 --> 00:24:57,010
Speaker 2: And then we ditched that dog too.

511
00:24:57,310 --> 00:25:01,130
Speaker 1: Yeah, there's some line like, will you take care of me? Yeah.

512
00:25:01,790 --> 00:25:04,390
Speaker 2: And then that second dog that we first leave with

513
00:25:05,170 --> 00:25:05,710
Speaker 2: is Cricket.

514
00:25:06,490 --> 00:25:06,710
Speaker 1: Yeah.

515
00:25:06,950 --> 00:25:08,250
Speaker 2: And then we ditch her too.

516
00:25:08,270 --> 00:25:09,370
Speaker 1: What were we going to rush for?

517
00:25:10,150 --> 00:25:12,510
Speaker 2: We're always, yeah. A classic way for us to end

518
00:25:12,550 --> 00:25:14,330
Speaker 2: a sketch. Someone just leaving.

519
00:25:15,910 --> 00:25:16,070
Speaker 1: Yep.

520
00:25:16,290 --> 00:25:24,460
Speaker 2: Okay. Now we get to DMV hold music. With another

521
00:25:24,500 --> 00:25:27,500
Speaker 2: recurring actor, Rick, who plays our coworker, who puts the

522
00:25:27,520 --> 00:25:28,119
Speaker 2: guy on hold.

523
00:25:28,140 --> 00:25:28,860
Speaker 1: Yeah.

524
00:25:29,220 --> 00:25:35,850
Speaker 2: And this, like the music for... The Massage. The Massage,

525
00:25:36,070 --> 00:25:38,850
Speaker 2: which was in an earlier episode. Again, you and I

526
00:25:38,890 --> 00:25:41,850
Speaker 2: just having an excuse to sit around and improvise some

527
00:25:41,910 --> 00:25:44,010
Speaker 2: music for a long time.

528
00:25:44,430 --> 00:25:46,820
Speaker 1: But I like this. The music we did, I liked

529
00:25:46,840 --> 00:25:49,080
Speaker 1: it a little better in this one in that it

530
00:25:49,119 --> 00:25:52,869
Speaker 1: actually did seem almost like it could be hold music,

531
00:25:52,890 --> 00:25:53,709
Speaker 1: at least in the beginning.

532
00:25:53,730 --> 00:26:00,290
Speaker 2: Yeah, and these are one-off characters. These never recur. And yeah,

533
00:26:00,450 --> 00:26:04,160
Speaker 2: so basically this guy's on hold. Instead of, you know,

534
00:26:04,200 --> 00:26:09,859
Speaker 2: pre-recorded music, it's two people, two struggling musicians making a

535
00:26:09,880 --> 00:26:14,200
Speaker 2: go of it for an unwitting listener.

536
00:26:14,220 --> 00:26:17,800
Speaker 1: And yeah, an excuse for us to play it live.

537
00:26:18,090 --> 00:26:20,169
Speaker 2: Yeah. My memory.

538
00:26:21,720 --> 00:26:24,040
Speaker 1: of shooting the whole show is I didn't realize that

539
00:26:24,080 --> 00:26:26,940
Speaker 1: we did so much of that. I'm glad we did,

540
00:26:27,940 --> 00:26:29,399
Speaker 1: but I always think, oh, I wish we had done

541
00:26:29,440 --> 00:26:30,560
Speaker 1: more music, but we did plenty.

542
00:26:30,600 --> 00:26:33,740
Speaker 2: We did so much music, especially this. And, and one

543
00:26:33,820 --> 00:26:37,220
Speaker 2: thing to note is, you know, even though our schedule was,

544
00:26:38,020 --> 00:26:40,570
Speaker 2: you know, felt pretty rushed and we crammed a lot

545
00:26:40,609 --> 00:26:44,090
Speaker 2: of stuff in, you know, these take, our takes were

546
00:26:44,130 --> 00:26:44,669
Speaker 2: very long.

547
00:26:44,970 --> 00:26:45,250
Speaker 1: Yes.

548
00:26:45,890 --> 00:26:49,449
Speaker 2: And so I imagine the main like coverage of us

549
00:26:49,590 --> 00:26:55,060
Speaker 2: sitting around, like a keyboard and, you know, musical keyboard, drums, whatever, guitar.

550
00:26:55,500 --> 00:26:58,220
Speaker 2: I mean, this, this could have been a 45 minute take.

551
00:26:59,100 --> 00:26:59,600
Speaker 1: Definitely.

552
00:26:59,780 --> 00:26:59,960
Speaker 2: Yeah.

553
00:27:01,180 --> 00:27:04,890
Speaker 1: And we probably, or I probably, you know, played into

554
00:27:04,930 --> 00:27:06,550
Speaker 1: that too. I'm sure I was like, I want the

555
00:27:06,609 --> 00:27:08,890
Speaker 1: crew not to get bored by this. So I'll just

556
00:27:08,950 --> 00:27:09,280
Speaker 1: keep it.

557
00:27:10,609 --> 00:27:12,310
Speaker 2: So instead of stopping, we'll just keep going.

558
00:27:12,330 --> 00:27:13,389
Speaker 1: We'll make the music better.

559
00:27:13,410 --> 00:27:15,320
Speaker 2: Do you guys like this song?

560
00:27:15,400 --> 00:27:15,640
Speaker 1: Yeah.

561
00:27:16,160 --> 00:27:16,820
Speaker 2: Yeah.

562
00:27:17,060 --> 00:27:19,700
Speaker 1: I did. I really liked the ending.

563
00:27:19,900 --> 00:27:21,119
Speaker 2: Yes, sending the CD.

564
00:27:21,240 --> 00:27:22,940
Speaker 1: It's like he, yeah.

565
00:27:23,320 --> 00:27:24,560
Speaker 2: He gets a letter in the mail.

566
00:27:24,580 --> 00:27:26,600
Speaker 1: Saying that he wasn't approved or whatever.

567
00:27:26,619 --> 00:27:30,050
Speaker 2: Yeah, or that we're still processing your request. In the meantime,

568
00:27:30,109 --> 00:27:34,290
Speaker 2: please enjoy the CD of music. Also, again, sort of

569
00:27:34,770 --> 00:27:37,390
Speaker 2: the timestamp of CDs still being a thing. Like there's

570
00:27:37,410 --> 00:27:40,889
Speaker 2: certain moments in the show, you know, of course you

571
00:27:40,930 --> 00:27:43,940
Speaker 2: can't avoid that. But yeah, although you know what? CDs

572
00:27:43,980 --> 00:27:44,560
Speaker 2: are back, so.

573
00:27:44,580 --> 00:27:44,900
Speaker 1: They are.

574
00:27:45,119 --> 00:27:45,280
Speaker 2: Yeah.

575
00:27:46,320 --> 00:27:50,980
Speaker 1: Is there something, am I trendy in that Over the

576
00:27:51,030 --> 00:27:53,889
Speaker 1: last couple of years, I've been saying to people, I

577
00:27:53,950 --> 00:27:57,490
Speaker 1: actually like CDs because for traveling, if I go overseas,

578
00:27:58,150 --> 00:28:00,990
Speaker 1: I buy CDs because they're easier to travel with. Or

579
00:28:01,109 --> 00:28:05,310
Speaker 1: am I just because everyone is enjoying CDs again, I

580
00:28:06,550 --> 00:28:07,950
Speaker 1: worry that I'm actually like.

581
00:28:10,270 --> 00:28:13,410
Speaker 1: What are you saying? Like that I'm just a follower

582
00:28:13,430 --> 00:28:14,430
Speaker 1: of whatever's popular.

583
00:28:15,600 --> 00:28:18,820
Speaker 2: But you were around when CDs... True. I feel like... True.

584
00:28:19,000 --> 00:28:19,240
Speaker 1: Yeah.

585
00:28:19,359 --> 00:28:24,980
Speaker 2: Okay, good. Okay. You're an early adopter of CDs. I

586
00:28:25,020 --> 00:28:26,900
Speaker 2: don't know what kind of validation you're seeking right now,

587
00:28:26,960 --> 00:28:30,160
Speaker 2: but I will continue to reassure you.

588
00:28:30,460 --> 00:28:31,840
Speaker 1: It's the self-doubt.

589
00:28:31,900 --> 00:28:33,240
Speaker 2: You're the CD guy, Fred.

590
00:28:37,950 --> 00:28:39,750
Speaker 1: Fred Armisen? Oh, he was.

591
00:28:39,710 --> 00:28:40,650
Speaker 2: Early on the CDs.

592
00:28:40,710 --> 00:28:42,150
Speaker 1: It's his birthday. You know what to get him.

593
00:28:42,230 --> 00:28:42,670
Speaker 2: A CD.

594
00:28:43,190 --> 00:28:45,290
Speaker 1: Here we go. Any CD will do.

595
00:28:45,330 --> 00:28:48,670
Speaker 2: Yeah. And you even know that it stands for compact disc.

596
00:28:48,710 --> 00:28:50,750
Speaker 1: That's right. Yes.

597
00:28:52,290 --> 00:28:53,970
Speaker 2: For people, some people might not know.

598
00:28:54,090 --> 00:28:54,850
Speaker 1: They might not know.

599
00:28:54,870 --> 00:28:55,870
Speaker 2: Compact disc.

600
00:28:56,030 --> 00:28:56,430
Speaker 1: Because they're.

601
00:28:57,150 --> 00:28:57,570
Speaker 2: Compact.

602
00:28:58,030 --> 00:28:58,810
Speaker 1: As opposed to.

603
00:29:00,450 --> 00:29:00,750
Speaker 2: Big.

604
00:29:00,800 --> 00:29:01,130
Speaker 1: Gigantic.

605
00:29:01,150 --> 00:29:01,430
Speaker 2: Broad.

606
00:29:01,450 --> 00:29:03,190
Speaker 1: I went to.

607
00:29:03,200 --> 00:29:06,860
Speaker 2: Broad discs. As opposed to a laser disc, which were really.

608
00:29:06,880 --> 00:29:07,140
Speaker 1: Those are.

609
00:29:07,200 --> 00:29:08,080
Speaker 2: Those are big. Yeah.

610
00:29:08,700 --> 00:29:10,360
Speaker 1: That would be trendy. That would be like. Oh, yes.

611
00:29:10,400 --> 00:29:11,640
Speaker 1: You don't like laser discs.

612
00:29:11,680 --> 00:29:12,220
Speaker 2: Yeah.

613
00:29:12,380 --> 00:29:12,660
Speaker 1: You know what?

614
00:29:12,700 --> 00:29:16,050
Speaker 2: Sometimes I'll be reading like an interview with like a

615
00:29:16,070 --> 00:29:18,090
Speaker 2: director or someone in film and they'll talk about their

616
00:29:18,130 --> 00:29:22,430
Speaker 2: laser disc collection and it. It feels... A little forced.

617
00:29:22,570 --> 00:29:24,780
Speaker 2: A little forced. Yeah. You don't want to be the

618
00:29:25,040 --> 00:29:28,600
Speaker 2: LD guy. No. Yeah.

619
00:29:29,160 --> 00:29:32,160
Speaker 1: I went to this record store in Wyoming somewhere.

620
00:29:32,180 --> 00:29:32,760
Speaker 2: Okay.

621
00:29:33,100 --> 00:29:35,670
Speaker 1: And looking through the CDs, you know, they have a

622
00:29:35,710 --> 00:29:39,130
Speaker 1: section for box sets. Now, you know box sets when

623
00:29:39,150 --> 00:29:42,840
Speaker 1: they're new. There's like a... sheen to them. Old box

624
00:29:42,880 --> 00:29:45,180
Speaker 1: sets are the saddest thing you've ever seen.

625
00:29:45,360 --> 00:29:47,850
Speaker 2: Oh, they're really frayed at the edges, right? Really worn down.

626
00:29:47,900 --> 00:29:50,670
Speaker 1: Yeah. They don't age well. They don't age well. And

627
00:29:50,710 --> 00:29:53,850
Speaker 1: you could see the hope in the design because it'll

628
00:29:53,870 --> 00:29:55,310
Speaker 1: be shaped like a guitar case.

629
00:29:55,590 --> 00:29:55,950
Speaker 2: Oh, yeah.

630
00:29:55,990 --> 00:29:58,330
Speaker 1: Yeah. And oh, this is the ultimate collection. It'll say

631
00:29:58,350 --> 00:30:01,960
Speaker 1: things like ultimate collection and And it just looks so

632
00:30:02,280 --> 00:30:03,920
Speaker 1: too big and really sad. Yeah.

633
00:30:04,120 --> 00:30:06,420
Speaker 2: You have to have a display case for that. Like, yeah,

634
00:30:07,320 --> 00:30:10,660
Speaker 2: those are in history's dustbin for sure. And no resale

635
00:30:10,700 --> 00:30:11,280
Speaker 2: value either.

636
00:30:11,300 --> 00:30:14,020
Speaker 1: And I had no nostalgia. I wasn't like, oh, I

637
00:30:14,060 --> 00:30:15,540
Speaker 1: should get it for old time's sake. I was like,

638
00:30:15,680 --> 00:30:18,220
Speaker 1: this is, this is garbage now.

639
00:30:20,660 --> 00:30:22,490
Speaker 2: Yeah. Yeah.

640
00:30:22,760 --> 00:30:24,390
Speaker 1: Or like a jukebox, whatever it is.

641
00:30:24,460 --> 00:30:26,380
Speaker 2: Oh, yes, yes. A novelty case.

642
00:30:26,540 --> 00:30:28,880
Speaker 1: Yeah. Yes. There was a theme for a while. Yeah.

643
00:30:29,260 --> 00:30:32,880
Speaker 2: Or it was like a coffin. Yeah, a coffin. Yeah.

644
00:30:32,940 --> 00:30:34,260
Speaker 1: An anvil tour case.

645
00:30:34,600 --> 00:30:34,820
Speaker 2: Yeah.

646
00:30:35,220 --> 00:30:39,220
Speaker 1: And the cardboard really showed, like it shines through. Like

647
00:30:39,240 --> 00:30:41,750
Speaker 1: this is just cardboard. Yeah. Where at the time you're like, ooh,

648
00:30:41,790 --> 00:30:43,390
Speaker 1: could this be made out of? Yeah.

649
00:30:44,630 --> 00:30:44,930
Speaker 2: Whatever.

650
00:30:45,230 --> 00:30:45,590
Speaker 1: Steel.

651
00:30:46,330 --> 00:30:48,090
Speaker 2: Anyway, that's the DMV hold music.

652
00:30:48,110 --> 00:30:49,230
Speaker 1: That's the DMV hold music.

653
00:30:49,250 --> 00:30:52,330
Speaker 2: Yeah. By the way, this is now the second music.

654
00:30:52,870 --> 00:30:57,750
Speaker 2: sketch in this episode. So yeah, yes, we are. We can,

655
00:30:58,090 --> 00:31:04,500
Speaker 2: we can confirm there's a lot of music in this show.

656
00:31:09,360 --> 00:31:11,440
Speaker 2: Now we're on to Grover part two.

657
00:31:12,660 --> 00:31:12,960
Speaker 1: Yes.

658
00:31:13,580 --> 00:31:15,870
Speaker 2: Where we head to shooting star preschool.

659
00:31:16,010 --> 00:31:16,990
Speaker 1: Yeah.

660
00:31:17,550 --> 00:31:20,070
Speaker 2: To have our meeting with, with the head of the school,

661
00:31:20,430 --> 00:31:26,260
Speaker 2: played by Jana, another recurring... Frequent. Frequent local actor on

662
00:31:26,280 --> 00:31:26,560
Speaker 2: the show.

663
00:31:26,710 --> 00:31:26,940
Speaker 1: Yeah.

664
00:31:29,020 --> 00:31:34,580
Speaker 2: And instead of the traditional, she's assuming, Jana is assuming

665
00:31:34,620 --> 00:31:38,360
Speaker 2: that there will be an interview, but instead, Brendan and

666
00:31:38,380 --> 00:31:43,380
Speaker 2: Michelle have produced a video. But we claim that Grover

667
00:31:43,440 --> 00:31:46,020
Speaker 2: self-produced this video. I.

668
00:31:47,380 --> 00:31:49,500
Speaker 1: I don't know whose idea this was. I love the

669
00:31:49,560 --> 00:31:52,420
Speaker 1: idea of it. It was such, also because there's a quote,

670
00:31:52,520 --> 00:31:54,020
Speaker 1: Barack Obama quote in it.

671
00:31:54,320 --> 00:31:58,840
Speaker 2: It's egregious. It is like a shocking, like it is

672
00:31:58,880 --> 00:32:03,640
Speaker 2: just the worst version of these parents. Like just like

673
00:32:03,680 --> 00:32:11,490
Speaker 2: a disproportionate, like a sense of, yeah, self-importance, drawing influence

674
00:32:11,990 --> 00:32:15,850
Speaker 2: from like, again, like why? You know, like it's just.

675
00:32:16,390 --> 00:32:17,050
Speaker 1: Dishonesty?

676
00:32:17,310 --> 00:32:20,610
Speaker 2: Dishonesty. The interviews that were like a Ken Burns kind of.

677
00:32:20,670 --> 00:32:23,510
Speaker 1: Yeah. So they filmed themselves doing these interviews.

678
00:32:23,590 --> 00:32:27,720
Speaker 2: And then claimed like speciously that their child, a four-year-old,

679
00:32:28,220 --> 00:32:30,580
Speaker 2: had like produced. I actually, you can see on the

680
00:32:30,620 --> 00:32:33,760
Speaker 2: screen that they, we've listed credits and it says that

681
00:32:33,840 --> 00:32:34,800
Speaker 2: like Grover like.

682
00:32:34,820 --> 00:32:35,540
Speaker 1: Did it all.

683
00:32:35,560 --> 00:32:40,820
Speaker 2: Yeah. And it's a, yeah. Again, though. Like probably not

684
00:32:40,860 --> 00:32:46,200
Speaker 2: too far off. This predates, predates the college admission scandals.

685
00:32:46,260 --> 00:32:49,690
Speaker 2: I mean, this is, yeah, this is, these are some

686
00:32:49,750 --> 00:32:51,270
Speaker 2: really craven parents.

687
00:32:51,690 --> 00:32:51,910
Speaker 1: Yeah.

688
00:32:52,130 --> 00:32:55,610
Speaker 2: And just no, no regrets. They'll do whatever.

689
00:32:56,490 --> 00:32:58,070
Speaker 1: And too much money probably.

690
00:32:58,290 --> 00:32:58,470
Speaker 2: Yeah.

691
00:32:58,670 --> 00:33:03,590
Speaker 1: They produced this film. Yeah. It's nothing to them. Yeah.

692
00:33:04,110 --> 00:33:08,810
Speaker 1: And there's a really good, just a quick edit where

693
00:33:09,490 --> 00:33:12,390
Speaker 1: they're talking about AV equipment and they roll in. I

694
00:33:12,430 --> 00:33:16,360
Speaker 1: just like how quick, quickly that happened. Yeah. Um, so yeah,

695
00:33:16,380 --> 00:33:18,820
Speaker 1: that's the show, this film, there's music in it. It's

696
00:33:18,840 --> 00:33:20,160
Speaker 1: like very produced.

697
00:33:20,480 --> 00:33:21,040
Speaker 2: Highly produced.

698
00:33:21,080 --> 00:33:21,320
Speaker 1: Yeah.

699
00:33:21,460 --> 00:33:26,460
Speaker 2: Yeah. And that's basically it. Then the, you know, Deanna.

700
00:33:26,740 --> 00:33:28,270
Speaker 1: Has a good, like a good reaction.

701
00:33:28,290 --> 00:33:28,630
Speaker 2: Yeah.

702
00:33:28,710 --> 00:33:29,650
Speaker 1: We'll, we'll let you know.

703
00:33:29,790 --> 00:33:35,790
Speaker 2: Yeah. A lot of eye rolls from her. Um, gutter punks,

704
00:33:35,950 --> 00:33:39,940
Speaker 2: gutter punks. I feel like gutter, so gutter punks, I think,

705
00:33:40,780 --> 00:33:43,280
Speaker 2: if you maybe didn't grow up on the West Coast

706
00:33:43,620 --> 00:33:47,900
Speaker 2: or in a certain era, you may not be familiar with,

707
00:33:48,180 --> 00:33:52,030
Speaker 2: I feel like it was kind of a 90s phenomenon. Yeah.

708
00:33:53,490 --> 00:33:56,270
Speaker 1: Sort of dreadlocked.

709
00:33:57,110 --> 00:33:58,090
Speaker 2: White person with dreadlock.

710
00:33:58,110 --> 00:34:01,910
Speaker 1: Yeah. Kind of.

711
00:34:02,550 --> 00:34:04,320
Speaker 2: Usually someone actually that had money.

712
00:34:05,420 --> 00:34:07,410
Speaker 1: Oh, yeah. Yeah. Kind of.

713
00:34:07,770 --> 00:34:13,040
Speaker 2: Like a sort of trust fund punk. They were called

714
00:34:13,080 --> 00:34:13,720
Speaker 2: crusty punks.

715
00:34:13,960 --> 00:34:14,600
Speaker 1: Crusty punks.

716
00:34:14,620 --> 00:34:15,920
Speaker 2: Gutter punks. Shit punks.

717
00:34:16,739 --> 00:34:20,100
Speaker 1: In New York in the 80s we called them peace punks.

718
00:34:22,820 --> 00:34:27,700
Speaker 1: Little backpacks and usually a dog with them. Asking for

719
00:34:27,739 --> 00:34:33,950
Speaker 1: spare change. Patches. So not like punk like flashy with like.

720
00:34:34,700 --> 00:34:34,939
Speaker 2: No.

721
00:34:35,100 --> 00:34:36,799
Speaker 1: Spikes more sort of.

722
00:34:38,570 --> 00:34:39,330
Speaker 2: Crusty. Yeah.

723
00:34:39,630 --> 00:34:39,810
Speaker 1: Yeah.

724
00:34:40,590 --> 00:34:46,850
Speaker 2: Kind of like a nomadic lifestyle, like a choice.

725
00:34:47,270 --> 00:34:47,489
Speaker 1: Yeah.

726
00:34:47,810 --> 00:34:51,160
Speaker 2: A choice. I think that's what really differentiates it, you know,

727
00:34:51,300 --> 00:34:53,799
Speaker 2: from other forms of panhandling, like a choice to sort

728
00:34:53,840 --> 00:34:55,480
Speaker 2: of be living, you know.

729
00:34:56,239 --> 00:34:57,540
Speaker 1: In the streets and walking.

730
00:34:57,940 --> 00:34:59,440
Speaker 2: Uh-huh.

731
00:35:00,140 --> 00:35:01,560
Speaker 1: Boots, kind of old boots.

732
00:35:01,640 --> 00:35:01,819
Speaker 2: Yeah.

733
00:35:03,760 --> 00:35:08,920
Speaker 1: Army navy surplus clothes lots of big pockets yeah um

734
00:35:09,200 --> 00:35:13,529
Speaker 1: definitely dirty nothing wrong with being dirty i'm not saying

735
00:35:13,570 --> 00:35:15,630
Speaker 1: like ew i'm just saying but there was.

736
00:35:15,550 --> 00:35:17,930
Speaker 2: A sort of yes there was there was an aesthetic

737
00:35:17,989 --> 00:35:21,150
Speaker 2: it was yeah an aesthetic lifestyle choice.

738
00:35:20,969 --> 00:35:24,810
Speaker 1: Yeah yeah so we had this couple your wig was

739
00:35:24,870 --> 00:35:29,239
Speaker 1: great yes mine was just a little cap with wisps

740
00:35:29,410 --> 00:35:30,340
Speaker 1: of hair coming.

741
00:35:30,090 --> 00:35:34,510
Speaker 2: Down yes and a And in this sketch, we're asking

742
00:35:34,550 --> 00:35:37,890
Speaker 2: for change a dollar for some reason that I was

743
00:35:37,930 --> 00:35:39,830
Speaker 2: doing a slight, we both are doing a slight kind

744
00:35:39,870 --> 00:35:40,469
Speaker 2: of Canadian.

745
00:35:40,570 --> 00:35:44,149
Speaker 1: Yeah. Yeah. It's a little Northern. I don't know why

746
00:35:44,210 --> 00:35:45,150
Speaker 1: it felt like Vancouver.

747
00:35:45,170 --> 00:35:46,450
Speaker 2: I mean, Vancouver for sure. Yeah.

748
00:35:46,530 --> 00:35:49,810
Speaker 1: Yeah. So I just imagine they were from Canada. Yeah.

749
00:35:49,830 --> 00:35:53,890
Speaker 2: From Canada. Yeah. Um, so recently left their parents' fancy

750
00:35:53,969 --> 00:35:58,089
Speaker 2: home on Vancouver Island and now we're, yeah. Um, train

751
00:35:58,140 --> 00:35:58,780
Speaker 2: hop down to.

752
00:35:59,160 --> 00:35:59,489
Speaker 1: Yes.

753
00:36:00,320 --> 00:36:01,040
Speaker 2: Um, so.

754
00:36:02,130 --> 00:36:04,110
Speaker 1: This wasn't, I can't remember if this was our first

755
00:36:04,250 --> 00:36:06,330
Speaker 1: one though. Might have been.

756
00:36:06,469 --> 00:36:08,290
Speaker 2: Might have been, yeah.

757
00:36:09,270 --> 00:36:10,870
Speaker 1: And this is them with animals.

758
00:36:11,150 --> 00:36:16,090
Speaker 2: Yeah, well they realize that an animal garners more sympathy

759
00:36:16,190 --> 00:36:17,669
Speaker 2: and more money. Yeah.

760
00:36:17,950 --> 00:36:24,109
Speaker 1: Yeah. So I feel like typical Portlandia sketch and that

761
00:36:24,160 --> 00:36:26,780
Speaker 1: like it was just us, the build of it all.

762
00:36:27,400 --> 00:36:30,739
Speaker 2: Yeah, and I think another thing is again, you and

763
00:36:30,800 --> 00:36:38,510
Speaker 2: I coming from like independent music and punk, like these,

764
00:36:39,030 --> 00:36:42,629
Speaker 2: this might feel esoteric, but for us, this was like

765
00:36:42,670 --> 00:36:45,690
Speaker 2: definitely part of that sort of vernacular. Like if you

766
00:36:45,730 --> 00:36:48,830
Speaker 2: were sort of, you know, doing a taxonomy of like

767
00:36:49,230 --> 00:36:54,160
Speaker 2: the different iterations of like punk and, you know, in

768
00:36:54,180 --> 00:36:57,840
Speaker 2: like the nineties, like this was definitely part of the

769
00:36:57,960 --> 00:37:01,009
Speaker 2: ecosystem that these were you know, like, or if you

770
00:37:01,050 --> 00:37:03,430
Speaker 2: went down and played a show at like Gilman street

771
00:37:03,910 --> 00:37:07,390
Speaker 2: in Oakland or something, you know, like this, this was,

772
00:37:08,150 --> 00:37:09,830
Speaker 2: these people were part of that ecosystem.

773
00:37:10,090 --> 00:37:13,230
Speaker 1: They were around. Yeah. Yeah. But also kind of not around.

774
00:37:13,310 --> 00:37:17,650
Speaker 1: They were definitely not t-shirt buyers or no, no, or

775
00:37:17,730 --> 00:37:20,950
Speaker 1: even fans really. They were just like, we're here. We're around.

776
00:37:21,010 --> 00:37:21,190
Speaker 2: Yeah.

777
00:37:21,410 --> 00:37:24,640
Speaker 1: Yeah. So I'm glad we, we got to do those. Yeah.

778
00:37:26,760 --> 00:37:28,259
Speaker 2: Um, go over part three.

779
00:37:29,280 --> 00:37:30,760
Speaker 1: Well, there's also the scavenger hunt.

780
00:37:30,989 --> 00:37:31,529
Speaker 2: Oh, I'm sorry.

781
00:37:32,230 --> 00:37:34,569
Speaker 1: What's the name of that sketch? Is it scavenger hunt?

782
00:37:35,750 --> 00:37:37,230
Speaker 1: It's the, I'm a little guy.

783
00:37:37,270 --> 00:37:39,150
Speaker 2: I'm a little guy, which is something you, this was

784
00:37:39,170 --> 00:37:40,450
Speaker 2: an observation you had.

785
00:37:41,030 --> 00:37:45,940
Speaker 1: No, this, well, yes. Or, well, no, it was, uh,

786
00:37:46,920 --> 00:37:50,719
Speaker 1: the singer of my band trench mouth in the nineties.

787
00:37:51,719 --> 00:37:55,060
Speaker 1: He did this as just a morning bit for no reason.

788
00:37:55,760 --> 00:37:58,990
Speaker 1: Just walked. We were just talking to each other. And

789
00:37:59,030 --> 00:38:01,779
Speaker 1: he just said, I'm just a little guy. My hands

790
00:38:01,820 --> 00:38:07,640
Speaker 1: are small. He did that whole description. So that's Damon Locks.

791
00:38:08,460 --> 00:38:10,580
Speaker 1: And it just always stuck with me as like, oh, yeah,

792
00:38:10,600 --> 00:38:12,980
Speaker 1: there is that is a description of a type of person.

793
00:38:13,100 --> 00:38:14,680
Speaker 2: Now I think they're called short kings. It's like a

794
00:38:15,040 --> 00:38:18,850
Speaker 2: it's like a popular thing. Like just like a shorter guy.

795
00:38:19,210 --> 00:38:23,410
Speaker 1: Yeah, just. Yeah, it's as simple as that.

796
00:38:23,570 --> 00:38:23,750
Speaker 2: Yeah.

797
00:38:23,770 --> 00:38:29,390
Speaker 1: But Damon is, you know. Isn't that he just did

798
00:38:29,410 --> 00:38:32,779
Speaker 1: it as a bit and it just made sense to me.

799
00:38:32,800 --> 00:38:35,100
Speaker 1: And then as we did it, it worked out as,

800
00:38:35,340 --> 00:38:39,540
Speaker 1: as the sketch where we're on a scavenger hunt throughout Portland.

801
00:38:39,660 --> 00:38:39,819
Speaker 2: Yeah.

802
00:38:40,980 --> 00:38:45,759
Speaker 1: And our team is like dressed like Sergeant Pepper. And

803
00:38:45,780 --> 00:38:48,910
Speaker 1: the other ones are like pilgrims. The other team.

804
00:38:50,150 --> 00:38:50,350
Speaker 2: Yes.

805
00:38:50,410 --> 00:38:53,529
Speaker 1: We're in competition with. And the scavenger hunt is like,

806
00:38:53,570 --> 00:38:55,529
Speaker 1: we opened it. We get to see a lot of

807
00:38:55,610 --> 00:38:56,200
Speaker 1: Portland in it.

808
00:38:56,210 --> 00:39:00,720
Speaker 2: Yeah. Yeah. And both those actors, I think Ryan and Megan,

809
00:39:00,739 --> 00:39:01,760
Speaker 2: are also recurring.

810
00:39:02,280 --> 00:39:06,350
Speaker 1: Yeah. Yeah. So the thing I noticed about it, which

811
00:39:07,630 --> 00:39:09,890
Speaker 1: I don't know if we talk about it enough in

812
00:39:09,930 --> 00:39:12,690
Speaker 1: that it's so easy to take for granted, the sound effects.

813
00:39:12,989 --> 00:39:13,189
Speaker 2: Yes.

814
00:39:13,650 --> 00:39:18,290
Speaker 1: There's a lot of like cartoony sound effects throughout. And

815
00:39:18,310 --> 00:39:25,370
Speaker 1: then through many sketches that even watching it, it goes

816
00:39:25,410 --> 00:39:29,900
Speaker 1: through me until I'm wait a minute, there's something highlighting.

817
00:39:29,380 --> 00:39:32,719
Speaker 2: It's definitely something we've talked about a bit but just

818
00:39:32,960 --> 00:39:36,160
Speaker 2: that kind of like musicality in the editing yeah you

819
00:39:36,200 --> 00:39:41,710
Speaker 2: know whether it's the cadence of the editing or the

820
00:39:42,170 --> 00:39:45,730
Speaker 2: pacing or the timing of the cuts or actual sound

821
00:39:45,750 --> 00:39:49,110
Speaker 2: effects I feel like It helped with the pacing and

822
00:39:49,130 --> 00:39:51,830
Speaker 2: the texture of the show, I think, because I always

823
00:39:51,850 --> 00:39:55,600
Speaker 2: thought of these sketches, like these sort of fast paced

824
00:39:56,180 --> 00:40:00,339
Speaker 2: sketches to kind of be the counterbalance to things that

825
00:40:00,360 --> 00:40:03,080
Speaker 2: were a little more contemplative. I mean, nothing was, I mean,

826
00:40:03,120 --> 00:40:05,890
Speaker 2: it's sketch, nothing's too contemplative, but there were obviously other

827
00:40:06,330 --> 00:40:09,250
Speaker 2: sketches that didn't have that kind of like fast paced.

828
00:40:09,739 --> 00:40:13,649
Speaker 2: like percussive vibe. And I felt like we often use

829
00:40:13,690 --> 00:40:16,310
Speaker 2: this and gutter punks was one too, where, you know,

830
00:40:16,350 --> 00:40:20,569
Speaker 2: you just, it has like the snappiness to it. Cause

831
00:40:20,590 --> 00:40:22,970
Speaker 2: I think you need things that sort of move along,

832
00:40:23,310 --> 00:40:28,009
Speaker 2: especially with the, the wraparound sketches, like, cause those were,

833
00:40:28,070 --> 00:40:30,670
Speaker 2: had a little more storytelling and these needed to kind

834
00:40:30,690 --> 00:40:32,969
Speaker 2: of like, you know, fit into this one part of

835
00:40:32,989 --> 00:40:34,130
Speaker 2: the show where it was like, we only have a

836
00:40:34,150 --> 00:40:36,170
Speaker 2: minute and a half. So how can we kind of

837
00:40:36,210 --> 00:40:38,410
Speaker 2: keep this like paced up and exciting.

838
00:40:37,989 --> 00:40:40,510
Speaker 1: And, Yeah, holding your attention.

839
00:40:40,790 --> 00:40:40,989
Speaker 2: Yeah.

840
00:40:41,790 --> 00:40:46,930
Speaker 1: But I sometimes think about those, the editors, because those choices,

841
00:40:47,370 --> 00:40:50,450
Speaker 1: sometimes I think where do they find these sounds? I

842
00:40:50,510 --> 00:40:53,760
Speaker 1: wonder if, I guess we could just ask them, they

843
00:40:53,820 --> 00:40:57,180
Speaker 1: just did something as a joke for themselves just to

844
00:40:57,219 --> 00:40:58,940
Speaker 1: make themselves laugh and then it stuck.

845
00:40:59,180 --> 00:41:01,660
Speaker 2: I feel like we should have one or two of

846
00:41:01,680 --> 00:41:05,560
Speaker 2: the editors on the podcast. To me, they so very

847
00:41:05,600 --> 00:41:08,700
Speaker 2: much shaped the language of the show. You know, and they,

848
00:41:09,200 --> 00:41:14,100
Speaker 2: from the beginning, you know, they really, yeah, I guess

849
00:41:14,140 --> 00:41:16,000
Speaker 2: I shouldn't say we should have them on the show

850
00:41:16,040 --> 00:41:18,060
Speaker 2: because maybe we'll have them on in an earlier episode.

851
00:41:18,080 --> 00:41:20,799
Speaker 2: But anyway, we should get the editors on.

852
00:41:21,219 --> 00:41:24,690
Speaker 1: I just enjoy watching the sketch because there's so much

853
00:41:24,730 --> 00:41:25,890
Speaker 1: of Portland in it. Yeah.

854
00:41:26,590 --> 00:41:26,750
Speaker 2: Yeah.

855
00:41:27,010 --> 00:41:31,270
Speaker 1: And it's sweet and it's not even making fun of

856
00:41:31,310 --> 00:41:34,610
Speaker 1: anybody or any, even the scavenger hunt seems like a

857
00:41:34,650 --> 00:41:36,089
Speaker 1: fun scavenger hunt. Yeah.

858
00:41:37,840 --> 00:41:40,779
Speaker 2: Yeah. Again, I'm always, I'm always surprised at sketches where

859
00:41:40,840 --> 00:41:42,899
Speaker 2: we cover a lot of real estate. Cause I just,

860
00:41:43,140 --> 00:41:46,660
Speaker 2: I think now more than I did at the time,

861
00:41:46,680 --> 00:41:50,989
Speaker 2: I'm just so much more cognizant of how hard that

862
00:41:51,070 --> 00:41:55,370
Speaker 2: is to just be moving through space like that, you know,

863
00:41:55,510 --> 00:41:57,750
Speaker 2: especially on location, you know?

864
00:41:57,770 --> 00:41:57,850
Speaker 1: Yeah.

865
00:41:58,790 --> 00:42:03,350
Speaker 2: And there are so many moments that we just were

866
00:42:03,370 --> 00:42:07,600
Speaker 2: happy accidents that because we were, uh, a fair, very

867
00:42:07,660 --> 00:42:12,080
Speaker 2: nimble crew, very, um, like fast moving. We kept things light.

868
00:42:12,100 --> 00:42:14,140
Speaker 2: We didn't have a huge crew. Like we were able

869
00:42:14,160 --> 00:42:16,969
Speaker 2: to just like add a quick shot or see something

870
00:42:16,989 --> 00:42:22,330
Speaker 2: that was inspiring or funny or additive and actually shoot that,

871
00:42:22,910 --> 00:42:27,410
Speaker 2: you know, last minute unplanned. Um, and that's, I think

872
00:42:27,810 --> 00:42:29,870
Speaker 2: was very much part of the show. And I, I

873
00:42:29,950 --> 00:42:32,230
Speaker 2: sense that every time I watch something like this with

874
00:42:32,270 --> 00:42:34,450
Speaker 2: a lot of like movement in it.

875
00:42:34,610 --> 00:42:39,060
Speaker 1: That one, especially. Yeah. And it ends with the Portland sign,

876
00:42:39,360 --> 00:42:44,259
Speaker 1: which I think represents the city of Portland. Then on

877
00:42:44,280 --> 00:42:45,880
Speaker 1: to part three of Grover's Parents.

878
00:42:46,239 --> 00:42:48,160
Speaker 2: Oh, God. This part. This is where, okay, I said

879
00:42:48,180 --> 00:42:51,020
Speaker 2: at the beginning, you were like, I really laughed. And

880
00:42:51,060 --> 00:42:52,900
Speaker 2: I was like, I really cringed. I think this is

881
00:42:52,940 --> 00:42:54,860
Speaker 2: the part where I really was like, oh, my God.

882
00:42:54,880 --> 00:42:59,850
Speaker 1: I know. It feels a little unlike the show, a

883
00:42:59,890 --> 00:43:00,270
Speaker 1: little bit.

884
00:43:00,570 --> 00:43:00,850
Speaker 2: Yeah.

885
00:43:01,270 --> 00:43:03,770
Speaker 1: It's not what we usually, I mean, once in a while,

886
00:43:03,790 --> 00:43:07,430
Speaker 1: Nina and Lance, but. Yeah. Yeah. It was silly.

887
00:43:07,620 --> 00:43:09,969
Speaker 2: It was silly. It's definitely silly. We should say what

888
00:43:09,989 --> 00:43:12,989
Speaker 2: it is. So we're back at home. Brennan and Michelle

889
00:43:13,010 --> 00:43:16,150
Speaker 2: are back at home. Michelle walks into the kitchen. The

890
00:43:16,170 --> 00:43:20,750
Speaker 2: mail has arrived. Grover's gotten into shooting star preschool. And

891
00:43:20,790 --> 00:43:24,509
Speaker 2: we're so ecstatic that we just are immediately like the

892
00:43:24,590 --> 00:43:26,840
Speaker 2: only thing we can think to do is just basically

893
00:43:27,260 --> 00:43:27,740
Speaker 2: have sex.

894
00:43:27,900 --> 00:43:30,359
Speaker 1: Yeah. And we start making out.

895
00:43:30,800 --> 00:43:31,560
Speaker 2: In front of our kid.

896
00:43:31,700 --> 00:43:32,000
Speaker 1: Yeah.

897
00:43:32,800 --> 00:43:35,779
Speaker 2: In front of Grover. Grover. This whole thing, I was like,

898
00:43:36,960 --> 00:43:37,760
Speaker 2: I was like, what?

899
00:43:38,760 --> 00:43:41,100
Speaker 1: And then we go to another room and it gets, luckily,

900
00:43:41,560 --> 00:43:42,860
Speaker 1: it does get silly enough.

901
00:43:42,880 --> 00:43:46,240
Speaker 2: It gets silly. Yeah. But there's like fake nudity, you know,

902
00:43:46,260 --> 00:43:48,230
Speaker 2: like we, yeah, it was just, it goes on for

903
00:43:48,310 --> 00:43:51,509
Speaker 2: so long in the way that I guess is the

904
00:43:51,570 --> 00:43:54,750
Speaker 2: comedic comedy sex part of it. But I just was like,

905
00:43:55,390 --> 00:43:57,270
Speaker 2: I had completely blocked this out.

906
00:43:57,510 --> 00:43:58,700
Speaker 1: I'd forgotten about it. Yeah.

907
00:43:59,410 --> 00:44:03,410
Speaker 2: Yeah. Which is telling that we both blocked this out. Yeah.

908
00:44:03,670 --> 00:44:06,110
Speaker 1: I mean, like if someone had asked me, do you

909
00:44:06,130 --> 00:44:07,110
Speaker 1: know how that sketch ends?

910
00:44:07,230 --> 00:44:10,750
Speaker 2: I would say I actually was predicting how the sketch,

911
00:44:10,850 --> 00:44:13,570
Speaker 2: I was, I actually had a whole other ending in mind.

912
00:44:13,590 --> 00:44:14,819
Speaker 1: What was that?

913
00:44:15,610 --> 00:44:20,440
Speaker 2: Not this. It was anything this, like I was, I.

914
00:44:20,980 --> 00:44:24,560
Speaker 1: Was imagining that he didn't get in or something. Yeah.

915
00:44:24,600 --> 00:44:26,219
Speaker 2: I don't know what it would have been, but I

916
00:44:26,739 --> 00:44:29,540
Speaker 2: just thought I was, it really took me by surprise

917
00:44:30,380 --> 00:44:33,479
Speaker 2: and it, I will say there's not a lot of... Okay,

918
00:44:33,820 --> 00:44:36,440
Speaker 2: Lance and Nina, who we've talked about before, when we're

919
00:44:36,480 --> 00:44:41,759
Speaker 2: both in drag, those characters... They have a very physical relationship.

920
00:44:41,820 --> 00:44:42,000
Speaker 1: Yeah.

921
00:44:42,480 --> 00:44:46,800
Speaker 2: And, you know, I think their physical intimacy was always

922
00:44:46,860 --> 00:44:50,420
Speaker 2: part of that, those characters. It very much defines how

923
00:44:50,440 --> 00:44:50,880
Speaker 2: they connect.

924
00:44:51,000 --> 00:44:51,280
Speaker 1: Yeah.

925
00:44:51,420 --> 00:44:53,980
Speaker 2: Peter and Nance, you know, we've talked about, they have

926
00:44:54,020 --> 00:44:58,610
Speaker 2: that very syrupy, you know, lovey-dovey. They are, it's not sexual,

927
00:44:58,650 --> 00:45:00,790
Speaker 2: but it's very, it's intimate and sweet.

928
00:45:00,810 --> 00:45:02,450
Speaker 1: It's physical, but not sexual.

929
00:45:02,590 --> 00:45:02,930
Speaker 2: Exactly.

930
00:45:02,950 --> 00:45:03,950
Speaker 1: Or their version of sexual.

931
00:45:04,130 --> 00:45:04,530
Speaker 2: Exactly.

932
00:45:05,530 --> 00:45:05,610
Speaker 1: And.

933
00:45:06,290 --> 00:45:09,010
Speaker 2: you know, we'll get to them later. There's a few,

934
00:45:09,310 --> 00:45:13,110
Speaker 2: you know, sex scenes that are again played for laughs,

935
00:45:13,160 --> 00:45:15,900
Speaker 2: but this, I just did not remember. And because they

936
00:45:15,940 --> 00:45:17,859
Speaker 2: were fairly rare. Yeah.

937
00:45:18,560 --> 00:45:21,160
Speaker 1: I mean, I wonder if it's like, in a way

938
00:45:21,200 --> 00:45:24,420
Speaker 1: it's still early in the, our existence as a show.

939
00:45:24,880 --> 00:45:25,100
Speaker 2: Yeah.

940
00:45:25,120 --> 00:45:27,239
Speaker 1: There were still, I don't know.

941
00:45:29,020 --> 00:45:32,180
Speaker 2: Yeah. We both, we both seem like I'm looking at

942
00:45:32,219 --> 00:45:34,370
Speaker 2: you right now. I feel like we both seem like

943
00:45:34,880 --> 00:45:37,840
Speaker 2: not traumatized by it, but. Yeah.

944
00:45:37,880 --> 00:45:38,950
Speaker 1: What's the, yeah.

945
00:45:39,050 --> 00:45:41,509
Speaker 2: Like we're like, I'm like stuck. I'm like, you know

946
00:45:41,530 --> 00:45:43,930
Speaker 2: what it was like, there's a moment, this is this

947
00:45:44,010 --> 00:45:46,750
Speaker 2: moment where I, so we each leave the room. We're like,

948
00:45:46,770 --> 00:45:48,770
Speaker 2: we leave the room. We're like making out. And then

949
00:45:48,810 --> 00:45:52,590
Speaker 2: we leave. And it's like, the camera stays on Grover

950
00:45:52,850 --> 00:45:56,960
Speaker 2: and you hear Michelle and Brendan copulating.

951
00:45:57,580 --> 00:45:58,759
Speaker 1: And sometimes on our own.

952
00:45:58,900 --> 00:46:01,819
Speaker 2: Sometimes on our own. So, so I walk back in

953
00:46:02,040 --> 00:46:06,750
Speaker 2: as Michelle and I'm, I mean, it's blurred out, but like,

954
00:46:06,890 --> 00:46:09,009
Speaker 2: and I know I was wearing like a little, you know,

955
00:46:09,969 --> 00:46:12,730
Speaker 2: modesty cover, but I look nude. And I was like,

956
00:46:13,030 --> 00:46:18,180
Speaker 2: oh my God. I felt scandalized by myself. Who is

957
00:46:18,219 --> 00:46:21,359
Speaker 2: this naked woman on screen? No one wants to see this,

958
00:46:21,500 --> 00:46:26,219
Speaker 2: including me. I'm watching it. And obviously this, and I

959
00:46:26,360 --> 00:46:28,460
Speaker 2: think the kid wasn't in the room when we shot

960
00:46:28,500 --> 00:46:30,610
Speaker 2: this because it would have been his. on me i

961
00:46:30,640 --> 00:46:33,219
Speaker 2: would yes you know and also by the way of

962
00:46:33,320 --> 00:46:36,420
Speaker 2: course i am actually irl wearing.

963
00:46:36,020 --> 00:46:38,340
Speaker 1: Something yes i don't think yeah no.

964
00:46:38,239 --> 00:46:41,400
Speaker 2: For 100 100 but i i was like oh goodness

965
00:46:41,900 --> 00:46:42,760
Speaker 2: yes yeah.

966
00:46:43,219 --> 00:46:46,500
Speaker 1: It made me happy to hear the comedic sounds you

967
00:46:46,520 --> 00:46:49,410
Speaker 1: were like please make this yeah because you know there's

968
00:46:49,510 --> 00:46:50,850
Speaker 1: those times where we're on our own.

969
00:46:50,770 --> 00:46:53,070
Speaker 2: In that room yes that's when it's funny and yes.

970
00:46:52,950 --> 00:46:56,210
Speaker 1: And i'm like okay good something's happening yeah that equals

971
00:46:56,230 --> 00:46:59,620
Speaker 1: a version of comedy and i'll take it Yeah.

972
00:46:59,840 --> 00:47:03,770
Speaker 2: We're just, we're crawling towards the end of this episode

973
00:47:03,850 --> 00:47:05,989
Speaker 2: as I feel like there's so much to talk about

974
00:47:06,030 --> 00:47:08,930
Speaker 2: in therapy, which is a different podcast.

975
00:47:08,969 --> 00:47:11,930
Speaker 1: That's a different podcast. That's on its way. Yeah. There's

976
00:47:11,950 --> 00:47:15,610
Speaker 1: a good sound effect I wrote down here of a

977
00:47:15,700 --> 00:47:16,320
Speaker 1: hand clap.

978
00:47:19,060 --> 00:47:20,880
Speaker 2: During the sex? Yeah.

979
00:47:21,300 --> 00:47:22,860
Speaker 1: Or one of us does like a clap and for

980
00:47:22,880 --> 00:47:24,460
Speaker 1: some reason they amplify it.

981
00:47:24,580 --> 00:47:24,860
Speaker 2: So it's like.

982
00:47:24,880 --> 00:47:25,240
Speaker 1: Yuck.

983
00:47:27,340 --> 00:47:30,520
Speaker 2: Yeah. Okay, great.

984
00:47:31,420 --> 00:47:35,760
Speaker 1: The writers on this one was us and Carrie Dornetto.

985
00:47:36,350 --> 00:47:38,969
Speaker 2: Yes, who joins in season two and who we never

986
00:47:39,010 --> 00:47:39,330
Speaker 2: let go.

987
00:47:39,350 --> 00:47:43,350
Speaker 1: And we really love Carrie Dornetto. So funny.

988
00:47:43,370 --> 00:47:47,549
Speaker 2: Still do. Very, very funny. Very silly. This is the

989
00:47:47,590 --> 00:47:51,740
Speaker 2: season that we wrote in Gus Van Zandt's office downtown.

990
00:47:52,620 --> 00:47:52,880
Speaker 1: Yes.

991
00:47:54,580 --> 00:47:54,960
Speaker 2: Portland.

992
00:47:55,780 --> 00:47:56,140
Speaker 1: That's right.

993
00:47:56,280 --> 00:47:56,460
Speaker 2: Yeah.

994
00:47:57,160 --> 00:48:01,620
Speaker 1: And I've got Alison Silverman and Bill Oakley as consultants.

995
00:48:02,140 --> 00:48:04,969
Speaker 1: Bill Oakley wrote on The Simpsons and Alison Silverman, we've

996
00:48:05,110 --> 00:48:06,370
Speaker 1: already talked about, who's great.

997
00:48:06,850 --> 00:48:08,690
Speaker 2: Yep, she was with us in season one. She came

998
00:48:08,750 --> 00:48:12,390
Speaker 2: from the Colbert Report. And yeah, Bill came on for

999
00:48:12,430 --> 00:48:18,690
Speaker 2: this season and it was super helpful and also interesting

1000
00:48:18,710 --> 00:48:21,509
Speaker 2: just to see how his mind works coming from The Simpsons.

1001
00:48:21,530 --> 00:48:24,089
Speaker 2: And yeah, very clever guy.

1002
00:48:24,940 --> 00:48:27,140
Speaker 1: So that's the Grover episode.

1003
00:48:27,560 --> 00:48:31,480
Speaker 2: That's the Grover episode. And I hope to never see

1004
00:48:31,500 --> 00:48:33,759
Speaker 2: myself fake nude on screen again.

1005
00:48:33,840 --> 00:48:36,750
Speaker 1: I have to watch my reaction because when you said that,

1006
00:48:36,770 --> 00:48:37,410
Speaker 1: I couldn't go like.

1007
00:48:37,610 --> 00:48:37,930
Speaker 2: I would.

1008
00:48:40,050 --> 00:48:40,950
Speaker 1: You know what I mean?

1009
00:48:41,870 --> 00:48:42,910
Speaker 2: We are on camera right now.

1010
00:48:42,930 --> 00:48:43,750
Speaker 1: That's what I'm saying.

1011
00:48:47,150 --> 00:48:48,350
Speaker 2: Yeah, I'm glad someone liked it.

1012
00:48:50,640 --> 00:48:53,859
Speaker 1: But I just want to reiterate to everyone, go out

1013
00:48:53,880 --> 00:48:55,780
Speaker 1: to your local thrift store and get those box sets

1014
00:48:55,880 --> 00:48:56,420
Speaker 1: of CDs.

1015
00:48:57,200 --> 00:48:59,100
Speaker 2: Yeah, and take photos and send them to us.

1016
00:48:59,180 --> 00:48:59,419
Speaker 1: Yeah.

1017
00:48:59,480 --> 00:49:02,020
Speaker 2: Let us know what box sets you've purchased recently. And

1018
00:49:02,040 --> 00:49:06,169
Speaker 2: also congratulations to Fred Armisen on your CDs. That's right.

1019
00:49:06,190 --> 00:49:08,150
Speaker 1: Yes. The CD king.

1020
00:49:08,270 --> 00:49:10,629
Speaker 2: Yep. All right.

1021
00:49:11,950 --> 00:49:12,489
Speaker 1: So thank you.

1022
00:49:12,950 --> 00:49:14,210
Speaker 2: And with what's left of me, goodbye.

1023
00:49:14,230 --> 00:49:14,750
Speaker 1: Goodbye.