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Speaker 1: Hey guys, this is Susie and I'm sad to say

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Speaker 1: that we're going to take a two week little break here,

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Speaker 1: but we're going to be back on April twenty fifth

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Speaker 1: with season two of the History of curbr Enthusiasm.

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Speaker 2: So enjoy the finale and when you're lonely.

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Speaker 1: For Curb because there's no more season twelve to watch,

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Speaker 1: you could listen to us me and Jeff Garland on

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Speaker 1: the History of Curb Your Enthusiasm on iHeartRadio or wherever

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Speaker 1: you get your podcasts. Hi, I'm Jeff Garland and I'm

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Speaker 1: Susiasm Man.

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Speaker 3: And this is the history of Curb Your Enthusiasm and

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Speaker 3: I hope you enjoy yourself.

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Speaker 2: So this episode is the group.

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Speaker 3: Yes, and by the way, from the title in the script,

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Speaker 3: you don't know what that means, but oh what.

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Speaker 1: That means we will find out. Yes, it's quite a group. Yeah.

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Speaker 1: We start with Larry gargling always of Pleasure, and we

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Speaker 1: find out that Uncle Nathan is coming to La Thursday.

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Speaker 1: That his name was Uncle Nathan because of course his

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Speaker 1: father ended up being called Nat. But that's what I'm

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Speaker 1: talking about continuity. You don't really pay attention. So Sammy

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Speaker 1: was a boy. Now she's a girl and uncle Nathan

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Speaker 1: is a lingerer. So they decide that they're going to

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Speaker 1: go out to eat because they don't want to have dinner.

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Speaker 3: This is the great line. He's a lingerer, I'm a malingerer.

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Speaker 1: A malingerer, Yes, And they decide they're going to go

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Speaker 1: out to eat, and then we have the information that

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Speaker 1: Jeff wants to see Larry and Cheryl wait in his office.

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Speaker 3: Hold on a second. Here, we're skipping a whole thing

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Speaker 3: which has brought up later, which is such a Cheryl thing.

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Speaker 3: She's yes to all of that. The note still subconscious

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Speaker 3: that Larry does it. But but they're talking of a

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Speaker 3: whole conversation about initiating sex.

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Speaker 2: No, that's next.

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Speaker 1: Then they're in bed and you could tell Cheryl's got

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Speaker 1: something on her mind, and she says to Larry and

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Speaker 1: I think this isn't this is a discussion that we

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Speaker 1: could have about this right now. She says, why am

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Speaker 1: I always the one to initiate sex?

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Speaker 2: Now? This is a marriage which is a.

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Speaker 3: Recall from the last episode, by the way, initiate.

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Speaker 1: Yeah, but this is a marriage or relationship thing. Everything

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Speaker 1: is a fucking negotiation when you have sex.

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Speaker 2: You walk into a restaurant, where are you going to sit?

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Speaker 2: She wants to sit here?

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Speaker 1: I want to It's all an entire relationship is about

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Speaker 1: a negotiator.

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Speaker 3: Well, life is about two things, boundaries and negotiations to

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Speaker 3: make those boundaries happen.

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Speaker 2: Just saying yeah, it's about those things.

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Speaker 3: You can actually quote me on that. Jeff Garland says, says.

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Speaker 4: I'm available for sex all the time basically, so anytime

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Speaker 4: you want to have it, you can have it. Wow,

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Speaker 4: But anytime I want to have it, I can't just

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Speaker 4: assume that I want it all the time. So whenever

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Speaker 4: you want to, just tap me on the shoulder.

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Speaker 5: Okay, that's so not how it should go. Well, otherwise

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Speaker 5: I'll be making moves all the time. Do you want that?

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Speaker 5: Do you want somebody just mauling you all the time?

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Speaker 5: That's what I will do. I will treat your breasts

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Speaker 5: if their mind. You want that once in a while.

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Speaker 2: I mean I don't when you walk, I.

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Speaker 5: Walked around like that. That's how I walk around. If

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Speaker 5: you if you know, I need I need borders, I

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Speaker 5: need boundaries.

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Speaker 2: Okay, once in a while, I'll give it a try.

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Speaker 2: That's all I'm saying. Okay, okay, all right, not not

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Speaker 2: so what's your experience, Jeff?

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Speaker 3: With that, I completely concur with Larry's side. By the way,

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Speaker 3: in my room, I.

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Speaker 2: Think men are always ready and so.

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Speaker 3: Oh, I think that's one hundred percent true to me.

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Speaker 3: I rely on the sexual excitement of my partner, not

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Speaker 3: that I'm talking about me. So I don't understand how

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Speaker 3: they would ever be remotely interested. And that's completely true.

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Speaker 3: But I think that stems from even high school being rejected.

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Speaker 3: There's been so much rejection for most men all the year.

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Speaker 3: So finally when they get with a partner of any

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Speaker 3: sort and they feel like or if they're basically it's

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Speaker 3: like if he's with Cheryl, the minute she doesn't accept

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Speaker 3: that he wants to have sex and she wants to

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Speaker 3: to and you're reject He's rejected from that moment on.

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Speaker 3: You have to initiate you, Yes.

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Speaker 1: So I but of course then he then he moves

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Speaker 1: in and she says, not now.

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Speaker 3: Right, because the mood is over the way. The mood

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Speaker 3: in those situations can really move like the wind, just

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Speaker 3: like I think for men too, the littlest thing can

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Speaker 3: make us go nah, it feels forced nice. Yeah, but

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Speaker 3: she was just in the mood. So it's one of

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Speaker 3: those winds, you know, knocks it off, all right.

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Speaker 1: So they go through the negotiation with the sex and

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Speaker 1: it lays that all out, Larry's always available, et cetera.

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Speaker 1: And then they go to see you in your office.

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Speaker 3: Hold on, there's a key thing here. Cheryl is kind

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Speaker 3: of negative about me in their life. But what's interesting

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Speaker 3: about that is that that was the only note that

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Speaker 3: we got from HBO. Was we noticed in the first

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Speaker 3: episode or whatever that there's no conflict between Cheryl and

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Speaker 3: jeffs No, no, I know that. But the point is

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Speaker 3: she's done a few references to that in episode's past.

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Speaker 3: And Larry did not agree with that note from HBO,

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Speaker 3: and he was like, no way. But even in your

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Speaker 3: subconscious I don't care if you're Larry David down to

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Speaker 3: anybody who just kicks in whenever he gets a note

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Speaker 3: from a network or a studio. Even Larry David subconsciously

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Speaker 3: wants to please HBO. So even though he said no

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Speaker 3: and he meant no, in his subconscious unconscious, I think

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Speaker 3: he implied that or he didn't stop her. That's all

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Speaker 3: I thought that was really interesting.

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Speaker 1: It was actually the very even subtle.

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Speaker 2: He didn't want that. It was a subtlety. It was

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Speaker 2: not a big you know, I said, I would.

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Speaker 3: Also saying it was egregious.

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Speaker 2: It wasn't egregious.

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Speaker 1: And they go to your office and you tell her

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Speaker 1: that you got a call from Wendy Prager, who's a director,

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Speaker 1: and she's directing the Vagina Monologues, which I actually did

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Speaker 1: off Broadway. I remember in real life, I know, and

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Speaker 1: my sister was the producer.

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Speaker 3: By the way, at this point, I want to say,

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Speaker 3: because when I say vagina monologues, Larry laughs hysterically, and

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Speaker 3: I can tell you that no comedian, I can't speak

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Speaker 3: for women comedians. I never used that term comedian that

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Speaker 3: people will have, which is non ut but we've all

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Speaker 3: laughed at the Vagina monologues, and who the fuck would

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Speaker 3: watch the Vagina monologues? And yes, vaginas are interesting, you know,

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Speaker 3: as I mentioned later, But holy crap, it's just one

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Speaker 3: of those things that I think, by the way of

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Speaker 3: that era in time, I would rank that as number

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Speaker 3: one absurd thing that I noticed from that time, and

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Speaker 3: it was very much.

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Speaker 1: Let me just let me just correct you, Okay, it

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Speaker 1: is not about vaginas. It's about women's sexuality, is what

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Speaker 1: it's about, and women's God. It's not about there not

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Speaker 1: up there talking about.

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Speaker 3: By the way, what we're laughing at is not the

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Speaker 3: content it's laughing at. It's the name and imagining what

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Speaker 3: kind of monologue you're going to write about a vagina?

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Speaker 3: You know what I'm going to write the penis monologue?

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Speaker 2: Is that all me about?

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Speaker 3: Penis monologue? Would you come penis monologue?

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Speaker 2: Okay?

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Speaker 1: Because that's every male stand up All they do is

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Speaker 1: penis monologues in my lifetime.

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Speaker 2: A lot of them do, Yeah, a lot of them do.

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Speaker 1: A lot of them get up there and they talk

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Speaker 1: about Richard Pryor.

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Speaker 3: Took care of sex and stand up most of the

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Speaker 3: sex and stand up and anything like that.

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Speaker 2: Okay, he did it better, he did the best, and so.

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Speaker 3: After him, I never went down that path because.

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Speaker 2: I know there was a big brew haha at the time.

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Speaker 1: And this was in the year two thousand around when

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Speaker 1: it came out, or maybe it came up ninety nine

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Speaker 1: or something. They wouldn't mention the name of the show

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Speaker 1: on network television if like, if somebody went on The

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Speaker 1: Today Show, for example, to plug it, they wouldn't say

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Speaker 1: vagina on television in those days.

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Speaker 3: It was obviously absurd because that's a bidetual appropriate word

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Speaker 3: for it. That's the correct word. It wasn't well pussy

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Speaker 3: monologues exactly, they wouldn't.

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Speaker 2: They would not say vagina. There was a lot of

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Speaker 2: the whole big brew.

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Speaker 1: And what struck me as a comic doing stand up

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Speaker 1: at the time was I, you know, used the word

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Speaker 1: vagina in my act multiple times, you know, many many

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Speaker 1: times I used it. But they were making such a

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Speaker 1: big deal about the fact that this was called the

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Speaker 1: Vagina Monologues and they were using that word, and it

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Speaker 1: was like, to me, it was nothing. I used that

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Speaker 1: word all the time in my head.

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Speaker 3: By the way, it just was absurdism to me. And

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Speaker 3: by the way, how far TV has come. What happened

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Speaker 3: in the fifties in the early sixties, if you were

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Speaker 3: a married couple, you'd still sleep in separate bed. No,

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Speaker 3: you couldn't sleep in the same bed.

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Speaker 2: That's right.

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Speaker 1: So anyways, when I did the Vagina Malegs, I did

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Speaker 1: it with Donna Hanover, who was at the time Rudy

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Speaker 1: Giuliani's wife, right, and he was mayor at the time.

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Speaker 1: This is two thousand, two thousand and one, and Robin Givens,

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Speaker 1: who had been Mike Tyson's wife. Yes, so it was

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Speaker 1: an interesting it was an interesting evening. So then Jeff

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Speaker 1: then tells Cheryl that that Wendy Praeger, the director, saw

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Speaker 1: Cheryl in something and she wants her to do the

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Speaker 1: job in the Vagina Mollas.

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Speaker 2: And Cheryl's thrilled.

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Speaker 1: You know, she's just been given this part and it's

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Speaker 1: opening in a week. And he Jeff pans her the

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Speaker 1: script and Larry then says, you know, maybe get him

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Speaker 1: a bottle of scotch. And then when they leave Jeff's office,

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Speaker 1: they run into Lucy, who was clearly an ex of Larry.

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Speaker 1: Now I'm going to tell you, as a wife, as

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Speaker 1: a girlfriend, as whatever, when you run into an ex,

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Speaker 1: you always know it's an X. It could they could

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Speaker 1: be completely high high and acting like they don't even know.

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Speaker 3: Reach even bring up an X, because it's an irritant

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Speaker 3: it is to even talk about somebody, even if it

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Speaker 3: was a fact that I I thought was interesting.

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Speaker 1: No, that's right, and you know what happens, Your back

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Speaker 1: goes up the minute you hear about that X. And

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Speaker 1: Cheryl clearly and this woman's wearing little cut and she's got,

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Speaker 1: you know, big boobs hanging out, and Cheryl clearly senses

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Speaker 1: gets a sense of what's going on here.

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Speaker 3: I had the exact same moment. I had split up

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Speaker 3: with my ex and I went on a first date,

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Speaker 3: which took me for fucking ever to do. And I

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Speaker 3: went to a restaurant and who walks in twenty minutes

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Speaker 3: later with her friends but her my ex, and it

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Speaker 3: created such a brew haha.

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Speaker 2: Oh god.

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Speaker 3: The woman with me slinked out and she was terribly embarrassed.

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Speaker 3: And I went by their table because I thought, don't

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Speaker 3: be a pussy, don't slink out. And I went to

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Speaker 3: the table and nothing but stares in anger, and I said.

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Speaker 1: Okay, well we're going to get to that because we

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Speaker 1: didn't get to that scene.

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Speaker 3: No, no, I know, but I'm just saying, I guess.

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Speaker 2: Yeah, it's awkward. And there's a vibe.

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Speaker 1: There's a major, major vibe between lou and Larry, and

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Speaker 1: Cheryl picks up on it, and they mentioned that Cheryl's

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Speaker 1: doing the vagina monolags and Lucy's like, oh, I was

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Speaker 1: dying to do the vagina monologue. And then Lucy tells

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Speaker 1: him that she used to go out with Larry, and

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Speaker 1: then they're obviously need having a tete a tete Larry

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Speaker 1: and Lucy, and Cheryl is smart enough to walk away,

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Speaker 1: and Larry.

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Speaker 2: Throws the keys.

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Speaker 3: He throws very bad keys, and then he sends her

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Speaker 3: to the car and says, to be.

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Speaker 4: Very turn the air conditioning on, make it a little

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Speaker 4: cool that yeah, yeah, I'll be just a second.

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Speaker 3: Can you turn the air conditioning on?

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Speaker 2: Like you make insight to injury?

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Speaker 3: But that way, that's a man being an idiot, in

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Speaker 3: which I believe, like so often in television, when a

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Speaker 3: man is stupid, it's clearly a comedic ours is a

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Speaker 3: comedic choice too, but a very false, exaggerated comedic choice.

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Speaker 3: The throwing of the keys and turn the air conditioning

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Speaker 3: on is something most dumbass men, which.

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Speaker 1: Includes also in the Very Big Getting. He didn't even

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Speaker 1: introduce Cheryl. My husband's done that to me. Will we

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Speaker 1: run into something, and I could always smell if it's

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Speaker 1: an ex, or even if it's not an ex. He

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Speaker 1: won't introduce me, and I'll be standing there like a

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Speaker 1: fucking idiot, and they'll say later I forgot her name,

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Speaker 1: so you know, what Just introduce me and I'll say

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Speaker 1: to the person, what's your name.

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Speaker 3: By the way, what you're describing as being upset with

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Speaker 3: a mentally challenged person, why are you doing it?

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Speaker 2: Men are idiots?

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Speaker 3: Are idiots and mentally changed we all. By the way,

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Speaker 3: if someone says they're not, go fuck yourself. You must

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Speaker 3: be even a professor at Harvard. We're just innately. Women

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Speaker 3: are so much better than us. There's no comparison.

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Speaker 2: You get no argument from me, my friend.

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Speaker 3: Yes, so you compare dumb women to dumb men. I

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Speaker 3: still like the dumb women better, just saying all right.

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Speaker 1: Well yeah, hunters and gatherers were the gatherers men are.

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Speaker 2: In the highway.

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Speaker 3: That's all. Go ahead, let's move on.

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Speaker 2: All right.

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Speaker 1: So the Cheryl goes away and Lucy tells Larry that

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Speaker 1: there's something she needs to talk to him about and

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Speaker 1: can they have lunch. So he says, yes, of course,

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Speaker 1: I'll have lunch with you. Later on they're in bed,

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Speaker 1: Cheryl taps him on the shoulder. Larry said to her,

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Speaker 1: all you need to do is tap me on the shoulder,

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Speaker 1: and she taps him on the shoulder and he's not

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Speaker 1: in the mood.

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Speaker 2: He tells.

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Speaker 1: He says he's all tapped out, meaning that he did

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Speaker 1: a little self loving and was he thinking about what?

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Speaker 3: Wait, wait before you go there. I don't know. This

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Speaker 3: is getting personal for me, and I don't know if

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Speaker 3: I should talk about it. But I've never had a

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Speaker 3: woman in all my relationship that is pleased that I

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Speaker 3: do that. Ever, No, you have to wait, even if

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Speaker 3: you wait six months. You should never ever do that. No,

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Speaker 3: I don't agree with that, not about shame, but about hey,

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Speaker 3: what about me? Why would you do that? You know?

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Speaker 3: And also where about to get to a place with

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Speaker 3: who were you thinking about?

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Speaker 2: Question? I guess get well, I'm not going to get there?

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Speaker 3: Okay.

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Speaker 1: Well, well Cheryl goes into your tapped out after running

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Speaker 1: into Lucy with the large breasts you know, and Larry

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Speaker 1: admits she made a brief appearance, and Cheryl says, did

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Speaker 1: I make an appearance?

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Speaker 2: And then Larry says, I.

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Speaker 4: Wouldn't defile you like that. You don't know what goes

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Speaker 4: on in those things. You don't want any part of

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Speaker 4: that world. You don't want to be involved in that.

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Speaker 4: It's complimentary to you involved in.

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Speaker 6: That, yes, but it is a great idea to bring

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Speaker 6: your ex girlfriends.

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Speaker 5: I could and defile her.

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Speaker 2: I wouldn't defile you like that. You don't know what

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Speaker 2: goes on.

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Speaker 3: No, it's not a place for her.

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Speaker 2: It's not a place for her. Now that that thinking

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Speaker 2: is so bizarre to me as a woman.

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Speaker 3: He did it twice in the show.

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Speaker 2: He did it.

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Speaker 3: And by the way, it was about masturbation and Cheryl

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Speaker 3: to the other scene of what were you thinking about?

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Speaker 3: It's the women aren't included. That's Larry and I talking

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Speaker 3: about it. And he's pissed because remember I masturbated to Cheryl.

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Speaker 3: She was the one, Yes, don't put my wife on

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Speaker 3: your bench? Who else was there? And I said, it

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Speaker 3: was your wife and Jenna Jamison the porn star. And

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Speaker 3: then he says, all I've got is a young Sophia Laren.

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Speaker 3: He does that reference again, so clearly has done it twice,

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Speaker 3: which must be he did it.

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Speaker 1: In this episode as well, and that Sophie Lauren was

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Speaker 1: his heart throb when he was ay.

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Speaker 3: Any man that doesn't get excited as wrong?

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Speaker 2: Okay?

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Speaker 1: And then then he said and then he tells Cheryl

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Speaker 1: this is so twisted to me. He tells Cheryl that

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Speaker 1: he could think about Lucy because I can degrade and

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Speaker 1: defile her. But that Lucy had a bad attitude, she

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Speaker 1: wouldn't get involved in a three way. And this is

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Speaker 1: all in his fantasy. This is not in reality. This

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Speaker 1: is all in his fantasy. She wouldn't get it. So

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Speaker 1: then now he's going back to a young Sophia Arren,

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Speaker 1: which is safe hole. By the way, I suggest to

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Speaker 1: any man listening, go with a young Sophila Wren. This

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Speaker 1: safety in that no woman in minds.

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Speaker 3: You can't get wrong. But imagine if you're in your

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Speaker 3: twenties and you say young Sophia Laren, your girlfriend or

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Speaker 3: wife is going to say, who's that question? But anyhow,

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Speaker 3: I love that he promised this was her last appearance.

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Speaker 2: Yes, her last appearance.

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Speaker 3: In other words, she's been in his brain. She'd been

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Speaker 3: booked for his brain. He's firing her from his brain.

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Speaker 1: And by the way, I really think it's a bad

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Speaker 1: idea in general in relationships to know what your partner's

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Speaker 1: fantasies are. By nature, those should be private. The other

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Speaker 1: partners should not know what they are. I have no

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Speaker 1: interest to know what my husband fantasizes about. If it's

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Speaker 1: not me, I don't want to know it. I don't

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Speaker 1: want to have it in my head. It's his, that's

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Speaker 1: his private little space. Let him have it.

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Speaker 3: And do you know who's in his private little space?

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Speaker 2: No, I don't want to.

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Speaker 3: Know what if you talked about Ben Vereen, Ben Vereen,

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Speaker 3: doing any.

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Speaker 2: Be a little disturbed by that? And maybe I might

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Speaker 2: find it humorous. Okay.

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Speaker 1: So then Larry comes to see Jeff and he gives

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Speaker 1: him the Scotch a beautiful blue label Johnny Walker blue

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Speaker 1: Lie both for Cheryl as a thank you, and then

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Speaker 1: Larry goes to meet his ex for lunch and Jeff

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Speaker 1: wants to go with them. Hold on, Jeff has seen

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Speaker 1: this woman. She approaches, that's she approaches, and I'm clearly excited.

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Speaker 1: And the way I want to comment, I already can

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Speaker 1: see growth from the stroke that I had in the

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Speaker 1: last two episodes nine to ten.

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Speaker 2: Okay, notice nobody else would notice.

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Speaker 3: No, no one else would. But I also want to say,

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Speaker 3: so she comes out and she introduces whatever, and I'm clearly.

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Speaker 2: Practiced a large breasted woman.

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Speaker 3: And then he thinks of her from that hurricane movie.

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Speaker 3: She corrects him it was Jamie Gertz from a Tornado movie.

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Speaker 3: She goes, I was in the Asteroid movie, and I

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Speaker 3: actually say asteroid hurricane.

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Speaker 2: Same thing, same thing.

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Speaker 3: And by the way, those movies are exactly the same.

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Speaker 1: And you're clearly attracted to her, and you're clearly fishing

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Speaker 1: for an invitation to go to lunch with them, but

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Speaker 1: they're not having it because she has to have a

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Speaker 1: tete a tete with Larry and it comes out in

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Speaker 1: their lunch hold.

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Speaker 2: On, hold on, hold on, abuse kind of want to

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Speaker 2: go back. Okay.

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Speaker 3: I say two things that I at least the first

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Speaker 3: half of Curb Your Enthusias, in the first half dozen

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Speaker 3: episodes whatever that were quote my catchphrases. I didn't use

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Speaker 3: them as a catchphrase. Big bowler wrong. I call her

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Speaker 3: a big bowler wrong because I'm like, oh boy, oh boy,

383
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Speaker 3: big bull wrong, which HBO actually made t shirts of. Okay.

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Speaker 3: And then I say, as I'm walking away, good night, nurse, nurse,

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Speaker 3: which actually used in an episode. So those are two

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Speaker 3: things I said all the time, and that's the first

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Speaker 3: time I said them, and of course I was improvising

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Speaker 3: no one, you know, all right, Sorry for the.

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Speaker 2: Delay, all right.

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Speaker 1: Then they go to lunch and we find out that

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Speaker 1: her stepfather abused her and that Larry is the only

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Speaker 1: one who knows that Larry's the only one shed all away.

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Speaker 3: Sometimes with women from my past, they tell me, remember

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Speaker 3: you're there, By the way, I don't know if it's

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Speaker 3: very common, but I've been told from somebody that I

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Speaker 3: would never imagine them saying this to me, You're the

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Speaker 3: only one I ever told.

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Speaker 2: I find that unusual.

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Speaker 1: I find it extremely unusual that Larry David would be

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Speaker 1: the only one she want.

401
00:19:09,119 --> 00:19:12,199
Speaker 3: By the way, on the other hand, is something he

402
00:19:12,280 --> 00:19:14,600
Speaker 3: was so understanding and respected her.

403
00:19:14,760 --> 00:19:18,320
Speaker 1: Yes, but he does then question her does a stepfather

404
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Speaker 1: qualify as incest?

405
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Speaker 3: Which, by the way, to me is the funniest moment

406
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Speaker 3: in the episode.

407
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Speaker 1: Because she mentions that she wants to go to an

408
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Speaker 1: incest survivor group and she asked Larry to go with her,

409
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Speaker 1: and of course Larry's looking for an out, so he says,

410
00:19:31,840 --> 00:19:35,399
Speaker 1: does a stepfather qualify as incests? He's trying to figure

411
00:19:35,400 --> 00:19:39,960
Speaker 1: out away, which is hilarious, and at that moment, Cheryl

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00:19:40,000 --> 00:19:42,399
Speaker 1: and her friend Nancy walk into the restaurant at.

413
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Speaker 3: That exact moment, so it kind of saves him but

414
00:19:45,080 --> 00:19:45,919
Speaker 3: makes things.

415
00:19:45,680 --> 00:19:50,119
Speaker 1: Worse extremely awkward. As you were just saying happen to you. Yeah,

416
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Speaker 1: he invites them to sit, but they don't want to sit,

417
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Speaker 1: and you see Cheryl's face and she's not the same

418
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Speaker 1: accepting Cheryl in this episode as she was in the last.

419
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Speaker 1: She's kind of had it with him, and that's because

420
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Speaker 1: there's another woman involved, and that's the always the thing.

421
00:20:03,800 --> 00:20:06,239
Speaker 3: By the way, she covers it, but we see it,

422
00:20:06,520 --> 00:20:08,960
Speaker 3: so we still haven't seen her explode in any way

423
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Speaker 3: that you have or any woman that I've been with has.

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Speaker 3: Whereas she's hiding it, she's being very poised. She's it's

425
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Speaker 3: kind of but she's she's well, no, no, we know

426
00:20:20,680 --> 00:20:23,280
Speaker 3: that as an audience, but again that's her in a

427
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Speaker 3: horrible situation, still being calm.

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Speaker 1: And then Larry's in the car and then Jeff, the

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00:20:29,960 --> 00:20:33,159
Speaker 1: dog that he is, runs over and wants to know

430
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Speaker 1: she married and wants her number about Lucy right right, And.

431
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Speaker 3: This is the first time we see that he's a

432
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Speaker 3: real lothario or real pig. And by the way, this

433
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Speaker 3: episode a lot of fat references, a lot of fat references.

434
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Speaker 3: You're not even in it. There are I think three

435
00:20:49,440 --> 00:20:52,120
Speaker 3: fat Like when I ran up to him in that scene,

436
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Speaker 3: he says something that he would have cut out at

437
00:20:54,640 --> 00:20:57,560
Speaker 3: this well obviously now because I'm not I'm fat, but

438
00:20:57,600 --> 00:21:02,080
Speaker 3: I'm not fat fat you big. I'm a large man anyhow,

439
00:21:02,200 --> 00:21:05,320
Speaker 3: I'm you're a large man. Yeah, but I'm not strapping.

440
00:21:05,720 --> 00:21:08,239
Speaker 3: I'm large, but I'm not strapping one. I've loved him

441
00:21:08,240 --> 00:21:11,800
Speaker 3: and strapping. I'm not strapping anyhow. As I'm running over,

442
00:21:11,880 --> 00:21:16,520
Speaker 3: he goes, hey, fat boy. Yeah, there's another time. I

443
00:21:16,520 --> 00:21:18,600
Speaker 3: don't think it's I can't remember.

444
00:21:18,320 --> 00:21:21,720
Speaker 2: But it was something else I noticed it as well. Yeah,

445
00:21:21,280 --> 00:21:23,000
Speaker 2: so yeah, I want to know.

446
00:21:23,040 --> 00:21:26,040
Speaker 3: But it's the first time we really see that I'm

447
00:21:26,080 --> 00:21:30,080
Speaker 3: a pig that Yes, you're tough, but my reaction is

448
00:21:30,119 --> 00:21:31,440
Speaker 3: to that is to be a pig.

449
00:21:31,960 --> 00:21:34,760
Speaker 2: Yeah. Yeah, I wrote a dog. So there we go.

450
00:21:34,920 --> 00:21:38,080
Speaker 3: Dog, same thing. You know, no either, Actually pigs are

451
00:21:38,160 --> 00:21:41,280
Speaker 3: very knowledgeable. We don't accept them for how smart they are.

452
00:21:41,520 --> 00:21:43,880
Speaker 3: We think dogs are the smartest, but it's actually pigs.

453
00:21:45,600 --> 00:21:46,199
Speaker 2: Do you know that?

454
00:21:46,720 --> 00:21:48,240
Speaker 3: Do you think I'm making that up? Did you know that?

455
00:21:48,400 --> 00:21:48,440
Speaker 4: No?

456
00:21:48,560 --> 00:21:49,239
Speaker 2: I know that.

457
00:21:49,320 --> 00:21:50,800
Speaker 1: I know pigs are quite smart, but there's a lot

458
00:21:50,800 --> 00:21:52,800
Speaker 1: of smart dogs too. You had border colleague, you know

459
00:21:52,800 --> 00:21:53,560
Speaker 1: how smart they are?

460
00:21:53,880 --> 00:21:57,120
Speaker 3: Yes, but still pigs. I'm here for the pigs. I'm

461
00:21:57,119 --> 00:21:58,200
Speaker 3: representing pigs.

462
00:21:58,520 --> 00:22:03,680
Speaker 2: But you're you're, you're you're you're a lethario, yes, I am, yes.

463
00:22:03,720 --> 00:22:07,920
Speaker 1: And a philanderer yes, And you're cheating on your delightful wife.

464
00:22:08,359 --> 00:22:10,119
Speaker 1: And then he's not going to give you the number.

465
00:22:10,160 --> 00:22:13,200
Speaker 1: And we see the woman's face. Who's the leader. Cynthia

466
00:22:13,400 --> 00:22:15,960
Speaker 1: is her name, And then we cut to the next woman,

467
00:22:16,119 --> 00:22:18,720
Speaker 1: the Lorraine Newman, and the next woman and the next.

468
00:22:18,520 --> 00:22:22,040
Speaker 2: One, and then we see Larry and we see Larry.

469
00:22:21,760 --> 00:22:25,959
Speaker 3: You're skipping, you're skipping here. First off, the idea that

470
00:22:26,040 --> 00:22:28,679
Speaker 3: I'm working with Lorraine Newman blew my mind because one

471
00:22:28,680 --> 00:22:29,960
Speaker 3: of my biggest influences.

472
00:22:30,080 --> 00:22:31,800
Speaker 1: Well, no, I'm going to get to her. At first

473
00:22:31,800 --> 00:22:33,800
Speaker 1: it was just the camera shots. We didn't get to

474
00:22:33,840 --> 00:22:34,560
Speaker 1: her yet with her.

475
00:22:34,680 --> 00:22:36,760
Speaker 3: My mistake, you have the discovery. I thought you were

476
00:22:36,800 --> 00:22:38,600
Speaker 3: going to get the direction. I apologize.

477
00:22:38,840 --> 00:22:40,639
Speaker 1: Yeah, no, no, no, she says a lot. We have

478
00:22:40,640 --> 00:22:41,840
Speaker 1: a lot to talk about with her.

479
00:22:42,560 --> 00:22:57,320
Speaker 2: We'll be right back. Stay tuned and we're back. Okay,

480
00:22:57,359 --> 00:23:02,800
Speaker 2: we're here with the legend Newman. And you've already you've

481
00:23:02,800 --> 00:23:04,120
Speaker 2: already done this episode.

482
00:23:04,720 --> 00:23:07,719
Speaker 3: When people call you a legend, you're the last person

483
00:23:08,000 --> 00:23:09,560
Speaker 3: to think of yourself as a legend.

484
00:23:09,880 --> 00:23:12,399
Speaker 6: That is so true, Jeff, I'm not even talking to

485
00:23:12,480 --> 00:23:13,240
Speaker 6: my therapist.

486
00:23:14,000 --> 00:23:17,240
Speaker 3: Well, by the way of all the people people call

487
00:23:17,359 --> 00:23:19,639
Speaker 3: me a legend, and I'm like, who you talking to?

488
00:23:20,160 --> 00:23:21,959
Speaker 3: Is there a mistaken identification?

489
00:23:22,560 --> 00:23:24,480
Speaker 2: Legend? Me? What are you talking about?

490
00:23:24,680 --> 00:23:28,040
Speaker 1: Clarene, we already recorded this, did this episode, so we're

491
00:23:28,040 --> 00:23:30,080
Speaker 1: gonna insert you in some fashion.

492
00:23:30,200 --> 00:23:33,360
Speaker 2: Who knows? So this and as you know, this was done.

493
00:23:33,400 --> 00:23:35,360
Speaker 1: What was this two thousand and two thousand and one, Yes,

494
00:23:35,440 --> 00:23:39,040
Speaker 1: two thousand, two thousand and you were brilliant, Yeah you do.

495
00:23:39,080 --> 00:23:42,600
Speaker 1: You look fantastic and you were brilliant in it. I mean,

496
00:23:42,720 --> 00:23:43,879
Speaker 1: just so much.

497
00:23:43,920 --> 00:23:45,520
Speaker 6: Brilliant, Susie, thank you.

498
00:23:45,720 --> 00:23:48,280
Speaker 2: It was just I just so having not seen it

499
00:23:48,320 --> 00:23:49,119
Speaker 2: in all these years and.

500
00:23:49,400 --> 00:23:53,080
Speaker 3: Watched it, I laughed at it. Then I laugh at

501
00:23:53,080 --> 00:23:56,760
Speaker 3: your performance. Now, what do you the pure joy on

502
00:23:56,800 --> 00:24:00,000
Speaker 3: your face and horrible things is hilarious.

503
00:24:00,200 --> 00:24:02,360
Speaker 2: What do you remember? What are your memories of it?

504
00:24:03,160 --> 00:24:05,439
Speaker 6: Well, first of all, the idea that you had to

505
00:24:05,480 --> 00:24:09,359
Speaker 6: audition for curb was interesting, and I thought I was

506
00:24:09,440 --> 00:24:13,640
Speaker 6: auditioning for the part that Cynthia Saghetti eventually did, so

507
00:24:13,720 --> 00:24:16,720
Speaker 6: I was whichmart was that she was the moderator of

508
00:24:16,800 --> 00:24:20,600
Speaker 6: the Incessant Survivor group. So I was all ready to

509
00:24:20,680 --> 00:24:22,800
Speaker 6: do that and then they said, no, we want you

510
00:24:22,840 --> 00:24:25,119
Speaker 6: to be a survivor. So I said, let me go

511
00:24:25,160 --> 00:24:27,879
Speaker 6: out of the room and think about that. So I

512
00:24:28,000 --> 00:24:31,320
Speaker 6: was thinking about a meeting that I had stumbled into

513
00:24:31,400 --> 00:24:35,080
Speaker 6: in Japan, and it was actually an alan on meeting.

514
00:24:35,160 --> 00:24:40,119
Speaker 6: But the sharing was so horrifying. So was it in Japanese? No,

515
00:24:40,280 --> 00:24:43,680
Speaker 6: these were English speaking people. Okay, some girl talking about

516
00:24:43,680 --> 00:24:47,399
Speaker 6: a repressed memory about her parents being in a sex cult.

517
00:24:47,760 --> 00:24:52,159
Speaker 6: Just I mean, anyway, oh my, it was horrifying. So

518
00:24:52,880 --> 00:24:55,479
Speaker 6: that's kind of what I was armed with, even though

519
00:24:55,520 --> 00:24:58,280
Speaker 6: I didn't talk about that, and I went in and

520
00:24:59,000 --> 00:25:02,480
Speaker 6: it worked out great. So fun to just have who

521
00:25:02,520 --> 00:25:05,119
Speaker 6: your character is and what's going on. It's just so

522
00:25:05,280 --> 00:25:11,320
Speaker 6: fun to improvise with that. Yeah, we know, yes exactly.

523
00:25:11,400 --> 00:25:14,479
Speaker 6: So I also remember that we actually shot it at

524
00:25:14,480 --> 00:25:19,000
Speaker 6: the Hollywood Roosevelt Hotel, which was pretty fun. And I

525
00:25:19,040 --> 00:25:21,640
Speaker 6: do remember at the end when they were trying to

526
00:25:21,760 --> 00:25:25,080
Speaker 6: do the setup for me and Alan what is his

527
00:25:25,200 --> 00:25:25,920
Speaker 6: last name.

528
00:25:25,760 --> 00:25:28,439
Speaker 2: Though, the uncle who played the uncle?

529
00:25:28,920 --> 00:25:30,080
Speaker 6: Yeah, setup.

530
00:25:32,280 --> 00:25:34,920
Speaker 2: He's a brilliant character. I mentioned it before.

531
00:25:35,119 --> 00:25:39,080
Speaker 3: Yeah, we mentioned, but he's really in every seventies high

532
00:25:39,119 --> 00:25:42,960
Speaker 3: falutint movie, like the great movies of the seventies, that

533
00:25:43,080 --> 00:25:45,720
Speaker 3: dude plays a part. Yeah, yeah, yeah, he was kind

534
00:25:45,720 --> 00:25:48,160
Speaker 3: of cool to be around. He was not as cool

535
00:25:48,200 --> 00:25:50,359
Speaker 3: as you. Why I wasn't you know? I was in

536
00:25:50,480 --> 00:25:54,000
Speaker 3: awe of you back then, because what no, hold on,

537
00:25:54,160 --> 00:25:57,879
Speaker 3: hold on, hold on. You have to understand. When SNL

538
00:25:58,119 --> 00:26:00,879
Speaker 3: came on the air, I believe seventy five, Yes, was

539
00:26:00,920 --> 00:26:06,359
Speaker 3: this it? Okay? I was twelve thirteen years old, watching

540
00:26:06,600 --> 00:26:08,560
Speaker 3: in a rented apartment in Florida. We had just moved

541
00:26:08,560 --> 00:26:12,120
Speaker 3: from Chicago to Florida. My parents went out. I'm obviously

542
00:26:12,119 --> 00:26:14,600
Speaker 3: old enough to watch my brother. He's asleep, And I

543
00:26:14,600 --> 00:26:17,879
Speaker 3: remember so clearly watching it on a small TV in

544
00:26:17,920 --> 00:26:22,600
Speaker 3: our kitchen and thinking to myself, oh my god.

545
00:26:22,760 --> 00:26:25,520
Speaker 1: This the only thing that was like that before.

546
00:26:25,560 --> 00:26:28,359
Speaker 3: No, but not only that, the only other thing that

547
00:26:28,440 --> 00:26:31,520
Speaker 3: I was influenced by. Around the same time, there were

548
00:26:31,520 --> 00:26:36,960
Speaker 3: two other things, Python and SCTV, So this was like

549
00:26:38,560 --> 00:26:41,880
Speaker 3: way more accessible than those, not commercial in any way.

550
00:26:42,600 --> 00:26:45,359
Speaker 3: I mean now it would be a performance art what

551
00:26:45,440 --> 00:26:48,560
Speaker 3: they were doing. People would be very confused by it.

552
00:26:48,560 --> 00:26:53,760
Speaker 3: It's so sad now, but I remember watching it just like, wow, wow,

553
00:26:53,840 --> 00:26:57,080
Speaker 3: and I remembered everything you did so when I got

554
00:26:57,160 --> 00:27:00,159
Speaker 3: a chance to work with you, and you were a

555
00:27:00,160 --> 00:27:03,480
Speaker 3: a big ball of a doll and so fucking great

556
00:27:03,840 --> 00:27:07,679
Speaker 3: forget this and didn't disappoint you exceeded and I already

557
00:27:07,720 --> 00:27:10,359
Speaker 3: thought high level for you. I even when we were

558
00:27:10,400 --> 00:27:12,560
Speaker 3: shooting it, I had to control myself from.

559
00:27:12,560 --> 00:27:13,639
Speaker 2: Laughing, well, you're kidding.

560
00:27:13,680 --> 00:27:17,520
Speaker 6: Well, you were so supportive and so sweet, and you know,

561
00:27:17,920 --> 00:27:21,040
Speaker 6: I didn't know anybody, you know, so you.

562
00:27:21,000 --> 00:27:21,760
Speaker 2: Didn't know Larry.

563
00:27:21,840 --> 00:27:24,560
Speaker 6: I did not know Larry, and I never expected him

564
00:27:24,560 --> 00:27:27,360
Speaker 6: to be so lovely and kind and.

565
00:27:27,240 --> 00:27:29,040
Speaker 2: People are always surprised by that.

566
00:27:29,720 --> 00:27:33,879
Speaker 6: Yeah, and such a good audience. You know. It was

567
00:27:33,960 --> 00:27:37,040
Speaker 6: just a completely supportive set and I so appreciated that.

568
00:27:37,200 --> 00:27:39,560
Speaker 6: And the improvising was so easy.

569
00:27:39,920 --> 00:27:45,520
Speaker 3: Yeah, when you do it, it doesn't look like you're

570
00:27:45,520 --> 00:27:49,080
Speaker 3: putting any work to it. And the way I'm telling you,

571
00:27:49,080 --> 00:27:52,679
Speaker 3: you played every horrible thing you were saying with a

572
00:27:52,720 --> 00:27:57,719
Speaker 3: slight grin, which made it insane, especially first off, I

573
00:27:57,760 --> 00:28:01,640
Speaker 3: told you, but I told you a million times. Then.

574
00:28:02,240 --> 00:28:04,320
Speaker 3: I don't know if I fed this word to you.

575
00:28:04,400 --> 00:28:06,959
Speaker 3: I don't remember if I did it or not. Ambrosia.

576
00:28:07,600 --> 00:28:10,280
Speaker 3: It's very up my alley to find a word interesting.

577
00:28:10,640 --> 00:28:13,800
Speaker 3: But whether I did or it didn't doesn't matter. You

578
00:28:13,880 --> 00:28:16,680
Speaker 3: took that for such a ride. And when you said

579
00:28:16,680 --> 00:28:18,959
Speaker 3: it in that scene, oh my god. And then in

580
00:28:18,960 --> 00:28:23,560
Speaker 3: a later scene to say that your your uncle's invited

581
00:28:23,600 --> 00:28:26,880
Speaker 3: you in and you're talking about the ambrosia as they're

582
00:28:26,920 --> 00:28:27,520
Speaker 3: abusing you.

583
00:28:27,600 --> 00:28:28,640
Speaker 2: Yeah, oh my god.

584
00:28:34,000 --> 00:28:38,880
Speaker 1: Yeah, but you walked it because you were completely in character.

585
00:28:39,240 --> 00:28:42,480
Speaker 1: And I mean, I think if you know how to improvise,

586
00:28:42,840 --> 00:28:45,520
Speaker 1: curb is so easy to do because the story is

587
00:28:45,600 --> 00:28:50,080
Speaker 1: so set up, so it's it's If you're an improviser,

588
00:28:50,680 --> 00:28:52,720
Speaker 1: it's just it's just a thing of joy. If you're

589
00:28:52,720 --> 00:28:54,560
Speaker 1: not an improviser, it's hard.

590
00:28:55,160 --> 00:28:58,640
Speaker 6: Well, I must say, everybody he's had on has been fantastic,

591
00:28:58,960 --> 00:28:59,240
Speaker 6: you know.

592
00:28:59,320 --> 00:29:03,760
Speaker 2: I think around them. Laurien, What was your improv background?

593
00:29:04,080 --> 00:29:04,360
Speaker 3: Well?

594
00:29:04,520 --> 00:29:08,240
Speaker 6: I started taking improv when I was sixteen, and so

595
00:29:08,720 --> 00:29:10,840
Speaker 6: I did it in high school as well. I was

596
00:29:10,880 --> 00:29:14,720
Speaker 6: this was an outside class, and then I was in

597
00:29:14,800 --> 00:29:16,920
Speaker 6: Paris I studied mime with Marcel mar.

598
00:29:16,840 --> 00:29:19,920
Speaker 2: So, oh really, it's not going to be let go,

599
00:29:20,120 --> 00:29:22,280
Speaker 2: Hold am I going to do with that? Yeah?

600
00:29:22,320 --> 00:29:24,840
Speaker 3: Yeah, take a step back. Hold on a second. I

601
00:29:24,880 --> 00:29:29,440
Speaker 3: don't let things pass. You went to Paris and studied

602
00:29:29,520 --> 00:29:35,040
Speaker 3: mine with Marcel Marcel Marcel Marcel Marcel, Marcel Marceaux. The

603
00:29:35,040 --> 00:29:38,440
Speaker 3: only people that we know is Mime's outside of him

604
00:29:38,680 --> 00:29:42,360
Speaker 3: are Shields and Yarnell. They don't count. He was the

605
00:29:42,400 --> 00:29:46,200
Speaker 3: only guy that you'd watch in awe. How was he

606
00:29:46,320 --> 00:29:48,400
Speaker 3: doing that? It was a thing of beauty. It was

607
00:29:48,440 --> 00:29:49,560
Speaker 3: like a dance almost.

608
00:29:49,720 --> 00:29:52,040
Speaker 6: Well, that's how I responded. I saw him when I

609
00:29:52,080 --> 00:29:55,280
Speaker 6: was sixteen at Royce Hall and I went, I don't

610
00:29:55,320 --> 00:29:57,000
Speaker 6: know what gave me the balls to do this, but

611
00:29:57,040 --> 00:30:00,000
Speaker 6: I went backstage and asked him if he could recommend

612
00:30:00,080 --> 00:30:03,280
Speaker 6: a teacher in LA and that's the teacher I went to,

613
00:30:03,480 --> 00:30:07,160
Speaker 6: not knowing that aside from teaching mime, they were also

614
00:30:07,240 --> 00:30:11,960
Speaker 6: teaching improvisation. Okay, so that's when I started. And then

615
00:30:12,320 --> 00:30:15,240
Speaker 6: when I came back to LA, I saw people like

616
00:30:15,320 --> 00:30:18,959
Speaker 6: Shields and Yarnell and Mime had become cute.

617
00:30:19,360 --> 00:30:20,280
Speaker 2: Yeah, yeah, I don't.

618
00:30:20,800 --> 00:30:21,880
Speaker 6: I don't like that.

619
00:30:22,440 --> 00:30:26,120
Speaker 3: It was one of the one of the two worst

620
00:30:26,120 --> 00:30:31,000
Speaker 3: things in comedy, cute and clever. They're the death of comedy.

621
00:30:31,320 --> 00:30:33,560
Speaker 1: So so then you went to Paris, you studied there,

622
00:30:33,640 --> 00:30:36,480
Speaker 1: and then and I came back and I just was

623
00:30:36,760 --> 00:30:37,920
Speaker 1: point aimless.

624
00:30:38,160 --> 00:30:39,920
Speaker 6: A friend of mine asked me to be his audition

625
00:30:40,040 --> 00:30:43,520
Speaker 6: partner for cal Arts, so I did that, and then

626
00:30:43,560 --> 00:30:46,560
Speaker 6: they offered me a spot there in the theater school.

627
00:30:47,120 --> 00:30:50,400
Speaker 3: So a quick question here, because I interrupt because I'm curious,

628
00:30:51,240 --> 00:30:54,520
Speaker 3: so I don't interrupt to be clever or cute. So

629
00:30:55,840 --> 00:30:58,240
Speaker 3: you go, You're at kell Arts auditioning for your friend

630
00:30:58,600 --> 00:31:01,680
Speaker 3: very fame like the movie that happened in a big way.

631
00:31:02,120 --> 00:31:02,960
Speaker 3: Did he get.

632
00:31:02,800 --> 00:31:03,520
Speaker 2: It or she?

633
00:31:03,840 --> 00:31:07,440
Speaker 6: I don't remember. I don't remember. I don't think he did.

634
00:31:08,320 --> 00:31:11,000
Speaker 2: That is hilarious. So then you're at cal Arts.

635
00:31:11,240 --> 00:31:14,440
Speaker 6: Yeah, And so I joined the improv group there, and

636
00:31:14,520 --> 00:31:18,080
Speaker 6: I met this guy from Florida with hair this long,

637
00:31:18,480 --> 00:31:20,040
Speaker 6: but in gringlets and it.

638
00:31:20,040 --> 00:31:23,040
Speaker 2: Was Paul Rubens and oh my god.

639
00:31:23,400 --> 00:31:26,000
Speaker 6: Yeah. But they also had the theater department. And I

640
00:31:26,120 --> 00:31:29,600
Speaker 6: was realizing, as I was taking you know that class, that.

641
00:31:29,880 --> 00:31:31,720
Speaker 2: It's just not for me.

642
00:31:32,440 --> 00:31:35,680
Speaker 6: Yeah, I don't really belong in this kind of thing.

643
00:31:35,720 --> 00:31:39,080
Speaker 6: And I was complaining to my sister, Tracy, Tracy Newman,

644
00:31:39,120 --> 00:31:41,400
Speaker 6: the great Tracy Newman, and she said, well, I'm in

645
00:31:41,400 --> 00:31:44,000
Speaker 6: this improv workshop. Why don't you come and do that?

646
00:31:44,600 --> 00:31:47,560
Speaker 6: So I left cal Arts, and I joined this workshop

647
00:31:47,600 --> 00:31:50,440
Speaker 6: which was being taught by a guy named Gary Austen.

648
00:31:51,080 --> 00:31:53,520
Speaker 6: And here's some of the people that were in this company,

649
00:31:53,920 --> 00:31:59,640
Speaker 6: Pat Marita Jack, Sue, Tim Matheson, and Valerie Curtin. These

650
00:31:59,640 --> 00:32:01,400
Speaker 6: were the well known people in the group.

651
00:32:01,480 --> 00:32:02,200
Speaker 2: Wow Wow.

652
00:32:02,280 --> 00:32:04,840
Speaker 6: And then eventually, you know, we'd have scene nights and

653
00:32:04,880 --> 00:32:07,360
Speaker 6: we'd put on shows, and eventually we thought, hey, let's

654
00:32:07,680 --> 00:32:10,760
Speaker 6: form a company, and that's how we became the Groundlings.

655
00:32:11,120 --> 00:32:13,480
Speaker 3: Oh you're kidding me, So that was the start of

656
00:32:13,560 --> 00:32:14,280
Speaker 3: the Groundlings.

657
00:32:14,520 --> 00:32:14,800
Speaker 2: Yeah.

658
00:32:15,200 --> 00:32:18,800
Speaker 1: I had a similar experience, Lorraine, that I was acting

659
00:32:18,800 --> 00:32:20,760
Speaker 1: because I didn't know what else to do until I

660
00:32:20,840 --> 00:32:22,880
Speaker 1: took an improv class and it was like, Oh, that's

661
00:32:22,920 --> 00:32:25,240
Speaker 1: what I was meant to do, not this acting shit.

662
00:32:25,360 --> 00:32:27,040
Speaker 2: That's so boring. Same thing.

663
00:32:27,520 --> 00:32:29,000
Speaker 6: Although you were great on Hacks.

664
00:32:29,360 --> 00:32:29,760
Speaker 2: Thank you.

665
00:32:29,800 --> 00:32:33,440
Speaker 1: With your daughter, the delightful Paula. I always call her

666
00:32:33,440 --> 00:32:36,000
Speaker 1: Paula because I grew up with a girl named Paula Einpinzer.

667
00:32:36,640 --> 00:32:40,160
Speaker 1: Oh no kidding, yes, And the word Paula it's like

668
00:32:40,200 --> 00:32:45,200
Speaker 1: in my unconscious it always comes out okay. But I

669
00:32:45,320 --> 00:32:48,719
Speaker 1: have to say she has grown in this second season.

670
00:32:48,800 --> 00:32:50,080
Speaker 1: I thought she was magnificent.

671
00:32:50,480 --> 00:32:53,760
Speaker 6: Thank you. So much. Thank you, Wadely see season three.

672
00:32:54,080 --> 00:32:54,320
Speaker 2: Yeah.

673
00:32:54,600 --> 00:32:56,320
Speaker 3: Is she having a good time doing it?

674
00:32:56,680 --> 00:32:57,040
Speaker 6: Yeah?

675
00:32:57,120 --> 00:32:59,440
Speaker 3: Wow, that's great.

676
00:32:59,400 --> 00:33:02,000
Speaker 1: And she's a all to work with. I really enjoyed

677
00:33:02,000 --> 00:33:04,440
Speaker 1: her company. You know, there's so much downtime, you better

678
00:33:04,520 --> 00:33:06,160
Speaker 1: like who you're hanging out with. It, you know, a

679
00:33:06,200 --> 00:33:06,960
Speaker 1: craft service.

680
00:33:07,320 --> 00:33:09,560
Speaker 3: So so let me get this straight. You and Jane

681
00:33:09,640 --> 00:33:12,600
Speaker 3: Curtin started. We're in a group that started the Groundlings.

682
00:33:12,760 --> 00:33:15,160
Speaker 6: No, Valerie Curtains Valerie Curtain.

683
00:33:17,080 --> 00:33:17,200
Speaker 5: Is.

684
00:33:17,480 --> 00:33:20,280
Speaker 3: Yeah, but I know who Valery Curtain is. Valerie Curtain

685
00:33:20,280 --> 00:33:22,520
Speaker 3: has been very funny in a lot of movies learned.

686
00:33:22,520 --> 00:33:25,040
Speaker 3: So how did SNL discover you?

687
00:33:25,080 --> 00:33:27,959
Speaker 6: Well, Laurene Michaels was producing a Lily Tomlin special, so

688
00:33:28,000 --> 00:33:30,920
Speaker 6: he and Lily came to see our show and they

689
00:33:31,000 --> 00:33:34,280
Speaker 6: hired me from that. So I actually had worked with

690
00:33:34,360 --> 00:33:37,960
Speaker 6: Lauren before SNL and that was a great experience and

691
00:33:38,040 --> 00:33:39,680
Speaker 6: Lily was magnificent.

692
00:33:40,040 --> 00:33:41,040
Speaker 3: Yeah, she's I.

693
00:33:40,960 --> 00:33:43,720
Speaker 6: Met some people that were eventually writers on SNL.

694
00:33:44,440 --> 00:33:49,360
Speaker 3: Wow, so that's wonderful. Was your experience on SNL as

695
00:33:49,440 --> 00:33:51,720
Speaker 3: joyful as the one on Curb your Enthusiasm?

696
00:33:52,160 --> 00:33:54,640
Speaker 6: No, it wasn't, Jeff, and I think you knew that

697
00:33:54,800 --> 00:33:55,440
Speaker 6: was the answer.

698
00:33:55,600 --> 00:33:58,520
Speaker 2: Yeah, but you know, no I did, but I didn't,

699
00:33:58,560 --> 00:33:59,280
Speaker 2: you know what I'm saying.

700
00:33:59,360 --> 00:34:03,200
Speaker 6: Yeah, Well, in retrospect, here's a really important good thing

701
00:34:03,280 --> 00:34:06,800
Speaker 6: about that show is that there were no clicks and

702
00:34:06,840 --> 00:34:10,759
Speaker 6: nobody ganged up on anybody, which can often happen in

703
00:34:10,840 --> 00:34:15,040
Speaker 6: theater groups. But because we come from a cooperative art form,

704
00:34:15,120 --> 00:34:18,080
Speaker 6: which is improv everybody liked each.

705
00:34:17,840 --> 00:34:18,799
Speaker 2: Other, you know.

706
00:34:19,360 --> 00:34:22,960
Speaker 6: So while I may have suffered tremendous jealousy with people

707
00:34:23,000 --> 00:34:26,719
Speaker 6: getting more airtime, I didn't resent them, you know.

708
00:34:26,960 --> 00:34:29,120
Speaker 1: You, and I resented the powers that be that were

709
00:34:29,160 --> 00:34:30,440
Speaker 1: giving them the airtime.

710
00:34:31,080 --> 00:34:34,080
Speaker 6: Well, it's there were so many factors, you know. I mean,

711
00:34:34,120 --> 00:34:37,560
Speaker 6: some people just you know, are more appealing to the audience.

712
00:34:37,760 --> 00:34:38,360
Speaker 6: What are you going to do?

713
00:34:38,640 --> 00:34:40,640
Speaker 3: Just take a step hold on, let's take a step

714
00:34:40,680 --> 00:34:44,319
Speaker 3: back on that. I don't remember any moments where I

715
00:34:44,400 --> 00:34:46,720
Speaker 3: rolled my eyes when you were on screen. I beamed

716
00:34:46,719 --> 00:34:47,640
Speaker 3: when you were on screen.

717
00:34:47,719 --> 00:34:49,440
Speaker 6: Oh I'm not suggesting that.

718
00:34:49,719 --> 00:34:51,359
Speaker 2: No, no, no, but I know you're not.

719
00:34:51,680 --> 00:34:54,880
Speaker 3: But I'm also saying that I never thought to myself,

720
00:34:54,880 --> 00:34:56,640
Speaker 3: oh there's not enough of the rain. I didn't think

721
00:34:56,680 --> 00:34:59,560
Speaker 3: that about anybody. I would notice if it was criminal,

722
00:35:00,000 --> 00:35:01,239
Speaker 3: you know what I mean, Like what the fuck are

723
00:35:01,239 --> 00:35:03,680
Speaker 3: they doing? But to me, I was so happy when

724
00:35:03,680 --> 00:35:06,120
Speaker 3: I saw you and everything you did was gold.

725
00:35:06,320 --> 00:35:08,960
Speaker 2: Oh thank you, Lorien. How many seasons were you on?

726
00:35:09,520 --> 00:35:12,840
Speaker 6: Well, the original cast with the exception of Danny and

727
00:35:12,920 --> 00:35:15,320
Speaker 6: John and Chevy were on for five years.

728
00:35:15,800 --> 00:35:17,120
Speaker 2: Uh huh. That was a good run.

729
00:35:17,760 --> 00:35:19,359
Speaker 3: And bel Murray came on season two.

730
00:35:19,840 --> 00:35:21,279
Speaker 6: That's right. Yeah.

731
00:35:21,320 --> 00:35:23,880
Speaker 1: And to be on an iconic show like that is

732
00:35:24,040 --> 00:35:28,200
Speaker 1: you know, I mean it was it was culture changing.

733
00:35:28,120 --> 00:35:28,400
Speaker 3: I know.

734
00:35:29,120 --> 00:35:31,920
Speaker 6: Well also just you know, seeing what's going on with

735
00:35:31,960 --> 00:35:34,960
Speaker 6: the Groundlings too, and how they pretty much became the

736
00:35:35,000 --> 00:35:38,359
Speaker 6: farm team for SNL. You know, at the time when

737
00:35:38,400 --> 00:35:41,040
Speaker 6: I was doing the show, nobody had heard of it,

738
00:35:41,120 --> 00:35:43,239
Speaker 6: and Danny and John would tease me all the time

739
00:35:43,280 --> 00:35:46,200
Speaker 6: and say, hey, what's the group you're in? The Groundhogs.

740
00:35:46,960 --> 00:35:47,160
Speaker 2: No.

741
00:35:48,160 --> 00:35:52,279
Speaker 6: So I'm so glad that they've really prevailed and are

742
00:35:52,520 --> 00:35:53,280
Speaker 6: going strong.

743
00:35:53,600 --> 00:35:56,520
Speaker 1: And a lot of Groundlings come on Current because they're

744
00:35:56,560 --> 00:36:01,400
Speaker 1: improvers and a lot I mean Cheryl was a ground Link.

745
00:36:01,520 --> 00:36:04,360
Speaker 3: Yeah, she taught at the Groundlings too. Yeah, but I

746
00:36:04,360 --> 00:36:08,240
Speaker 3: didn't know we would take people from the Groundlings who

747
00:36:08,440 --> 00:36:11,319
Speaker 3: nobody had ever seen before or heard of. Yeah, that,

748
00:36:11,440 --> 00:36:13,520
Speaker 3: by the way, you know, what's Really funny is people

749
00:36:13,600 --> 00:36:16,960
Speaker 3: now when I tell them how revolutionary the original Sarah

750
00:36:17,000 --> 00:36:18,720
Speaker 3: Night Live is. When I say it's the younger people,

751
00:36:18,960 --> 00:36:21,000
Speaker 3: they say, you're just saying that because you're old. No,

752
00:36:21,080 --> 00:36:23,440
Speaker 3: I'm saying it because it's a fact. Is there a

753
00:36:23,520 --> 00:36:27,439
Speaker 3: better jazz musician than Miles Davis or John Coltrane. Now

754
00:36:27,680 --> 00:36:30,160
Speaker 3: they came out in the fifties, you know, so don't

755
00:36:30,200 --> 00:36:32,960
Speaker 3: tell me. It's an old person's game to say that. Oh,

756
00:36:32,960 --> 00:36:33,680
Speaker 3: it's a fact.

757
00:36:33,920 --> 00:36:34,120
Speaker 2: You know.

758
00:36:34,200 --> 00:36:36,279
Speaker 1: The old people would say that to us about your

759
00:36:36,280 --> 00:36:39,480
Speaker 1: show of shows. But they were right. It was revolutionary

760
00:36:39,520 --> 00:36:40,799
Speaker 1: when it came out, you know.

761
00:36:40,840 --> 00:36:43,239
Speaker 6: Well, but you know, they've always had great writers and

762
00:36:43,320 --> 00:36:46,279
Speaker 6: great casts. So from what I've observed and what I

763
00:36:46,360 --> 00:36:49,520
Speaker 6: believe to be true, is that the best cast was

764
00:36:49,560 --> 00:36:51,400
Speaker 6: the cast that was on when you were twelve or

765
00:36:51,440 --> 00:36:53,360
Speaker 6: thirteen in your formative years.

766
00:36:53,640 --> 00:36:54,680
Speaker 2: Because I just told you.

767
00:36:54,640 --> 00:36:58,080
Speaker 3: That in twelve thirteen. Yeh, by the way, no exaggeration.

768
00:36:58,640 --> 00:37:01,520
Speaker 3: At Summer Camp, we'd put on a show and all

769
00:37:01,560 --> 00:37:04,319
Speaker 3: we did was re enact Sara live scenes for the

770
00:37:04,360 --> 00:37:09,000
Speaker 3: whole show. I put the show together and we did

771
00:37:09,080 --> 00:37:13,000
Speaker 3: everything from weekend up date to you know, all the

772
00:37:13,080 --> 00:37:16,759
Speaker 3: stuff which I used to love when what's his name?

773
00:37:16,880 --> 00:37:17,040
Speaker 2: Uh?

774
00:37:17,600 --> 00:37:22,879
Speaker 3: He wrote the graduate Buck Henry, that scene with you

775
00:37:22,960 --> 00:37:25,480
Speaker 3: as his niece or the.

776
00:37:24,840 --> 00:37:26,720
Speaker 2: Baby boy Uncle Roy.

777
00:37:27,040 --> 00:37:33,160
Speaker 3: Oh my god, I tell you what, it's just so

778
00:37:33,160 --> 00:37:35,520
Speaker 3: so funny. And then of course you did the cone Heads.

779
00:37:35,760 --> 00:37:37,640
Speaker 3: I mean, you did a bunch of stuff there. So

780
00:37:37,920 --> 00:37:40,440
Speaker 3: I'm just telling you you've brought me a lot of joy.

781
00:37:40,520 --> 00:37:43,000
Speaker 1: And thank you. And you brought us a lot of

782
00:37:43,080 --> 00:37:46,320
Speaker 1: joy on Curb also the Ring. Then go watch it again.

783
00:37:46,360 --> 00:37:47,240
Speaker 1: You'll be delighted.

784
00:37:47,400 --> 00:37:49,840
Speaker 3: And by the way, I have a bonus question that

785
00:37:50,080 --> 00:37:53,400
Speaker 3: is really from left field. Did you date Andrew Gold?

786
00:37:53,600 --> 00:37:53,799
Speaker 2: Yes?

787
00:37:53,880 --> 00:37:58,840
Speaker 3: I did, and I was a huge Andrew Gold was

788
00:37:58,880 --> 00:38:02,040
Speaker 3: the keyboard player I believe for Linda Ronstadt. That's true

789
00:38:02,040 --> 00:38:04,000
Speaker 3: with the guys from the Eagles. But he had this

790
00:38:04,080 --> 00:38:07,440
Speaker 3: beautiful solo career. He was kind of like Nielsen, uh huh.

791
00:38:07,480 --> 00:38:09,800
Speaker 6: And he wrote thank you for being a friend.

792
00:38:10,600 --> 00:38:14,320
Speaker 2: Yeah, but what was the song you wrote for you?

793
00:38:14,320 --> 00:38:15,400
Speaker 6: Never let her slip away?

794
00:38:15,719 --> 00:38:18,480
Speaker 3: Never let her slip away? And I didn't know that

795
00:38:18,520 --> 00:38:20,120
Speaker 3: for a fact that I never asked you when you

796
00:38:20,160 --> 00:38:22,600
Speaker 3: did the show. But I was like, I wonder if

797
00:38:22,640 --> 00:38:25,120
Speaker 3: that's true. All right, there you go. And he passed

798
00:38:25,160 --> 00:38:26,640
Speaker 3: away way too young.

799
00:38:26,880 --> 00:38:29,719
Speaker 1: Thank you so much for being with us.

800
00:38:30,840 --> 00:38:32,560
Speaker 6: No no, I was just going to say, if you're

801
00:38:32,560 --> 00:38:35,680
Speaker 6: interested in the other musicians I dated, you can listen

802
00:38:35,719 --> 00:38:41,120
Speaker 6: to my memoir on older Okay it I will live

803
00:38:41,200 --> 00:38:44,880
Speaker 6: in interesting times as you did. It's the history of

804
00:38:45,000 --> 00:38:47,880
Speaker 6: like the beginning of the Comedy Store and the beginning

805
00:38:47,920 --> 00:38:53,200
Speaker 6: of the Groundlings and all the things.

806
00:38:52,920 --> 00:38:55,560
Speaker 3: That you were involved in were one of the big

807
00:38:55,640 --> 00:38:58,719
Speaker 3: reasons I went. I was always into comedy, and I

808
00:38:58,760 --> 00:39:01,600
Speaker 3: love comedy with a passion. But it's one of the

809
00:39:01,640 --> 00:39:06,680
Speaker 3: reasons that I took seriously my journey to becoming today.

810
00:39:06,960 --> 00:39:09,239
Speaker 3: Where we don't live in interesting times.

811
00:39:09,160 --> 00:39:11,279
Speaker 2: Well I don't. I disagree with that. We live an

812
00:39:11,280 --> 00:39:12,120
Speaker 2: overwhelming time.

813
00:39:12,200 --> 00:39:15,160
Speaker 1: I think we I think a pretty much most times

814
00:39:15,200 --> 00:39:16,960
Speaker 1: are interesting. It's your perspective on it.

815
00:39:17,040 --> 00:39:19,279
Speaker 2: Well my perspective is this is overwhelming and I don't

816
00:39:19,400 --> 00:39:21,160
Speaker 2: like it. Okay, all right, I disagree.

817
00:39:21,200 --> 00:39:22,799
Speaker 6: Thanks you guys, Thanks for having.

818
00:39:22,520 --> 00:39:26,040
Speaker 2: Me, Bye bye, Thank you so much. We'll be right back.

819
00:39:26,200 --> 00:39:38,759
Speaker 2: Stay tuned. Okay, we're back.

820
00:39:39,320 --> 00:39:42,319
Speaker 3: Lorain Newman was on the original Saturday Night Live. That's right,

821
00:39:42,360 --> 00:39:47,480
Speaker 3: and she was fantastic and I couldn't believe that I was.

822
00:39:48,080 --> 00:39:50,120
Speaker 3: I don't remember if we were acquaintances before this, but

823
00:39:50,160 --> 00:39:53,640
Speaker 3: I'm working with the Rain Newman, which for me was

824
00:39:54,320 --> 00:39:57,920
Speaker 3: like an explosion in my brain of like, oh my god,

825
00:39:58,280 --> 00:40:00,319
Speaker 3: you're working with the Rain Newman. So the the whole

826
00:40:00,360 --> 00:40:03,000
Speaker 3: time that although I'm not in a scene with.

827
00:40:02,920 --> 00:40:06,160
Speaker 2: Her, you were a scene however, for whatever.

828
00:40:05,800 --> 00:40:09,800
Speaker 3: Reason, which thrilled me, she came to me for thoughts

829
00:40:09,800 --> 00:40:14,240
Speaker 3: and advice after every take and now going and her monologue,

830
00:40:14,280 --> 00:40:16,240
Speaker 3: and by the way, let me also point out she's

831
00:40:16,280 --> 00:40:19,440
Speaker 3: sitting yoga style, Indian style, whatever you want to call it,

832
00:40:19,440 --> 00:40:22,279
Speaker 3: with her legs over her legs in the chair, which

833
00:40:22,320 --> 00:40:25,960
Speaker 3: is a nuance, but a beautiful nuance that when.

834
00:40:25,760 --> 00:40:28,400
Speaker 2: She goes off on her monologue.

835
00:40:27,800 --> 00:40:28,960
Speaker 3: It makes total sense.

836
00:40:29,160 --> 00:40:29,520
Speaker 2: All right.

837
00:40:29,600 --> 00:40:30,440
Speaker 3: That's the background.

838
00:40:30,719 --> 00:40:34,040
Speaker 1: And her monologue was just completely improvised, I'm sure, and

839
00:40:34,120 --> 00:40:37,839
Speaker 1: absolutely his hilarious her and it was on and on.

840
00:40:38,040 --> 00:40:43,920
Speaker 6: My first perpetrator was my grandfather. It was a very dashing,

841
00:40:44,080 --> 00:40:46,400
Speaker 6: handsome man. He looked like Tyrone Power.

842
00:40:48,400 --> 00:40:49,160
Speaker 5: He would come.

843
00:40:49,000 --> 00:40:52,560
Speaker 6: Into my room wearing a mask and we would play

844
00:40:52,920 --> 00:40:57,040
Speaker 6: Zoro and Consuelo and he would make a z on

845
00:40:57,120 --> 00:40:59,239
Speaker 6: my tummy with a feather and then later.

846
00:41:00,719 --> 00:41:01,520
Speaker 5: With his sword.

847
00:41:04,480 --> 00:41:09,000
Speaker 6: The next incident was at a family reunion up at

848
00:41:09,040 --> 00:41:14,719
Speaker 6: our house in Kassaic. They had laid out platters of

849
00:41:14,760 --> 00:41:17,880
Speaker 6: great food, one of which was my favorite dish, ambrosia,

850
00:41:18,040 --> 00:41:20,719
Speaker 6: you know that fruit salad with the marshmallows and the

851
00:41:20,840 --> 00:41:24,840
Speaker 6: coconut and the cherries. And my uncle Pete on my

852
00:41:24,920 --> 00:41:27,920
Speaker 6: father's side, and my uncle Ned on my mother's side,

853
00:41:28,880 --> 00:41:32,480
Speaker 6: approached me and told me that they could help me

854
00:41:32,560 --> 00:41:34,399
Speaker 6: with the recipe and teach me how to make it.

855
00:41:35,080 --> 00:41:37,120
Speaker 6: So they took me into the house, into a back

856
00:41:37,160 --> 00:41:41,279
Speaker 6: bedroom and became overly a bunkilar.

857
00:41:41,160 --> 00:41:43,839
Speaker 1: Their grandfather Fuctor, and they used to make her play

858
00:41:43,920 --> 00:41:47,160
Speaker 1: Zoro and Cosuello, and then her uncle Pete and her uncle.

859
00:41:49,760 --> 00:41:53,279
Speaker 3: The way she's telling it is was such innocence, and

860
00:41:53,520 --> 00:41:56,239
Speaker 3: looking back on it, what was funny about it was

861
00:41:56,239 --> 00:41:58,439
Speaker 3: she looked at it with a kind of yeah, those

862
00:41:58,480 --> 00:42:01,120
Speaker 3: were the days, kind of added to like it didn't

863
00:42:01,120 --> 00:42:04,520
Speaker 3: bother her. She liked Zorro, and she mentioned after he

864
00:42:04,560 --> 00:42:07,000
Speaker 3: did the feather, he used his sword, which is an

865
00:42:07,040 --> 00:42:10,480
Speaker 3: implication that let me see a reaction Shoto of Larry

866
00:42:10,520 --> 00:42:11,359
Speaker 3: of what the first I.

867
00:42:11,280 --> 00:42:13,120
Speaker 2: Don't agree with you. I don't think she liked it.

868
00:42:13,160 --> 00:42:15,600
Speaker 2: I think she was no, she's at the meeting.

869
00:42:15,840 --> 00:42:18,759
Speaker 3: But I'm telling you the way she recants it, it

870
00:42:18,960 --> 00:42:22,320
Speaker 3: never cants it. The way she shares it. She's warm

871
00:42:22,360 --> 00:42:25,400
Speaker 3: about it, which I found striking. She's not fuck my

872
00:42:25,760 --> 00:42:28,560
Speaker 3: grandfather fucked this. Can you believe they did this to me?

873
00:42:28,640 --> 00:42:28,960
Speaker 3: She's like.

874
00:42:29,200 --> 00:42:30,799
Speaker 2: And then he came in the room.

875
00:42:30,960 --> 00:42:34,880
Speaker 3: And everything is very quiet and thoughtful to where you

876
00:42:34,920 --> 00:42:37,160
Speaker 3: thought she was talking about all boyfriends. I'm not talking

877
00:42:37,200 --> 00:42:38,759
Speaker 3: about whether she really felt that way.

878
00:42:39,000 --> 00:42:41,120
Speaker 1: And then she goes through the litany, and then she

879
00:42:41,200 --> 00:42:43,800
Speaker 1: comes to the stepbrother, and she turns to the leader

880
00:42:43,880 --> 00:42:48,479
Speaker 1: and she says, does step count right? And the leader says, yes, yes,

881
00:42:49,080 --> 00:42:51,759
Speaker 1: the step does count. So we have that call.

882
00:42:51,880 --> 00:42:55,120
Speaker 3: And also she what's her name, the actress with Larry

883
00:42:55,120 --> 00:42:58,279
Speaker 3: not her, but the character turns to Larry and says.

884
00:42:58,040 --> 00:42:59,640
Speaker 2: See, yes.

885
00:42:59,320 --> 00:43:03,440
Speaker 3: There's one thing that it was in her monologue that

886
00:43:03,840 --> 00:43:06,560
Speaker 3: I laughed the whole in video village, which is where

887
00:43:06,560 --> 00:43:09,000
Speaker 3: we watched the takes with all the monitors, I was

888
00:43:09,080 --> 00:43:11,799
Speaker 3: laughing hysterically from her. But she said one thing that

889
00:43:12,000 --> 00:43:15,240
Speaker 3: really struck me. She mentioned at the top the first

890
00:43:15,239 --> 00:43:18,680
Speaker 3: time she did the monologue that Ambrosia, which is a

891
00:43:18,719 --> 00:43:21,040
Speaker 3: funny word that you never heard anyone using, which is

892
00:43:21,120 --> 00:43:24,759
Speaker 3: pretty much a fruit salad with marshmallows. And she's saying

893
00:43:24,800 --> 00:43:27,320
Speaker 3: the ambrosia the fact that that's part of her memory

894
00:43:27,640 --> 00:43:30,400
Speaker 3: and the part of her and it's important. So I

895
00:43:30,480 --> 00:43:33,520
Speaker 3: say to her when I go, please say ambrosia. You know,

896
00:43:33,560 --> 00:43:36,680
Speaker 3: I get stuck on words. Keep saying ambrosia. Keep saying

897
00:43:36,680 --> 00:43:38,759
Speaker 3: ambrosia as much as you can. And then when it

898
00:43:38,800 --> 00:43:42,040
Speaker 3: comes to the uncles coming to the house, that's the

899
00:43:42,040 --> 00:43:43,600
Speaker 3: way they get her in the back.

900
00:43:43,400 --> 00:43:45,280
Speaker 2: Room to work with her.

901
00:43:45,280 --> 00:43:48,040
Speaker 3: And she says they're going to help her with her

902
00:43:48,080 --> 00:43:51,560
Speaker 3: ambrosia recipe. And then she adds, so we went back

903
00:43:51,560 --> 00:43:55,359
Speaker 3: to the back bedroom. This is why I'm saying she's son.

904
00:43:55,760 --> 00:44:00,760
Speaker 1: And they were avuncular and bickering, which is now Lorraine.

905
00:44:00,800 --> 00:44:03,160
Speaker 1: Let me say about Lorraine. Lorraine was one of the

906
00:44:03,200 --> 00:44:05,440
Speaker 1: founders of the ground Links.

907
00:44:05,160 --> 00:44:05,720
Speaker 2: Right, so.

908
00:44:07,280 --> 00:44:09,719
Speaker 3: Just like the la version of Second City.

909
00:44:09,640 --> 00:44:13,960
Speaker 1: Of Second City. So she's an extremely experienced improviser. But

910
00:44:14,000 --> 00:44:17,920
Speaker 1: if you just watch that monologue and the detail that

911
00:44:17,960 --> 00:44:21,480
Speaker 1: she uses in the monologue is it shows the brilliance

912
00:44:21,520 --> 00:44:22,800
Speaker 1: of her Improphositiontorial.

913
00:44:23,120 --> 00:44:25,799
Speaker 3: I look at that monologue and I go, that's the standard.

914
00:44:26,160 --> 00:44:28,880
Speaker 3: That's what every improviser when they do a monologue should

915
00:44:28,960 --> 00:44:32,640
Speaker 3: look to, because it doesn't. I can't imagine doing a

916
00:44:32,640 --> 00:44:37,160
Speaker 3: better improvised monologue than that. It's so specific and so

917
00:44:37,960 --> 00:44:43,360
Speaker 3: but what she's describing is pure insanity. Ambrosia's salad uncle.

918
00:44:43,640 --> 00:44:46,040
Speaker 3: They didn't get along, but they were getting along there

919
00:44:46,280 --> 00:44:48,640
Speaker 3: and then arguing who's going to be lookout? But she

920
00:44:48,719 --> 00:44:51,799
Speaker 3: didn't say this at all negatively, so I'm not saying

921
00:44:51,840 --> 00:44:53,600
Speaker 3: she didn't feel that way, but it was insane.

922
00:44:54,200 --> 00:44:57,240
Speaker 1: And then after Wendy does her monologue, we go to Trudy,

923
00:44:57,239 --> 00:44:58,440
Speaker 1: who's also hilarious.

924
00:44:58,680 --> 00:45:02,120
Speaker 2: Who you know what she does there, you're not there's

925
00:45:02,480 --> 00:45:03,440
Speaker 2: very funny.

926
00:45:03,640 --> 00:45:07,960
Speaker 1: And then they come to Larry and Larry says his

927
00:45:08,080 --> 00:45:08,920
Speaker 1: name is Todd.

928
00:45:09,760 --> 00:45:14,080
Speaker 3: Wait wait. The setup for this though, is yes, everything

929
00:45:14,120 --> 00:45:17,839
Speaker 3: that's occurred before, but in that moment when they come

930
00:45:17,880 --> 00:45:21,120
Speaker 3: to him and ask him to share, there's a good

931
00:45:21,600 --> 00:45:25,719
Speaker 3: twenty seconds of him in terror. What am I going

932
00:45:25,800 --> 00:45:28,759
Speaker 3: to talk about? So when he opens up with I'm

933
00:45:28,840 --> 00:45:30,800
Speaker 3: Larry and I'm incest survivor.

934
00:45:30,440 --> 00:45:32,840
Speaker 2: That Todd toddry Todd.

935
00:45:33,120 --> 00:45:35,600
Speaker 3: And by the way, the choice of Todd is so

936
00:45:35,960 --> 00:45:40,040
Speaker 3: fucking funny. I'm Todd and I'm an incest survivor. That

937
00:45:40,120 --> 00:45:43,480
Speaker 3: becomes hysterical beyond belief because he set it up. Then

938
00:45:43,520 --> 00:45:46,160
Speaker 3: he added the name Todd, and it's all there to

939
00:45:46,320 --> 00:45:48,880
Speaker 3: laugh at. And then his story.

940
00:45:48,760 --> 00:45:57,200
Speaker 4: My name is Todd and I'm an incest survivor. Hello,

941
00:46:00,080 --> 00:46:05,319
Speaker 4: sex with my uncle when I was twelve. He lived

942
00:46:05,320 --> 00:46:10,880
Speaker 4: in Great Neck. He was a doctor osteopath.

943
00:46:13,239 --> 00:46:14,080
Speaker 5: I don't even know what.

944
00:46:13,960 --> 00:46:16,959
Speaker 3: They do, but I know their doctor.

945
00:46:18,120 --> 00:46:19,240
Speaker 2: Something to do with muscles.

946
00:46:19,239 --> 00:46:19,439
Speaker 3: Side.

947
00:46:19,680 --> 00:46:23,080
Speaker 5: That's not that you know that.

948
00:46:23,960 --> 00:46:27,520
Speaker 1: And then later on he's in bed with Cheryl and

949
00:46:27,600 --> 00:46:29,680
Speaker 1: Cheryl asks him, how come you broke up with her

950
00:46:29,760 --> 00:46:33,759
Speaker 1: about Lucy, And of course that becomes a whole thing

951
00:46:33,840 --> 00:46:37,319
Speaker 1: that that Cheryl doesn't Larry says he broke up with her,

952
00:46:37,400 --> 00:46:39,520
Speaker 1: and Cheryl doesn't believe it for one iota that he

953
00:46:39,560 --> 00:46:41,200
Speaker 1: broke up with her and that she didn't break up

954
00:46:41,200 --> 00:46:43,840
Speaker 1: with him. They're in bed and Cheryl starts reading a

955
00:46:43,880 --> 00:46:47,719
Speaker 1: sexy erotic part from the Vagina Monologue that she's reading it,

956
00:46:47,880 --> 00:46:51,080
Speaker 1: and so then Larry gets a little turned on and

957
00:46:51,120 --> 00:46:53,799
Speaker 1: he starts initiating, but she doesn't want to.

958
00:46:54,360 --> 00:46:56,359
Speaker 3: She's scrap I don't know if that is that part

959
00:46:56,360 --> 00:46:58,319
Speaker 3: of the real monologue or did.

960
00:46:58,080 --> 00:47:00,960
Speaker 1: Larry make that was the exit? That wasn't exact monologue

961
00:47:01,080 --> 00:47:03,399
Speaker 1: that was exactly that's like.

962
00:47:03,400 --> 00:47:06,439
Speaker 3: A Penthouse Forum type thing.

963
00:47:06,640 --> 00:47:09,160
Speaker 1: Well it was actually not in the context because actually

964
00:47:09,160 --> 00:47:11,040
Speaker 1: a young girl and it was a lesbian thing.

965
00:47:11,360 --> 00:47:13,520
Speaker 2: So well that's Penthouse Forum, isn't it?

966
00:47:15,160 --> 00:47:18,160
Speaker 3: The theater get enough lesbian things?

967
00:47:18,400 --> 00:47:22,400
Speaker 1: Yeah, so Larry starts initiating forget about it. Then she

968
00:47:22,520 --> 00:47:25,400
Speaker 1: needs a ride to go meet with the director, so

969
00:47:25,520 --> 00:47:28,279
Speaker 1: Larry gives her a ride. Again, no uber, you know,

970
00:47:28,320 --> 00:47:30,960
Speaker 1: it's a completely different world. And they're they're sitting in

971
00:47:30,960 --> 00:47:34,080
Speaker 1: the office for the director. Larry's carrying on about a

972
00:47:34,120 --> 00:47:38,360
Speaker 1: world without pillows, you know, just some silly, ridiculous thing, which.

973
00:47:38,120 --> 00:47:40,920
Speaker 3: By the way, I watched that and I thought, as

974
00:47:41,040 --> 00:47:43,319
Speaker 3: much as the absurdism I do, and how often do

975
00:47:43,360 --> 00:47:44,000
Speaker 3: I ask questions?

976
00:47:44,000 --> 00:47:44,399
Speaker 2: Why leave?

977
00:47:45,800 --> 00:47:48,160
Speaker 3: You know? And I know not why I leave that? In?

978
00:47:48,520 --> 00:47:51,080
Speaker 3: Who the fuck thinks of that? That's all It's kind

979
00:47:51,080 --> 00:47:52,759
Speaker 3: of been cut, But I also liked it.

980
00:47:53,000 --> 00:47:56,640
Speaker 1: Yeah, And then the director enters and lo and behold

981
00:47:56,960 --> 00:48:00,239
Speaker 1: who is the director but Wendy the incess serve iver

982
00:48:00,760 --> 00:48:03,759
Speaker 1: played by Lorraine Newman, And she looks at Larry and

983
00:48:03,800 --> 00:48:04,520
Speaker 1: she says.

984
00:48:04,480 --> 00:48:07,640
Speaker 6: I saw you in a production of Company. Oh my god,

985
00:48:08,920 --> 00:48:11,280
Speaker 6: your station. Thank you, Todd.

986
00:48:13,800 --> 00:48:20,279
Speaker 5: What are you doing here? It's Larry.

987
00:48:20,480 --> 00:48:23,120
Speaker 2: Wait, you guys know each other.

988
00:48:23,400 --> 00:48:25,480
Speaker 6: Oh well, we can't talk about it.

989
00:48:26,440 --> 00:48:32,200
Speaker 2: Todd, which makes it all See.

990
00:48:32,239 --> 00:48:35,960
Speaker 3: Everything after that is icing on the cake, because literally,

991
00:48:35,960 --> 00:48:39,160
Speaker 3: if we wanted to, we could have cut with her

992
00:48:39,200 --> 00:48:40,279
Speaker 3: saying Toddy.

993
00:48:40,320 --> 00:48:43,360
Speaker 2: Yeah, but that was great. Now I have the teasing

994
00:48:43,400 --> 00:48:46,400
Speaker 2: reading dog fancy. Now I have dog fancy, So I

995
00:48:46,440 --> 00:48:48,399
Speaker 2: don't know what I wrote do fancy too.

996
00:48:48,680 --> 00:48:51,440
Speaker 3: But that's also Loraine Newman saying we met at a

997
00:48:51,480 --> 00:48:52,920
Speaker 3: news stand and he laughed at me.

998
00:48:53,160 --> 00:48:54,719
Speaker 2: That's right, that's what it is.

999
00:48:54,640 --> 00:48:58,080
Speaker 3: For reading dog fancy. And then uh, there was some

1000
00:48:58,160 --> 00:49:01,799
Speaker 3: reference to why he called her Todd. Oh, I said

1001
00:49:01,800 --> 00:49:03,920
Speaker 3: his name was She said that, he said that was

1002
00:49:03,960 --> 00:49:07,320
Speaker 3: his name. And then Cheryl obviously is very concerned.

1003
00:49:07,960 --> 00:49:12,160
Speaker 1: And this is when Cheryl gets confrontational. Finally gets confrontational

1004
00:49:12,200 --> 00:49:14,120
Speaker 1: and she storms out, and I don't know.

1005
00:49:14,560 --> 00:49:21,000
Speaker 3: There skipping, you're skipping hold on. Larry David says, sometimes

1006
00:49:21,360 --> 00:49:24,479
Speaker 3: he gets sick of his name, so he goes to

1007
00:49:24,480 --> 00:49:26,960
Speaker 3: Todd and then he goes I use other names like

1008
00:49:27,200 --> 00:49:30,000
Speaker 3: Thor and Toby Gee. I wonder who told him to

1009
00:49:30,080 --> 00:49:32,840
Speaker 3: use Thor and Toby. Those are from my thing. But

1010
00:49:33,120 --> 00:49:36,279
Speaker 3: whenever I see that now in the earlier stuff, it's like, oh,

1011
00:49:36,320 --> 00:49:38,440
Speaker 3: of course he's saying, I had to have told him

1012
00:49:38,560 --> 00:49:41,760
Speaker 3: used Thor and Toby, which whenever he does, brings great joy.

1013
00:49:42,400 --> 00:49:46,120
Speaker 3: But also when they leave the office she storms out.

1014
00:49:46,320 --> 00:49:50,080
Speaker 3: Lorraine Newman says to him, you can't tell anyone about this,

1015
00:49:50,160 --> 00:49:50,640
Speaker 3: you know.

1016
00:49:50,680 --> 00:49:52,440
Speaker 2: You can't tell anyone.

1017
00:49:51,640 --> 00:49:54,640
Speaker 3: And then we cut took.

1018
00:49:54,360 --> 00:49:55,640
Speaker 2: To Larry telling her everything.

1019
00:49:55,800 --> 00:49:59,040
Speaker 1: She fucked, the uncle, then the grandfather fox her, then

1020
00:49:59,080 --> 00:50:00,000
Speaker 1: the step of the te.

1021
00:50:00,239 --> 00:50:02,640
Speaker 2: Just spilling Larry everything.

1022
00:50:02,760 --> 00:50:05,359
Speaker 3: I remember trying to get Larry to say the word

1023
00:50:05,400 --> 00:50:08,680
Speaker 3: ambrosia in his recap, just saying, yeah, he didn't want

1024
00:50:08,719 --> 00:50:09,840
Speaker 3: to know.

1025
00:50:09,920 --> 00:50:12,000
Speaker 2: He's like, it was nothing. I would never betray you.

1026
00:50:12,040 --> 00:50:16,040
Speaker 1: And I understand why Cheryl's nonplussed and feels threatened in

1027
00:50:16,080 --> 00:50:17,640
Speaker 1: this way, and what the hell is going on is

1028
00:50:17,719 --> 00:50:20,919
Speaker 1: using a false name and the ex girlfriend, Yes, there's

1029
00:50:20,920 --> 00:50:23,640
Speaker 1: a lot going on there, and as.

1030
00:50:23,480 --> 00:50:27,520
Speaker 3: Should be, is very understanding, and she calls it.

1031
00:50:27,840 --> 00:50:30,840
Speaker 1: She calls Wendy and and oh and Cheryl. But the

1032
00:50:31,400 --> 00:50:34,040
Speaker 1: thing that we forgot was that Cheryl quit. When Cheryl

1033
00:50:34,080 --> 00:50:38,560
Speaker 1: storms out, She quits.

1034
00:50:36,640 --> 00:50:40,200
Speaker 3: Says, I can't do the show because clearly Larry. She's

1035
00:50:40,200 --> 00:50:42,959
Speaker 3: thinking Larry's of the Tharios two women.

1036
00:50:43,080 --> 00:50:44,640
Speaker 2: That's right, Yes, that's right.

1037
00:50:44,960 --> 00:50:48,200
Speaker 1: And when Cheryl calls Wendy, she says, well, he told

1038
00:50:48,239 --> 00:50:50,799
Speaker 1: me it was all about Gambler's anonymous and that he

1039
00:50:50,880 --> 00:50:54,239
Speaker 1: has a gambling problem, nothing about incest, et cetera. But

1040
00:50:54,320 --> 00:50:58,120
Speaker 1: apparently the part has already been recast that quickly with

1041
00:50:58,239 --> 00:51:03,439
Speaker 1: Lucy Montone, courtesy of Jeff, his manager, right, And then

1042
00:51:03,560 --> 00:51:07,320
Speaker 1: we cut to Jeff in the hotel room with something

1043
00:51:07,400 --> 00:51:08,920
Speaker 1: working this Scotch hold on.

1044
00:51:08,960 --> 00:51:12,200
Speaker 3: I had some written down that and maybe I don't

1045
00:51:12,239 --> 00:51:16,480
Speaker 3: know when this was, but somebody was asking Lorraine what

1046
00:51:16,680 --> 00:51:19,680
Speaker 3: she did before or something about that, and she said

1047
00:51:19,719 --> 00:51:23,120
Speaker 3: she appeared on the New Dark Shadows and Rock.

1048
00:51:22,920 --> 00:51:24,839
Speaker 2: Cop, which I don't remember that.

1049
00:51:24,920 --> 00:51:29,160
Speaker 3: Yeah, why of course, and I did not. I'm sure

1050
00:51:29,200 --> 00:51:30,960
Speaker 3: I gave well, now I don't know that I gave

1051
00:51:30,960 --> 00:51:34,080
Speaker 3: her New dark Shadows, as I often mentioned dark Shadows,

1052
00:51:34,200 --> 00:51:36,359
Speaker 3: but rock Cop I know I didn't say to her.

1053
00:51:36,480 --> 00:51:39,879
Speaker 3: So New Dark Shadows and Rock Cop is fucking hysterical

1054
00:51:40,200 --> 00:51:42,200
Speaker 3: to be on her resume. And I don't know where

1055
00:51:42,239 --> 00:51:44,399
Speaker 3: that came up. I forgot, but I wrote it down.

1056
00:51:44,600 --> 00:51:46,799
Speaker 1: So you're in a hotel room with Lucy. You pour

1057
00:51:46,880 --> 00:51:49,200
Speaker 1: the scotch and you say, here's to the vagina.

1058
00:51:49,320 --> 00:51:50,200
Speaker 2: So you got Lucy.

1059
00:51:50,400 --> 00:51:53,920
Speaker 3: She says give monologues and then they say, here's to

1060
00:51:53,960 --> 00:51:54,520
Speaker 3: the vagina.

1061
00:51:54,680 --> 00:51:57,399
Speaker 1: And I clearly once you knew that that Cheryl quit,

1062
00:51:57,680 --> 00:52:00,440
Speaker 1: then you you immediately called Lucy because you knew that

1063
00:52:00,520 --> 00:52:04,959
Speaker 1: was your in to many things and gave her guy.

1064
00:52:05,040 --> 00:52:08,000
Speaker 3: By the way, give not know that she was an

1065
00:52:08,000 --> 00:52:08,880
Speaker 3: incest survivor.

1066
00:52:09,120 --> 00:52:11,120
Speaker 2: No, no, no, you didn't know that. You didn't know that.

1067
00:52:11,360 --> 00:52:14,160
Speaker 3: Yeah. Also, here's the bit of trivia. As far as

1068
00:52:14,280 --> 00:52:16,840
Speaker 3: I know, this is because I remember it being strange

1069
00:52:16,840 --> 00:52:18,960
Speaker 3: when I did it. This is the first scene that

1070
00:52:19,000 --> 00:52:21,399
Speaker 3: we filmed that Larry David wasn't in. Can you think

1071
00:52:21,440 --> 00:52:24,720
Speaker 3: of one earlier that I missed, because, as I believe,

1072
00:52:24,800 --> 00:52:28,120
Speaker 3: because I remember feeling strange that he wasn't in this one,

1073
00:52:28,160 --> 00:52:30,200
Speaker 3: it stood out to me and I didn't remember that

1074
00:52:30,239 --> 00:52:32,839
Speaker 3: from many past seasons. So this could very well be

1075
00:52:33,120 --> 00:52:36,239
Speaker 3: the first time Larry David's not on camera, which now

1076
00:52:36,680 --> 00:52:40,160
Speaker 3: happens a lot more often that it did then it did.

1077
00:52:40,200 --> 00:52:42,040
Speaker 1: Then he was in every which is exhausted still in

1078
00:52:42,120 --> 00:52:44,400
Speaker 1: a lot, but there are scenes where he's not well.

1079
00:52:44,480 --> 00:52:47,560
Speaker 3: This one stood out because it was the last episode

1080
00:52:47,560 --> 00:52:49,920
Speaker 3: of the season before it happened, where it was a

1081
00:52:49,960 --> 00:52:51,120
Speaker 3: scene that he wasn't in.

1082
00:52:51,760 --> 00:52:54,879
Speaker 1: Okay, Then we cut back to their house and Uncle

1083
00:52:54,960 --> 00:52:59,480
Speaker 1: Nathan arrives. Who is Alan Arbis, who formally married to

1084
00:52:59,520 --> 00:53:00,920
Speaker 1: Diana or Arbis.

1085
00:53:00,680 --> 00:53:03,960
Speaker 3: Yes the time, and also Allan Arbis was in so

1086
00:53:04,200 --> 00:53:06,840
Speaker 3: many of my favorite nineteen seventies films.

1087
00:53:07,120 --> 00:53:10,040
Speaker 2: Yeah, he was a working character actor, worked on all the.

1088
00:53:09,960 --> 00:53:13,800
Speaker 7: Working character but in great movies. Yeah, in great movies,

1089
00:53:14,040 --> 00:53:16,920
Speaker 7: always great. But was married to Diane Arbis. I actually

1090
00:53:16,960 --> 00:53:20,520
Speaker 7: looked that up and I didn't know that. And he describes, oh,

1091
00:53:20,640 --> 00:53:23,320
Speaker 7: I just saw a car. Her name originally was Diane

1092
00:53:23,360 --> 00:53:25,200
Speaker 7: schwartz Is that married.

1093
00:53:25,640 --> 00:53:28,800
Speaker 1: Diane Arbis has a better ring to it. But anyway,

1094
00:53:28,640 --> 00:53:32,120
Speaker 1: so Uncle Nathan enters, and of course we knew from

1095
00:53:32,120 --> 00:53:35,120
Speaker 1: way back in the first scene Uncle Nathan was coming,

1096
00:53:35,120 --> 00:53:37,280
Speaker 1: and now here in the very end he finally shows

1097
00:53:37,360 --> 00:53:39,400
Speaker 1: up and he describes, Oh, I'm sorry, I'm late. I

1098
00:53:39,440 --> 00:53:42,319
Speaker 1: just saw a car accident. A jazzy woman and a

1099
00:53:42,320 --> 00:53:44,880
Speaker 1: big fat guy in a fifty seven Chevy and they

1100
00:53:44,920 --> 00:53:48,120
Speaker 1: were drunk, and previously we had seen Jeff and Lucy

1101
00:53:48,560 --> 00:53:50,719
Speaker 1: drinking the blue label.

1102
00:53:50,440 --> 00:53:53,279
Speaker 3: Sund By the way, what Allen arbis, do you say

1103
00:53:53,320 --> 00:53:55,680
Speaker 3: to describe me extremely fat?

1104
00:53:55,880 --> 00:53:58,080
Speaker 1: Yes, he says, A big fat guy in a fifty

1105
00:53:58,120 --> 00:53:58,840
Speaker 1: seven Chevy.

1106
00:53:59,080 --> 00:54:02,399
Speaker 3: Right, that's three times this episode.

1107
00:54:02,400 --> 00:54:03,080
Speaker 2: So now we know.

1108
00:54:03,160 --> 00:54:05,120
Speaker 1: And I wasn't even in it, Jeff and I wasn't

1109
00:54:05,160 --> 00:54:08,360
Speaker 1: even in it, And so now we figure out obviously

1110
00:54:08,440 --> 00:54:10,840
Speaker 1: that was Jeff and Lucy that got in a car accident.

1111
00:54:11,320 --> 00:54:15,080
Speaker 1: Lucy can no longer do the vagina monologus. Cut to backstage.

1112
00:54:15,120 --> 00:54:19,160
Speaker 1: There's Cheryl alpha pitste which is a Yiddish term meaning

1113
00:54:19,280 --> 00:54:22,200
Speaker 1: all made up and getting ready to go on stage.

1114
00:54:22,360 --> 00:54:23,360
Speaker 6: Cheryl is now doing the.

1115
00:54:23,400 --> 00:54:28,120
Speaker 1: Vagina monologues and Larry is backstage with Uncle Nathan, and

1116
00:54:28,280 --> 00:54:33,160
Speaker 1: the director comes in and Larry introduces Uncle Nathan to

1117
00:54:33,280 --> 00:54:36,640
Speaker 1: Wendy and says, this is my uncle, and Wendy says,

1118
00:54:36,960 --> 00:54:40,440
Speaker 1: the osteopath, And of course we know from the incest

1119
00:54:40,560 --> 00:54:43,320
Speaker 1: he had said that he was molested by his uncle,

1120
00:54:43,400 --> 00:54:47,759
Speaker 1: the osteopath, and Wendy goes crazy, and that's the end.

1121
00:54:48,880 --> 00:54:51,080
Speaker 3: And by the way, this is the first time that

1122
00:54:51,600 --> 00:54:55,200
Speaker 3: Laray Newman's character loses her shit. Yeah, because in the

1123
00:54:55,239 --> 00:54:58,520
Speaker 3: meeting she's all all calm and but it shows you

1124
00:54:58,560 --> 00:55:01,520
Speaker 3: that how the deep the out rages yea and so.

1125
00:55:02,320 --> 00:55:04,840
Speaker 3: And by the way, Alan, I could it be better

1126
00:55:04,960 --> 00:55:08,319
Speaker 3: cast than Alan Arbis because when he's walking out, he's

1127
00:55:08,320 --> 00:55:11,120
Speaker 3: still confused and smiling. He doesn't know what's going on.

1128
00:55:11,360 --> 00:55:14,239
Speaker 3: And then the last line of the episode is I'll

1129
00:55:14,239 --> 00:55:16,600
Speaker 3: meet you in the parking lot after the play.

1130
00:55:16,920 --> 00:55:20,120
Speaker 1: Yeah, yeah, and then it's over. I think it's a

1131
00:55:20,120 --> 00:55:22,279
Speaker 1: great episode. It's a very compact.

1132
00:55:22,600 --> 00:55:26,719
Speaker 3: I think it's fantastic episode. There's a consistency, Like I

1133
00:55:26,760 --> 00:55:30,239
Speaker 3: think the last two episodes were the best of the season. Yes,

1134
00:55:30,280 --> 00:55:34,319
Speaker 3: I know Beloved Aunt is popular and should be and

1135
00:55:34,400 --> 00:55:36,800
Speaker 3: funny because that premise you cannot ignore.

1136
00:55:37,120 --> 00:55:38,279
Speaker 2: Yeah, and then.

1137
00:55:38,640 --> 00:55:44,320
Speaker 3: Obviously the Glasses and the Wayne Fetterman episode. Why yes,

1138
00:55:44,880 --> 00:55:47,759
Speaker 3: I think those are both great and I think that

1139
00:55:48,000 --> 00:55:52,920
Speaker 3: they're pointing to the future. But these two are the future.

1140
00:55:52,960 --> 00:55:56,360
Speaker 3: We've reached the future at episode nine and ten, not

1141
00:55:56,480 --> 00:55:59,000
Speaker 3: the end of the future. We always developed or became.

1142
00:55:59,400 --> 00:56:02,520
Speaker 3: Our show came something else from what it was, and

1143
00:56:02,560 --> 00:56:06,799
Speaker 3: I'll explain that later. It's now a totally different it's totally.

1144
00:56:08,000 --> 00:56:10,600
Speaker 1: So interesting, you know, since this is episode ten and

1145
00:56:10,640 --> 00:56:13,399
Speaker 1: we could wrap up this season season one. I mean,

1146
00:56:13,440 --> 00:56:16,520
Speaker 1: I really think you saw the development of what this

1147
00:56:16,640 --> 00:56:19,040
Speaker 1: show was going to be and how it became that

1148
00:56:19,520 --> 00:56:20,560
Speaker 1: you saw the end, which.

1149
00:56:20,400 --> 00:56:23,480
Speaker 3: Is very interesting when you can look back on it,

1150
00:56:23,560 --> 00:56:26,759
Speaker 3: like I watch I just got done watching the first

1151
00:56:26,800 --> 00:56:29,960
Speaker 3: season of the Andy Griffiths Show, and you see as

1152
00:56:30,000 --> 00:56:32,960
Speaker 3: it goes along what it becomes. It became what it

1153
00:56:33,000 --> 00:56:36,560
Speaker 3: became very quickly, basically because of Don Knots. And now

1154
00:56:36,600 --> 00:56:40,399
Speaker 3: I'm currently watching the marytider Moore Show and it's fascinating

1155
00:56:40,440 --> 00:56:44,160
Speaker 3: to watch that developed from where it was and the characters.

1156
00:56:44,360 --> 00:56:47,160
Speaker 3: By the way, when you do something in a show

1157
00:56:47,680 --> 00:56:50,720
Speaker 3: that's proven later on not to work, I think every

1158
00:56:50,719 --> 00:56:53,239
Speaker 3: show and we've done that, like with you being being

1159
00:56:53,360 --> 00:56:57,920
Speaker 3: pregnant and all that stuff, or the restaurant the next season,

1160
00:56:58,080 --> 00:57:01,480
Speaker 3: there's no much of it that you just drop it. Yeah,

1161
00:57:01,560 --> 00:57:04,120
Speaker 3: and shows him be doing That's one thing I'll say,

1162
00:57:04,440 --> 00:57:07,040
Speaker 3: long before us, it shows him been doing that forever,

1163
00:57:07,280 --> 00:57:11,360
Speaker 3: you know, even looking at the Seinfeldt pilot whatever, you

1164
00:57:11,400 --> 00:57:15,520
Speaker 3: know that you'd make the changes and yeah.

1165
00:57:14,960 --> 00:57:18,640
Speaker 1: So for you, Curb Officionados, I hope this season one

1166
00:57:18,640 --> 00:57:23,840
Speaker 1: has been an interesting look back to how future seasons developed,

1167
00:57:24,200 --> 00:57:25,640
Speaker 1: and we'll see you next time, right.

1168
00:57:25,600 --> 00:57:28,880
Speaker 3: Jeff, Who doesn't love a good look back? Young people

1169
00:57:28,920 --> 00:57:34,920
Speaker 3: love it especially and older people. Actually people look back then.

1170
00:57:34,960 --> 00:57:37,880
Speaker 3: Young people do not look back. But I always say

1171
00:57:37,880 --> 00:57:40,520
Speaker 3: who and the young people. That's one of my stupid

1172
00:57:40,560 --> 00:57:43,360
Speaker 3: things that I annoy Susie with that I annoy Larry

1173
00:57:43,360 --> 00:57:45,840
Speaker 3: with blankety blank young people.

1174
00:57:46,120 --> 00:57:47,040
Speaker 2: Goodbye, everybody.

1175
00:57:47,040 --> 00:57:50,360
Speaker 1: We'll see it for season two very soon, well right away.

1176
00:57:50,720 --> 00:57:54,320
Speaker 3: The next episode will be season two. There's no break,

1177
00:57:54,720 --> 00:57:57,120
Speaker 3: so we'll see you then. Boy, I have to say,

1178
00:57:57,560 --> 00:58:00,400
Speaker 3: our endings are pretty lame. Now leave it on, don't

1179
00:58:00,400 --> 00:58:04,840
Speaker 3: stop recordings, dings. They don't have to be grand or hysterical,

1180
00:58:05,400 --> 00:58:06,720
Speaker 3: but they're are, all right.

1181
00:58:07,240 --> 00:58:10,120
Speaker 2: No, endings are very hard, and a script is the

1182
00:58:10,160 --> 00:58:10,960
Speaker 2: hardest thing.

1183
00:58:11,240 --> 00:58:16,040
Speaker 3: Okay, but I think we need more of a Hey, No,

1184
00:58:16,160 --> 00:58:17,520
Speaker 3: we got the music coming on.

1185
00:58:19,120 --> 00:58:20,400
Speaker 2: Now, are you right?

1186
00:58:20,480 --> 00:58:24,800
Speaker 3: I'm going to Clippers tonight. I'm taking Duke. It's very exciting.

1187
00:58:24,840 --> 00:58:25,200
Speaker 1: All right.

1188
00:58:25,520 --> 00:58:29,160
Speaker 3: We will see you very shortly to begin season two.

1189
00:58:31,240 --> 00:58:34,560
Speaker 2: The history of Carver Enthusiasm is the production of iHeart Radio.

1190
00:58:34,680 --> 00:58:37,360
Speaker 2: For more podcasts from iHeart Radio, visit

1191
00:58:37,440 --> 00:58:40,800
Speaker 1: The iHeart Radio app Apple Podcasts or wherever you listen

1192
00:58:40,840 --> 00:58:41,760
Speaker 1: to your favorite shows.