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

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

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Speaker 1: watch You're watching Podlandia.

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Speaker 2: Hello, I'm Keri.

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Speaker 1: I'm Fred.

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Speaker 2: And this is AO Rewatch.

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Speaker 1: A Portlandia Rewatch podcast.

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Speaker 2: Just so everyone knows, we are at the episode where

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Speaker 2: we finally get to explain where AO comes from. But

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Speaker 2: this is the premiere episode of season two.

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Speaker 1: Right. And if you're going by Netflix, there's a Brunch

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Speaker 1: Village episode that they've sort of put before this.

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Speaker 2: Yes. But when they originally aired.

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Speaker 1: This was the beginning of the season.

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Speaker 2: Yeah. Mixologist was the first episode of season two.

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Speaker 1: Yeah.

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Speaker 2: So that's what we're going to talk about.

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Speaker 1: Second season, we're really... We've dialed in what the show

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Speaker 1: is going to be.

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Speaker 2: That's how it feels to me. I remember thinking that

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Speaker 2: at the time. I think that when I.

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Speaker 2: Look back on Portlandia just when people talk to me

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Speaker 2: about it or when I'm just kind of assessing it

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Speaker 2: as a whole to me season two I'm like okay

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Speaker 2: we it might be one of my favorite seasons some

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Speaker 2: of my favorite sketches but I agree it feels like

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Speaker 2: we locked in and you can really see some of

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Speaker 2: the things we were working out in season one that

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Speaker 2: still felt a little bit inchoate and kind of just

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Speaker 2: halfway there, like it's just clicking.

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Speaker 1: Yeah.

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Speaker 3: Yeah.

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Speaker 2: Um, and so it's, I'm excited to start talking about

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Speaker 2: this season. I'm not as trapped. There was some in

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Speaker 2: season one where I was like, I had like a

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Speaker 2: little trepidation because I just, I remember at the time

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Speaker 2: feeling like, Oh, this didn't work or that didn't work

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Speaker 2: or like, Um, you know, just something that we, we

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Speaker 2: talked about a little bit, like what is the show?

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Speaker 2: We were still figuring it out. Like there'd be times

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Speaker 2: where you'd be like, Oh, this is a sketch. I

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Speaker 2: was going to pitch on SNL and I'm just going

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Speaker 2: to bring this one here.

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Speaker 1: Yeah.

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Speaker 2: Which is totally normal at the time. But then later

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Speaker 2: we would never, like Portland was so its own thing.

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Speaker 2: You would never be like, Oh, here's, you wouldn't pitch

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Speaker 2: it to the same place. Right.

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Speaker 1: Yeah.

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Speaker 3: And I feel like the characters we've figured out, Yes,

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Speaker 3: and we get to bring back our favorite characters and

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Speaker 3: build on them and build out their world and their relationship.

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Speaker 2: And that was very fun to do. And we talked

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Speaker 2: about this a little bit on another episode of the podcast,

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Speaker 2: but it was really nice to write for certain characters

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Speaker 2: and have an idea and know, oh, this phenomenon would

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Speaker 2: align really well with this duo.

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Speaker 1: And now we have a proper writer's room.

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Speaker 2: We have a proper writer's room. Wait, remind me, season two,

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Speaker 2: are we out in the Paramount lot? That's season three.

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Speaker 2: Season two... I thought we.

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Speaker 1: Were already in Portland for this one. Am I crazy?

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Speaker 2: I thought we always started in L.A.

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Speaker 1: We would start there and then continue the writing process in.

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Speaker 2: In Portland.

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Speaker 1: In Portland.

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Speaker 2: But where were we in L.A. at this time?

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Speaker 1: This is.

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Speaker 1: We were not at that Universal lot anymore.

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Speaker 2: Yeah, nor were we at... This is not the Chelsea

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Speaker 2: Pretty year. That's the other.

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Speaker 1: Yeah, I'm not sure.

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Speaker 2: Gosh.

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Speaker 1: Was it the house we rented in Silver Lake? That's later.

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Speaker 2: That's later. Wow. This is so factual, this podcast.

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Speaker 1: Gosh. But Carrie Dornetto, I think, has joined us.

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Speaker 2: Carrie Dornetto, who ends up writing with us for the rest...

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Speaker 2: Of Portlandia.

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Speaker 1: Yeah.

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Speaker 2: And is a dear friend. Big fans of hers. She

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Speaker 2: brings a wonderful sensibility. She's goofy. She's smart. She really

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Speaker 2: laughs in the room too. Yeah. Which is nice when

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Speaker 2: you're pitching.

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Speaker 1: Yes.

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Speaker 2: She's got a good laugh. Pitching is really like scary.

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Speaker 1: Yeah.

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Speaker 2: Just putting it out there like it's very vulnerable.

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Speaker 1: Yeah.

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Speaker 2: You know, like it's, it's an, it's an act of vulnerability.

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Speaker 2: Like you, you know, you're out in the world, you're

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Speaker 2: thinking about things, you're taking notes. You may, you might

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Speaker 2: read something or see something or have, you know, experienced

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Speaker 2: something and you're like, ah, this is a good pitch.

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Speaker 2: This is a good idea for the show. And it's

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Speaker 2: more nerve wracking than you'd think, even for people who

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Speaker 2: have done it a lot to just bring up an

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Speaker 2: idea and cold and have people not react.

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Speaker 1: Sometimes as you're talking, or sometimes I remember as this

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Speaker 1: idea seems so fully formed in my head, as the

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Speaker 1: words come out of my mouth, it's nonsense. This is

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Speaker 1: not an idea. This is just a feeling of some kind.

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Speaker 3: Yeah.

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Speaker 2: I will say we had a great group of people,

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Speaker 2: very supportive and good at being able to just kind

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Speaker 2: of be like, Whatever, without making it personal. I do

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Speaker 2: feel like we entertained things momentarily or at least just,

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Speaker 2: you know, no one was negative or like derisive towards

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Speaker 2: someone else at all. It's just, but you feel energetically like,

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Speaker 2: you know, it die.

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Speaker 1: Oh yeah. Or like you're wasting everyone's time.

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Speaker 2: Yeah, exactly. And often when you have to keep explaining something,

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Speaker 2: that's when you know it's bad.

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Speaker 1: That's when you know it's bad.

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Speaker 2: Yeah.

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Speaker 1: I I'm remembering a pitch that I had towards the

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Speaker 1: end of the run. Okay. And I was so sure

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Speaker 1: of it. Okay. And I, it was not, it's not

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Speaker 1: an idea, but I'm just going to, this is the

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Speaker 1: feeling of like when it's something dies in the room

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Speaker 1: here in LA, if you go drive around Burbank, sometimes

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Speaker 1: there are like lonely main streets, like a main street somewhere.

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Speaker 1: And there'll be like, I guess a night, not even

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Speaker 1: a nightclub, just a sort of social, not a bar,

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Speaker 1: just a sort of banquet hall.

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Speaker 3: Okay.

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Speaker 1: There'll be like a neon light around it. And I

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Speaker 1: think that if I stand in front of it, that's

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Speaker 1: the loneliest place you could ever be. There's something lonely

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Speaker 1: about being in front of a place like that. And

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Speaker 1: I don't want to go in, but you know, and

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Speaker 1: that's what I pitched as an idea for a sketch.

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Speaker 1: I was like, what's the loneliest place ever? you could

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Speaker 1: ever stand in, but that's not a sketch.

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Speaker 2: It's so high concept.

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Speaker 1: It's just a feeling.

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Speaker 2: I mean, I'm excited for your art show.

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Speaker 1: That's, that's where it belongs. Yeah.

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Speaker 2: Your performance art.

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Speaker 1: Yeah.

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Speaker 2: Yeah. So that's just kind of an aside about the process. Also,

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Speaker 2: I will say when you enter a writer's room, you,

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Speaker 2: we start with the blue sky period when that's just,

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Speaker 2: that's fun. That's just everyone. It's like, we haven't seen

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Speaker 2: each other for, you know, some of the writers we

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Speaker 2: haven't seen for a year, like, but you know, it's

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Speaker 2: been eight months, seven months since we filmed the show,

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Speaker 2: maybe half a year, I guess. And so we're kind

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Speaker 2: of catching up. It's very anecdotal. That's really fun. Like, um,

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Speaker 2: if you've been, you know, like a new dating experience or,

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Speaker 2: you know, any new interpersonal dynamics, like it's, that is

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Speaker 2: a very exciting time just sharing all that stuff and

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Speaker 2: gleaning stories from.

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Speaker 1: That, That's the best.

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Speaker 2: Yeah.

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Speaker 1: Do you remember me and you used to get together?

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Speaker 2: Yes.

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Speaker 1: Beforehand. Just us two. Yeah.

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Speaker 2: Yeah.

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Speaker 1: Like in Portland, I remember.

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Speaker 2: Whatever.

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Speaker 1: Restaurant, coffee shop, where there are little notebook of ideas. Yeah.

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Speaker 2: I still have some of those. I will bring that

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Speaker 2: to a future taping of this podcast because I still

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Speaker 2: have like just a long list of things, a lot

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Speaker 2: of which, you know, never made it, but some of

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Speaker 2: which became sketches.

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Speaker 1: Yeah.

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Speaker 2: Anyhow, the cold open is recurring characters. Although in an

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Speaker 2: interesting kind of turn of events, something we didn't do often,

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Speaker 2: we give them sort of a different look. This is

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Speaker 2: Bryce and Lisa. Yeah. I remember saying that, but it.

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Speaker 1: We made this decision that was like, they're always going

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Speaker 1: to change their look.

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Speaker 2: Yeah. But this is like a fully different wig for me.

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Speaker 2: Like we look.

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Speaker 1: I have a mustache. Yeah.

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Speaker 2: We look kind of like old timey, like much more like.

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Speaker 2: like farmers kind of like, yeah, I know we're confused now.

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Speaker 2: And if you're confused as an audience member, just know

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Speaker 2: we're just as agog as you are.

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Speaker 1: Um, yeah.

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Speaker 2: Anyway, supposedly this is Bryce and Lisa. Uh, anyway, this

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Speaker 2: presentational characters like put a bird on it, you know, um,

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Speaker 2: to camera, which, you know, obviously we don't do for

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Speaker 2: most of the sketches. But yeah, the premises, we can

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Speaker 2: pickle that. An observation, Fred is attributing it to our director, co-creator,

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Speaker 2: Jonathan Kreisel. And some of this feels like him. I'm

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Speaker 2: not sure if the original idea was his, but certainly

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Speaker 2: an observation many of us had. Again, just sort of

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Speaker 2: this like trend spotting, trend casting of like, oh yeah,

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Speaker 2: everything's pickled when you go to places yeah and sort

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Speaker 2: of we we take it as far as we possibly

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Speaker 2: can in terms of what what these characters are able

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Speaker 2: to pickle yeah.

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Speaker 1: And it's like and it's like easy to present as

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Speaker 1: a sketch and that all we had to do was

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Speaker 1: take objects and put them in vinegar so the parking

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Speaker 1: ticket just put it in so it's easy to see

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Speaker 1: what the idea is yeah that we could pickle anything

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Speaker 1: and it starts with danger Aaron this.

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Speaker 2: Is danger Aaron yes he is a motorcycle rider, a

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Speaker 2: stunt guy, and he's part of the Jackass movie and

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Speaker 2: TV show universe. Portland resident. He will come back to

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Speaker 2: Portlandia over and over again later in the season, in fact.

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Speaker 1: And a good character, like playing a kind of misfit

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Speaker 1: in a way, but someone who's still fun.

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Speaker 2: Yeah, sweet but irascible. Yeah. And one of those, like,

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Speaker 2: cool guys. Like, you know how there's still a sort of, like,

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Speaker 2: it's kind of rare, like a little intimidating. Like I'm

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Speaker 2: just not of that world.

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Speaker 1: Of like a motorcycle. Yeah.

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Speaker 2: Like enthusiasts. Like it's a little intimidating to me.

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Speaker 1: But he's not so in motorcycle culture that he's like

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Speaker 1: a biker. He's like this other version.

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Speaker 2: That's like, just like confident and like very fearless. I mean,

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Speaker 2: all of the, that's the whole ethos of jackass. Like

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Speaker 2: that's the idea is that they're very stunt people. driven

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Speaker 2: and like thrill seeking but he kind of brings that

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Speaker 2: energy yeah and I was just gonna say there's a

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Speaker 2: little danger to him literally his nickname is Andrew Aaron

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Speaker 2: anyway that's his vibe sweet guy um and yeah so

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Speaker 2: he starts off in the he's in the sketch yeah.

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Speaker 1: Yeah and just presentational and I'm glad we got to

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Speaker 1: do it like it's a good start to the season

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Speaker 1: yes into the episode.

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Speaker 2: Yes And at the time, I think there were certain things,

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Speaker 2: even though obviously everyone can understand this today and it's

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Speaker 2: not something that's gone away. It was like very like

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Speaker 2: of the moment.

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Speaker 1: Oh, yeah. Yeah.

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Speaker 2: Pickling.

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Speaker 1: And pickle jars.

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Speaker 2: Oh, pickle jars as an aesthetic.

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Speaker 1: Yeah. It really was everywhere. Yeah.

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Speaker 2: And restaurants were really like offering up the pickled items. Yeah.

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Speaker 2: People were really excited about it.

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Speaker 1: Yeah.

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Speaker 2: Yeah. Fermentation.

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Speaker 3: Yeah.

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Speaker 2: Uh, yeah. And ends with, we were, we were talking

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Speaker 2: about this before we started recording. This is the part

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Speaker 2: that we attribute to John Kreisel. Like I remember wanting

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Speaker 2: him wanting the end. It is, it's like a very

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Speaker 2: ambiguous ending. Like there's this couple in bed and they're

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Speaker 2: having a conversation. Like, you know, they're sort of unable

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Speaker 2: to like, you know, there's problems in the bedroom. Yeah.

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Speaker 2: And you know, there it's like, you're not sure where

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Speaker 2: this is going, you know? And then we, hop up.

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Speaker 1: Yeah.

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Speaker 2: Next to them in bed.

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Speaker 1: We're just waiting.

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Speaker 2: And you think, because, you know, there's been a reference

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Speaker 2: to this man's flaccid penis and you're like making, your

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Speaker 2: mind is connecting penises and pickles and you, you think we're,

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Speaker 2: you think we're just going to go somewhere and that

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Speaker 2: it doesn't.

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Speaker 1: We're just smiling.

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Speaker 2: We're just smiling and we ask if we can, if

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Speaker 2: there's a restroom available.

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Speaker 1: Yeah.

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Speaker 2: Yeah. So it's a odd ending. Yeah. But I like

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Speaker 2: that that's the ending. Like I like how it sort

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Speaker 2: of just deviates from one's expectations.

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Speaker 1: And then it just goes right into the opening credits.

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Speaker 1: So that it's like, it's, I like the opening credits

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Speaker 1: always feel like it saves us from whatever, like no

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Speaker 1: matter what.

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Speaker 2: Yes. And that's thanks mostly to the theme song written

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Speaker 2: by washed out.

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Speaker 1: Yep.

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Speaker 2: Uh, and I, I, yeah, I think you're right. There's,

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Speaker 2: and also that the theme song, it's like, it's weighty.

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Speaker 2: You know what I mean? Like, yeah. it has like

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Speaker 2: this heaviness to it and this like groove that just,

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Speaker 2: it's like, if we're sort of like vacillating on something

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Speaker 2: or like something's not landing yet, like just puts you

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Speaker 2: on this track and you're like, okay, here we go.

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Speaker 1: Yeah.

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Speaker 2: Um, or if it does, if, if it is a

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Speaker 2: great cold open, it just feels like an extension of that. Yeah.

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Speaker 1: It works either way.

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Speaker 2: And by the way, I do like this as a

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Speaker 2: cold open. I am not saying this sketch is unsuccessful,

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Speaker 2: but you're right that it just kind of like, it's

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Speaker 2: like this mindset. You're like, okay, here we are. We're

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Speaker 2: in the zone. Yeah. We're in the zone.

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Speaker 1: It's okay wherever it ends up.

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Speaker 2: Yeah. Yeah. This is the wraparound, which is the three-part,

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Speaker 2: sometimes four-part sketch that becomes kind of the container, the

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Speaker 2: through line for the episode. This one, we have a

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Speaker 2: guest star, Andy Samberg.

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Speaker 1: Our friend.

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Speaker 2: Our friend. Very funny guy. Very game.

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Speaker 1: Yeah.

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Speaker 2: And just sweet.

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Speaker 1: Sweet. Really knows how to make things funnier.

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Speaker 2: Yes.

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Speaker 1: And his performance is great, but also likable immediately.

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Speaker 2: Always. Lovable. Lovable, for sure. And I'll say, going back

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Speaker 2: to the writing, we're still in the mode of most things,

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Speaker 2: despite having an outline and certainly scripts, lots of improvisation. Lots, yeah.

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Speaker 2: And Andy, obviously, coming from SNL, a total pro at that.

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Speaker 2: So in this, it's a Fred and Carrie wraparound. So

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Speaker 2: we were back in the characters of Fred and Carrie

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Speaker 2: loosely based on the real Fred and Carrie, um, with

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Speaker 2: a little license to be, uh, sillier and, um, stupider. Uh,

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Speaker 2: but we are at a bar, a cocktail bar and

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Speaker 2: I spot a handsome bartender.

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Speaker 1: Who mixologist mixologist yeah yeah sorry bartender but also like

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Speaker 1: really yeah in.

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Speaker 2: Fact later we differentiate yeah i can't believe i just

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Speaker 2: said bartender yeah how pedestrian no he's he's a mixologist

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Speaker 2: yeah yes you really actually were like no not you're

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Speaker 2: right yeah yes i mean and that was but also

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Speaker 2: again this like this distinction that felt like needed to

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Speaker 2: exist for a while like no he's like there's chemistry

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Speaker 2: and science and yes yeah it's like It's like someone

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Speaker 2: getting a PhD a little bit.

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Speaker 1: Yes. Yeah. And he plays it really... He does this

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Speaker 1: physical comedy of really working on this drink and there's

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Speaker 1: a spherical ice cube. I guess not an ice cube.

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Speaker 1: In the drink... Ice sphere? Ice sphere. Yeah. So that

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Speaker 1: takes up the whole... The whole glass. Yeah.

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Speaker 2: And also... I mean, the drink that they end up

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Speaker 2: bringing me, I imagine props like cleaned up. Our props

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Speaker 2: department cleaned up. But Andy did make a drink using

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Speaker 2: a ridiculous amount and combination of ingredients, which he really

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Speaker 2: plays up during this scene.

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Speaker 1: Yeah. I can't tell if he memorized the ingredients because

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Speaker 1: he rattles them off. I know. And I wonder if

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Speaker 1: we had scripted it.

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Speaker 2: I think, I mean, there definitely was a script that

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Speaker 2: it feels like that. I mean, I don't doubt that

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Speaker 2: he could have improvised that, but it feels very specific.

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Speaker 1: It's very specific.

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Speaker 2: What he's rattling off.

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Speaker 1: Side note, you know, I worked with him on SNL.

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Speaker 1: There was also, you know, we shoot this in Portland.

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Speaker 1: I remember the feeling of like being happy to show

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Speaker 1: him Portland.

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Speaker 2: Yeah.

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Speaker 1: I don't know if he had been there before. I'm

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Speaker 1: guessing not that much. So sort of feeling of like, Hey,

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Speaker 1: this is, this place. And I remember that was very exciting. Yeah.

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Speaker 2: I remember that about, about you. Like, because we had

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Speaker 2: like the first season we had Jason Sudeikis and you know,

347
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Speaker 2: now we have Andy Sandberg and then we will go

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Speaker 2: on to have many SNL current cast at the time.

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Speaker 2: And then people who are already alumni of the, of

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Speaker 2: the cast, alumna of the cast on the show. And,

351
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Speaker 2: and for me, I always being from the Pacific Northwest,

352
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Speaker 2: having lived in Portland, before we started making the show,

353
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Speaker 2: I also felt that. I remember also, for the first

354
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Speaker 2: couple years, maybe for the first half of the show,

355
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Speaker 2: we took everyone out to dinner. Which, when you arrive

356
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Speaker 2: as a guest actor on a show, you often don't

357
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Speaker 2: meet anyone you're working with until you're in the trailer,

358
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Speaker 2: maybe hair and makeup trailer in the morning, maybe you've

359
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Speaker 2: talked to producers on the phone or director to get

360
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Speaker 2: a sense of who your character is and what the

361
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Speaker 2: expectations are, but you rarely meet anyone or like go out.

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Speaker 2: And we just, I think we were so excited and

363
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Speaker 2: so eager to sort of bring people into the world

364
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Speaker 2: of the show. The show did feel anomalous compared to

365
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Speaker 2: how other shows are run, you know, and people were

366
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Speaker 2: coming to Portland. It's not like the most common destination

367
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Speaker 2: for people in the U S some people had never been.

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Speaker 2: We were always like, we would be like, Hey, did

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Speaker 2: you land? Let's take you out to dinner. So we

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Speaker 2: would wrap the night before, like from a full day

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Speaker 2: of work and then go grab dinner.

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Speaker 1: The energy.

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Speaker 2: The energy. I know.

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Speaker 1: To do that. But it was great.

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Speaker 2: It was great. And I think also just to kind of,

376
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Speaker 2: I mean, Andy would kind of know how the show

377
00:19:12,369 --> 00:19:14,090
Speaker 2: was and that it was going to be improvised, but

378
00:19:14,109 --> 00:19:17,310
Speaker 2: I think a lot of people weren't necessarily excited. expecting that.

379
00:19:17,810 --> 00:19:20,830
Speaker 2: And I think we wanted to just bring people into, well,

380
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Speaker 2: make them feel at home and welcome and show our appreciation.

381
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Speaker 2: So there are a lot of dinners.

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Speaker 1: A lot of dinners.

383
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Speaker 2: A lot of dinners.

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Speaker 1: And at really nice places. That's the other thing. Like

385
00:19:29,850 --> 00:19:33,970
Speaker 1: Portland restaurants are so great that. Yeah. That was, that's

386
00:19:34,030 --> 00:19:34,889
Speaker 1: the easy part of it.

387
00:19:35,310 --> 00:19:40,720
Speaker 2: Yeah. Again, there's just this real seamlessness between us filming

388
00:19:40,740 --> 00:19:42,520
Speaker 2: the show and us living in Portland. Like it just

389
00:19:42,540 --> 00:19:43,460
Speaker 2: felt one in the same.

390
00:19:43,619 --> 00:19:43,840
Speaker 1: Yeah.

391
00:19:44,000 --> 00:19:48,210
Speaker 2: Like it just was. just felt like so permeating, you know,

392
00:19:48,310 --> 00:19:53,380
Speaker 2: and like atmospheric. and that, yeah, it makes me sentimental

393
00:19:53,400 --> 00:19:56,620
Speaker 2: for that time because it just there, it wasn't like, okay,

394
00:19:56,640 --> 00:20:00,199
Speaker 2: we're going to the studio to shoot or, you know,

395
00:20:00,220 --> 00:20:03,189
Speaker 2: we're going checking at the security gate and going in

396
00:20:03,230 --> 00:20:06,919
Speaker 2: and you're sort of isolated from the city. It's like,

397
00:20:06,940 --> 00:20:09,879
Speaker 2: we're just in the city, we're in the city all day, often,

398
00:20:10,460 --> 00:20:13,630
Speaker 2: you know, eating lunch, like in the back, you know,

399
00:20:13,670 --> 00:20:18,650
Speaker 2: someone's yard became where we did like broke for lunch, um,

400
00:20:19,290 --> 00:20:22,630
Speaker 2: you know, meeting and hanging out with the homeowners whose

401
00:20:22,650 --> 00:20:25,570
Speaker 2: house we were shooting at, or, you know, the owners

402
00:20:25,609 --> 00:20:28,669
Speaker 2: of a shop or just, you know, people passing on

403
00:20:28,690 --> 00:20:32,470
Speaker 2: the street, like in talking to people, like it just,

404
00:20:32,710 --> 00:20:36,370
Speaker 2: it just didn't have that sort of like delineation between like, okay, well,

405
00:20:36,869 --> 00:20:39,949
Speaker 2: I'm leaving work. And it's like, no, I'm just, I'm

406
00:20:40,030 --> 00:20:43,040
Speaker 2: in Portland shooting this. Anyway, that was sort of the

407
00:20:43,060 --> 00:20:45,080
Speaker 2: spirit of it. And we always tried to bring our

408
00:20:45,119 --> 00:20:47,820
Speaker 2: guests into that. So, so yeah, that's the first part

409
00:20:47,859 --> 00:20:49,840
Speaker 2: of this sketch is just, you know, I sort of,

410
00:20:50,760 --> 00:20:51,440
Speaker 2: I'm eyeing this guy.

411
00:20:51,460 --> 00:20:51,859
Speaker 1: He's cute.

412
00:20:51,880 --> 00:20:54,619
Speaker 2: He's kind of giving me a little like look back

413
00:20:54,720 --> 00:20:58,100
Speaker 2: and then he brings me this drink and it's a

414
00:20:58,119 --> 00:21:01,680
Speaker 2: piece of art. And you say as my friend, like.

415
00:21:01,590 --> 00:21:03,550
Speaker 1: This guy, he's like.

416
00:21:03,770 --> 00:21:04,330
Speaker 2: He likes you.

417
00:21:04,510 --> 00:21:04,690
Speaker 3: Yeah.

418
00:21:04,930 --> 00:21:06,129
Speaker 2: You won't even say he loves you.

419
00:21:06,170 --> 00:21:06,670
Speaker 1: I think so.

420
00:21:07,070 --> 00:21:07,230
Speaker 3: Yeah.

421
00:21:08,310 --> 00:21:11,960
Speaker 1: And I even, we'll talk about that. I mean, that's

422
00:21:12,000 --> 00:21:14,899
Speaker 1: a new dynamic. So I think because the relationship of

423
00:21:14,920 --> 00:21:18,540
Speaker 1: Fred and Carrie is ambiguous. So it could be anything.

424
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Speaker 3: Right.

425
00:21:19,240 --> 00:21:21,740
Speaker 2: We don't know if they used to date, if they

426
00:21:22,020 --> 00:21:25,770
Speaker 2: maybe currently sort of date, if they have feelings for

427
00:21:25,810 --> 00:21:30,129
Speaker 2: each other. Like we haven't really established that we lived later.

428
00:21:30,470 --> 00:21:32,469
Speaker 2: We sort of do in the Amy man sketch from

429
00:21:32,510 --> 00:21:35,729
Speaker 2: season one. But we haven't really solidified that and we

430
00:21:35,790 --> 00:21:38,470
Speaker 2: keep it purposely ambiguous and vague. Yeah.

431
00:21:38,830 --> 00:21:44,320
Speaker 1: And in this one, without any reservation, very supportive of like, hey,

432
00:21:44,359 --> 00:21:46,780
Speaker 1: this guy really likes you. Yeah. You don't even see

433
00:21:46,820 --> 00:21:48,800
Speaker 1: a hint of like, well, this is getting weird for me.

434
00:21:49,340 --> 00:21:49,689
Speaker 2: Not at all.

435
00:21:49,740 --> 00:21:50,500
Speaker 1: It's fully supportive.

436
00:21:51,420 --> 00:21:53,980
Speaker 2: And the other thing I like is you decide on,

437
00:21:54,000 --> 00:21:55,869
Speaker 2: and these are often decisions that happen in the moment.

438
00:21:55,910 --> 00:21:58,169
Speaker 2: We've talked about this a little bit, like what are

439
00:21:58,210 --> 00:22:02,760
Speaker 2: the other decisions? relationship dynamics and you choose you made

440
00:22:02,800 --> 00:22:05,200
Speaker 2: this choice with Andy to kind of like do this

441
00:22:05,220 --> 00:22:07,220
Speaker 2: like kind of bro-y guy thing like on the side

442
00:22:08,240 --> 00:22:13,199
Speaker 2: which you repeat in the later parts of this wraparound

443
00:22:13,800 --> 00:22:15,879
Speaker 2: but almost in this way where you're like sort of

444
00:22:15,960 --> 00:22:19,290
Speaker 2: showing him that you're not a threat like sort of

445
00:22:19,400 --> 00:22:21,869
Speaker 2: apropos of what we're talking about like you're kind of

446
00:22:21,910 --> 00:22:24,169
Speaker 2: letting him know like I'm her friend but like this

447
00:22:24,190 --> 00:22:25,710
Speaker 2: is cool and hey like man to.

448
00:22:25,650 --> 00:22:27,950
Speaker 1: Man yeah you know it's a tone.

449
00:22:27,890 --> 00:22:30,080
Speaker 2: It's a tone it's a little bit paternal.

450
00:22:30,740 --> 00:22:31,379
Speaker 1: You know what I mean?

451
00:22:31,400 --> 00:22:34,020
Speaker 2: Almost like, yeah, this is, but yeah, it's, it's an

452
00:22:34,060 --> 00:22:36,440
Speaker 2: interesting dynamic, but I, it's funny. And you kind of

453
00:22:36,460 --> 00:22:37,680
Speaker 2: do this like little bro-y thing.

454
00:22:37,840 --> 00:22:39,350
Speaker 1: And Andy's doing it as well. This is kind of,

455
00:22:39,359 --> 00:22:41,580
Speaker 1: this is kind of like where you've been living here

456
00:22:41,600 --> 00:22:43,419
Speaker 1: a long time. Yeah. Yeah. This kind of, it's like

457
00:22:43,440 --> 00:22:46,350
Speaker 1: a little up, like a little louder, a little.

458
00:22:46,609 --> 00:22:49,250
Speaker 2: Sort of code switching between like him, like flirting with

459
00:22:49,290 --> 00:22:50,750
Speaker 2: me and then him being like, but I can still

460
00:22:50,770 --> 00:22:52,230
Speaker 2: talk to you as a guy. Yeah. Yeah.

461
00:22:52,490 --> 00:22:54,750
Speaker 1: Yeah. You're like working here. Yeah.

462
00:22:55,050 --> 00:22:55,790
Speaker 2: Like it's all business.

463
00:22:55,850 --> 00:22:56,930
Speaker 1: Yeah. Yeah.

464
00:22:57,050 --> 00:23:00,500
Speaker 2: It's, uh, it's funny. Anyway, so that's the end of...

465
00:23:01,460 --> 00:23:02,340
Speaker 2: Is that the end of part one?

466
00:23:02,800 --> 00:23:07,310
Speaker 1: Yeah. Basically, we set up. Okay, he did this for you. Oh,

467
00:23:07,320 --> 00:23:07,520
Speaker 1: I know.

468
00:23:07,840 --> 00:23:08,320
Speaker 2: Mix tape.

469
00:23:09,040 --> 00:23:09,700
Speaker 1: Mix him a tape.

470
00:23:09,800 --> 00:23:12,000
Speaker 2: Right. So you say he made you a mixed drink. Yeah.

471
00:23:12,160 --> 00:23:15,030
Speaker 2: You've got to make him a mixed tape. Yeah. All right.

472
00:23:21,910 --> 00:23:29,270
Speaker 1: We go now to... what this podcast is named after.

473
00:23:29,400 --> 00:23:32,570
Speaker 2: Yeah, so this is a Kath and Dave sketch. Kath

474
00:23:32,590 --> 00:23:36,730
Speaker 2: and Dave, we met them in season one at the

475
00:23:36,770 --> 00:23:41,090
Speaker 2: dog park, at the outdoor movie screening, and here they

476
00:23:41,250 --> 00:23:44,490
Speaker 2: are on a trip to the river, a rafting trip.

477
00:23:44,710 --> 00:23:44,930
Speaker 1: Yeah.

478
00:23:45,750 --> 00:23:50,850
Speaker 2: And again, so much gear, so much gear, and an

479
00:23:51,070 --> 00:23:54,970
Speaker 2: excess of gear, like superfluous, unnecessary amount of gear.

480
00:23:55,010 --> 00:23:57,540
Speaker 1: Yep. Overprepared.

481
00:23:57,880 --> 00:24:01,500
Speaker 2: Yes. But also always underprepared at the same time. Yes.

482
00:24:01,540 --> 00:24:02,420
Speaker 1: The irony, of course.

483
00:24:02,580 --> 00:24:08,240
Speaker 2: And then, so also we're trying, it's nature and a

484
00:24:08,300 --> 00:24:12,310
Speaker 2: river has its own literal like flow to it, right?

485
00:24:12,400 --> 00:24:16,050
Speaker 2: Like it is, it will wind in its own pace.

486
00:24:16,090 --> 00:24:16,290
Speaker 3: Yeah.

487
00:24:16,390 --> 00:24:21,050
Speaker 2: You know, and, or wind, whatever, winding.

488
00:24:21,590 --> 00:24:21,850
Speaker 1: Yeah.

489
00:24:22,550 --> 00:24:28,070
Speaker 2: Yeah. Anyway, we're trying to actually prepare police the pace

490
00:24:28,670 --> 00:24:31,170
Speaker 2: of people floating down a river. Yes. Like you can't

491
00:24:31,270 --> 00:24:36,360
Speaker 2: control the current and we're like trying to lay claim

492
00:24:36,410 --> 00:24:38,980
Speaker 2: to like a certain amount of real estate, not just

493
00:24:39,040 --> 00:24:39,520
Speaker 2: on the shore.

494
00:24:39,540 --> 00:24:40,940
Speaker 1: No, in the water.

495
00:24:40,960 --> 00:24:41,460
Speaker 2: But in the water.

496
00:24:41,480 --> 00:24:42,180
Speaker 1: And people passing through.

497
00:24:42,240 --> 00:24:42,840
Speaker 2: Moving water.

498
00:24:42,880 --> 00:24:43,100
Speaker 1: Yes.

499
00:24:43,240 --> 00:24:44,580
Speaker 2: Yeah. Anyway.

500
00:24:44,840 --> 00:24:49,219
Speaker 1: And Portland does have like a relationship with the river. Yes.

501
00:24:49,600 --> 00:24:50,859
Speaker 1: This is like, this is a part of.

502
00:24:50,880 --> 00:24:51,780
Speaker 2: It's a river city.

503
00:24:51,940 --> 00:24:52,140
Speaker 1: Yeah.

504
00:24:52,359 --> 00:24:56,200
Speaker 2: Yeah. It's a port city. Hmm. Um, the Willamette river

505
00:24:56,440 --> 00:25:02,240
Speaker 2: literally divides east and west. Um, and a lot of people,

506
00:25:02,400 --> 00:25:04,399
Speaker 2: this is not the Willamette river. I believe we're on

507
00:25:04,420 --> 00:25:07,850
Speaker 2: the Sandy river here, but, um, tubing, you know, doing,

508
00:25:07,960 --> 00:25:11,050
Speaker 2: you know, floats on, you know, inner tubes and the

509
00:25:11,090 --> 00:25:15,770
Speaker 2: summer rafting paddle, but it's very popular summer thing to do. Um,

510
00:25:16,109 --> 00:25:18,190
Speaker 2: so that's, it is a beautiful summer day when we shoot.

511
00:25:18,270 --> 00:25:20,909
Speaker 2: And I remember the background being pretty excited to just

512
00:25:21,450 --> 00:25:23,250
Speaker 2: kind of float down the river in a tube and

513
00:25:23,270 --> 00:25:26,750
Speaker 2: then circle back and float down again. Anyway, Dave and

514
00:25:26,770 --> 00:25:29,570
Speaker 2: Kath are trying to figure out how they will communicate

515
00:25:29,590 --> 00:25:31,850
Speaker 2: to each other in case something goes wrong.

516
00:25:31,970 --> 00:25:32,170
Speaker 1: Yeah.

517
00:25:33,030 --> 00:25:38,970
Speaker 2: And I decide, as Kath, that I will shout Ayo River.

518
00:25:38,990 --> 00:25:44,010
Speaker 2: Ayo River! And that's something I made up on the spot.

519
00:25:44,030 --> 00:25:48,430
Speaker 2: I don't know where it came from. Never before had

520
00:25:48,490 --> 00:25:51,430
Speaker 2: I shouted Ayo River in any situation.

521
00:25:51,600 --> 00:25:51,820
Speaker 3: No.

522
00:25:51,980 --> 00:25:54,119
Speaker 2: I don't think I had put together Ayo as a

523
00:25:55,160 --> 00:26:00,260
Speaker 2: It wasn't a normal greeting I had. Yeah, Kath, there's

524
00:26:00,300 --> 00:26:03,730
Speaker 2: a lot of, like in the Come On movie, Make

525
00:26:03,750 --> 00:26:07,969
Speaker 2: It Start from season one. When I put that ponytail

526
00:26:08,750 --> 00:26:11,149
Speaker 2: on the back of my head, things come out of

527
00:26:11,190 --> 00:26:13,889
Speaker 2: my mouth that have never come out of my mouth before.

528
00:26:14,690 --> 00:26:17,090
Speaker 2: And so, yeah, Ayo River. And said in that way,

529
00:26:17,590 --> 00:26:18,609
Speaker 2: Ayo River.

530
00:26:18,630 --> 00:26:21,129
Speaker 1: I think also with your hand up.

531
00:26:21,280 --> 00:26:23,959
Speaker 2: Oh, I mean, and much louder than this. Like, you know,

532
00:26:23,980 --> 00:26:28,609
Speaker 2: don't want to damage the mic. It's very loud, abrasive.

533
00:26:29,410 --> 00:26:30,230
Speaker 1: Yeah.

534
00:26:31,609 --> 00:26:35,430
Speaker 2: Yeah. So we decide that that's going to be, you know,

535
00:26:35,510 --> 00:26:39,030
Speaker 2: our sort of our word, if our phrase.

536
00:26:40,210 --> 00:26:44,429
Speaker 1: It becomes one of the catchphrases of the show in general.

537
00:26:44,600 --> 00:26:48,419
Speaker 2: Yeah. It basically goes from put a bird on it, cacao,

538
00:26:49,080 --> 00:26:49,500
Speaker 2: Ayo River.

539
00:26:49,560 --> 00:26:54,960
Speaker 1: Yes. When I do stand up currently, people will shout that.

540
00:26:56,140 --> 00:26:59,050
Speaker 1: I'll hear it whenever there's an opportunity for people to

541
00:26:59,070 --> 00:27:02,270
Speaker 1: say something out loud. I will hear AO River. Yeah.

542
00:27:02,310 --> 00:27:02,530
Speaker 2: Same.

543
00:27:02,810 --> 00:27:03,050
Speaker 1: Yeah.

544
00:27:03,369 --> 00:27:08,609
Speaker 2: Same. And when I post on social media, sometimes AO

545
00:27:08,650 --> 00:27:11,350
Speaker 2: River is just a comment I will get back. Yeah.

546
00:27:11,790 --> 00:27:15,230
Speaker 2: Which I love, by the way, because it's not a

547
00:27:15,230 --> 00:27:16,709
Speaker 2: phrase that existed before this.

548
00:27:16,840 --> 00:27:20,320
Speaker 1: I mean, it became the, you know. focal point of

549
00:27:20,340 --> 00:27:21,080
Speaker 1: the sketch.

550
00:27:21,119 --> 00:27:24,820
Speaker 2: Yes as well yeah so right and this is another

551
00:27:24,880 --> 00:27:28,050
Speaker 2: example of you know we sort of have a general

552
00:27:28,090 --> 00:27:29,609
Speaker 2: idea of how the sketch is going to go and

553
00:27:29,650 --> 00:27:33,250
Speaker 2: then suddenly it becomes about A.O. River and when Kath

554
00:27:33,390 --> 00:27:35,970
Speaker 2: gets kind of swept up in the current and floats

555
00:27:36,010 --> 00:27:41,720
Speaker 2: down stream Dave I'm shouting A.O. River and Dave can't

556
00:27:41,760 --> 00:27:44,340
Speaker 2: remember what what it meant what it meant and so

557
00:27:44,380 --> 00:27:47,960
Speaker 2: he starts writing me a letter yeah yeah that I'm.

558
00:27:48,140 --> 00:27:50,330
Speaker 1: A I put in a bottle to send down to you.

559
00:27:50,450 --> 00:27:55,690
Speaker 2: Yeah. And I'm fine in any way. Yeah. That's basically

560
00:27:55,760 --> 00:27:56,430
Speaker 2: the end of the sketch.

561
00:27:56,520 --> 00:27:56,740
Speaker 3: Yeah.

562
00:27:56,840 --> 00:27:58,780
Speaker 2: But the classic Kath and Dave sketch.

563
00:27:58,840 --> 00:27:59,100
Speaker 1: Yes.

564
00:27:59,300 --> 00:28:01,379
Speaker 2: Yeah.

565
00:28:01,420 --> 00:28:01,600
Speaker 1: Yeah.

566
00:28:01,660 --> 00:28:03,640
Speaker 2: Not making a lot of friends. Kath and Dave, like

567
00:28:03,660 --> 00:28:04,440
Speaker 2: they don't. Yeah.

568
00:28:04,460 --> 00:28:05,379
Speaker 1: Not interested in friends.

569
00:28:05,420 --> 00:28:05,780
Speaker 3: Yeah.

570
00:28:05,859 --> 00:28:06,000
Speaker 1: Yeah.

571
00:28:06,460 --> 00:28:08,160
Speaker 2: A lot of our characters actually are couples.

572
00:28:08,540 --> 00:28:08,720
Speaker 3: Yeah.

573
00:28:08,740 --> 00:28:09,780
Speaker 2: Have an insularity to them.

574
00:28:10,040 --> 00:28:10,399
Speaker 1: Yeah.

575
00:28:10,560 --> 00:28:13,570
Speaker 2: Which I think is something that we talk a lot

576
00:28:13,720 --> 00:28:17,300
Speaker 2: as we're developing characters or we talk a lot. when

577
00:28:17,320 --> 00:28:20,400
Speaker 2: we're in character, I remember we would have conversations about

578
00:28:21,140 --> 00:28:25,800
Speaker 2: couples a lot, like traits of couples that we had observed,

579
00:28:26,240 --> 00:28:27,500
Speaker 2: things we found really interesting.

580
00:28:27,640 --> 00:28:28,960
Speaker 1: Some things that we found annoying.

581
00:28:29,020 --> 00:28:29,240
Speaker 3: Yes.

582
00:28:29,300 --> 00:28:31,590
Speaker 2: Things or things we aspired to like, Oh God, like

583
00:28:32,350 --> 00:28:34,590
Speaker 2: I just, you know, I wish I could be like that.

584
00:28:35,350 --> 00:28:38,690
Speaker 2: You know, I'm just not able anyway, but yeah, they're

585
00:28:38,730 --> 00:28:41,690
Speaker 2: just like a world unto themselves. A lot of our couples.

586
00:28:41,910 --> 00:28:42,190
Speaker 1: Yes.

587
00:28:42,710 --> 00:28:44,530
Speaker 2: Kath and Dave. Very much so.

588
00:28:44,550 --> 00:28:45,230
Speaker 1: Very much so. Yeah.

589
00:28:45,340 --> 00:28:47,320
Speaker 2: Develop their own language and way of being.

590
00:28:47,880 --> 00:28:48,080
Speaker 1: Yeah.

591
00:28:48,380 --> 00:28:50,940
Speaker 2: That's maybe intolerable for most other people.

592
00:28:50,980 --> 00:28:51,260
Speaker 1: Yes.

593
00:28:51,360 --> 00:28:55,760
Speaker 2: But they love it. Yeah. Yeah. Anyway, so finally, AO River,

594
00:28:56,120 --> 00:28:58,880
Speaker 2: AO Rewatch, we've made it. It all makes sense now.

595
00:28:59,080 --> 00:28:59,340
Speaker 1: Yes.

596
00:28:59,580 --> 00:29:01,560
Speaker 2: Sorry if you had to wait this long.

597
00:29:02,140 --> 00:29:03,800
Speaker 1: But now it's going to be easier to listen.

598
00:29:04,440 --> 00:29:06,440
Speaker 2: Yeah. You're going to know it. And now I can

599
00:29:06,460 --> 00:29:09,660
Speaker 2: really double down when I'm introing the podcast. I can

600
00:29:09,680 --> 00:29:10,820
Speaker 2: do it in the full cast.

601
00:29:11,420 --> 00:29:12,460
Speaker 1: No shyness about it.

602
00:29:12,500 --> 00:29:13,020
Speaker 2: No shyness.

603
00:29:13,800 --> 00:29:14,040
Speaker 1: Yeah.

604
00:29:14,800 --> 00:29:18,540
Speaker 2: Shed the shyness as Kath would do. All right. That

605
00:29:18,580 --> 00:29:22,420
Speaker 2: leads us to part two of the wraparound sketch mixology.

606
00:29:22,860 --> 00:29:25,530
Speaker 1: Yes. And this part is all over the place.

607
00:29:25,550 --> 00:29:28,770
Speaker 2: By the way, this has many parts to it. This

608
00:29:28,950 --> 00:29:34,250
Speaker 2: part two is actually very like multifaceted, which is rare.

609
00:29:34,570 --> 00:29:37,690
Speaker 2: Like we're on a full journey starting with us going

610
00:29:37,710 --> 00:29:40,650
Speaker 2: back to the bar the next day. where Andy has

611
00:29:40,670 --> 00:29:44,229
Speaker 2: worked or where we met Andy to bring the mixtape

612
00:29:44,790 --> 00:29:45,750
Speaker 2: and we find out he's moved.

613
00:29:46,110 --> 00:29:47,510
Speaker 1: Yep. To SoCal.

614
00:29:48,110 --> 00:29:51,380
Speaker 2: Yeah. Which was a choice. We did not want to

615
00:29:51,390 --> 00:29:56,220
Speaker 2: call it say LA or Orange County or even Southern California.

616
00:29:56,340 --> 00:30:01,440
Speaker 1: Yes. SoCal. Yeah. We make our way down and we've

617
00:30:01,480 --> 00:30:05,630
Speaker 1: got to depict Southern California. I'm shooting in Portland and

618
00:30:05,690 --> 00:30:06,290
Speaker 1: it's sunny.

619
00:30:06,610 --> 00:30:09,930
Speaker 2: It's sunny. And it's already, we're already shooting in the summer.

620
00:30:09,990 --> 00:30:15,170
Speaker 2: So most of Portlandia is actually like pretty beatific, you know,

621
00:30:15,250 --> 00:30:18,420
Speaker 2: and bright compared to, you know, an average day in Portland.

622
00:30:18,720 --> 00:30:22,120
Speaker 2: But we had to make SoCal even brighter. So it's

623
00:30:22,140 --> 00:30:24,520
Speaker 2: like a glaring, glaring sun.

624
00:30:25,120 --> 00:30:27,260
Speaker 1: And it's like a joke about the Pacific Northwest that

625
00:30:27,300 --> 00:30:29,920
Speaker 1: we're saying, Oh, the sun, it's so bright.

626
00:30:30,010 --> 00:30:31,850
Speaker 2: Yeah, like we haven't seen it in ages, which is,

627
00:30:32,190 --> 00:30:35,930
Speaker 2: to be fair, how it does feel come February, March.

628
00:30:37,210 --> 00:30:42,890
Speaker 2: So we can barely tolerate the heat and the glare

629
00:30:42,930 --> 00:30:45,350
Speaker 2: of the sun. And like a mirage in the distance,

630
00:30:46,150 --> 00:30:49,310
Speaker 2: we see like a sign for a restaurant around the

631
00:30:49,350 --> 00:30:50,370
Speaker 2: world in 80 plates.

632
00:30:50,850 --> 00:30:53,290
Speaker 1: Well, first there's the burkas we put on.

633
00:30:53,450 --> 00:30:56,330
Speaker 2: Oh, right. We head-to-toe coverage.

634
00:30:56,610 --> 00:30:56,810
Speaker 1: Yeah.

635
00:30:57,530 --> 00:30:59,610
Speaker 2: Yes, and then we walk along the highway.

636
00:31:00,010 --> 00:31:01,610
Speaker 1: And then we really shot along the highway.

637
00:31:01,650 --> 00:31:05,010
Speaker 2: Which actually, at the time, I thought, this is very dangerous.

638
00:31:05,050 --> 00:31:05,990
Speaker 1: Yes, it felt dangerous.

639
00:31:06,100 --> 00:31:08,860
Speaker 2: And no one, obviously, this is, by the way, a

640
00:31:09,000 --> 00:31:13,360
Speaker 2: live freeway. Think about anyone who works on any kind

641
00:31:13,400 --> 00:31:19,120
Speaker 2: of shoot. You know how the safety is paramount, right?

642
00:31:19,400 --> 00:31:23,040
Speaker 2: Even if you are shooting, if it's a live anything,

643
00:31:23,100 --> 00:31:27,580
Speaker 2: like it's a tiny, quiet neighborhood street, There are people

644
00:31:27,680 --> 00:31:31,480
Speaker 2: at either side there to stop traffic, to hold traffic,

645
00:31:31,600 --> 00:31:36,450
Speaker 2: and everyone is in high-vis gear. Like, everyone in the

646
00:31:36,490 --> 00:31:39,250
Speaker 2: crew is in high-vis gear, even if a car is, like,

647
00:31:39,530 --> 00:31:41,270
Speaker 2: coming along at one mile per hour.

648
00:31:41,990 --> 00:31:43,710
Speaker 1: There's warnings, like, this is a driveway.

649
00:31:43,990 --> 00:31:44,570
Speaker 2: Active driveway.

650
00:31:45,150 --> 00:31:47,340
Speaker 1: Everything. Everything. You're just hyper-aware.

651
00:31:47,360 --> 00:31:53,640
Speaker 2: In a good way. Like, very cautious, safe. There were

652
00:31:53,760 --> 00:31:59,840
Speaker 2: elements of Portlandia... that because we just weren't and it's

653
00:31:59,880 --> 00:32:02,320
Speaker 2: a union show like you know it's like it's it's

654
00:32:02,380 --> 00:32:05,739
Speaker 2: fully like up and running and you know like it's

655
00:32:05,780 --> 00:32:08,680
Speaker 2: a it's a legitimate show but because of just like

656
00:32:08,720 --> 00:32:11,660
Speaker 2: how we shot and like that sometimes we were like

657
00:32:11,780 --> 00:32:14,110
Speaker 2: you know a breakaway crew or something like trying to

658
00:32:14,120 --> 00:32:16,400
Speaker 2: cover a lot you know we just we fred and

659
00:32:16,440 --> 00:32:18,750
Speaker 2: i are walking on on an active highway yep yeah.

660
00:32:19,140 --> 00:32:21,850
Speaker 1: And the sound of trucks going by is a very

661
00:32:21,870 --> 00:32:22,219
Speaker 1: scary sound.

662
00:32:22,270 --> 00:32:24,950
Speaker 2: It's not just, it's the sound of trucks because there

663
00:32:24,990 --> 00:32:27,650
Speaker 2: are trucks going by. Oh, it's crazy how real those

664
00:32:27,710 --> 00:32:32,970
Speaker 2: trucks looked and sounded. I actually, there were a few

665
00:32:33,010 --> 00:32:35,870
Speaker 2: times filming Portlandia that I felt scared and this was

666
00:32:35,910 --> 00:32:36,230
Speaker 2: one of them.

667
00:32:37,370 --> 00:32:39,390
Speaker 1: Same. This was, this, we felt it.

668
00:32:39,670 --> 00:32:41,020
Speaker 2: Yeah. Is there someone we can sue?

669
00:32:42,340 --> 00:32:44,020
Speaker 1: I think technically we have to sue each other.

670
00:32:44,120 --> 00:32:47,990
Speaker 2: Which is a, It's a bummer.

671
00:32:48,570 --> 00:32:50,610
Speaker 1: But it works out. We just agree on the same,

672
00:32:50,910 --> 00:32:51,830
Speaker 1: similar amount. Yeah.

673
00:32:51,950 --> 00:32:55,790
Speaker 2: Anyway. But yeah, being very honest, I was, I was

674
00:32:56,650 --> 00:32:57,070
Speaker 2: really scared.

675
00:32:57,110 --> 00:32:57,570
Speaker 1: I remember the same.

676
00:32:57,650 --> 00:32:57,850
Speaker 2: Yeah.

677
00:32:57,890 --> 00:33:00,790
Speaker 1: Because I think we were at a distance. Meaning we

678
00:33:00,810 --> 00:33:02,580
Speaker 1: didn't have the safety. Yeah. Yeah.

679
00:33:02,910 --> 00:33:05,239
Speaker 2: They were just like, just start walking. The camera will

680
00:33:05,260 --> 00:33:08,220
Speaker 2: see you back here. Camera's fully on land. Like, or sorry,

681
00:33:08,260 --> 00:33:10,000
Speaker 2: not on land, but like on a grass strip off

682
00:33:10,060 --> 00:33:10,640
Speaker 2: the highway.

683
00:33:11,400 --> 00:33:13,480
Speaker 1: So for us, it was like we were out on

684
00:33:13,540 --> 00:33:13,790
Speaker 1: our own.

685
00:33:13,820 --> 00:33:14,940
Speaker 2: They were like, just start walking.

686
00:33:15,040 --> 00:33:15,200
Speaker 1: Yeah.

687
00:33:15,850 --> 00:33:17,830
Speaker 2: And like, have they yelled cut?

688
00:33:18,490 --> 00:33:18,830
Speaker 1: I think so.

689
00:33:18,830 --> 00:33:19,210
Speaker 2: Who knows?

690
00:33:19,230 --> 00:33:19,750
Speaker 1: I think we're done.

691
00:33:19,830 --> 00:33:20,990
Speaker 2: Who knows? I'm a half mile down.

692
00:33:21,010 --> 00:33:21,230
Speaker 1: Yeah.

693
00:33:21,550 --> 00:33:27,170
Speaker 2: Yeah. Anyway, don't try that at home. Okay. So after

694
00:33:27,230 --> 00:33:30,930
Speaker 2: walking on the highway, we do see a sign in

695
00:33:30,950 --> 00:33:34,800
Speaker 2: the distance for Around the World in 80 Plates. And

696
00:33:35,440 --> 00:33:36,460
Speaker 2: so we stopped to get some food.

697
00:33:37,740 --> 00:33:38,520
Speaker 1: And here's Kumail.

698
00:33:39,040 --> 00:33:42,800
Speaker 2: Here's Kumail Nanjiani making his second appearance on the show

699
00:33:43,120 --> 00:33:48,730
Speaker 2: after his brilliant stint in season one. And yet again,

700
00:33:48,750 --> 00:33:56,010
Speaker 2: he comes absolutely prepared with this very, um, amazing like menu.

701
00:33:56,850 --> 00:34:01,280
Speaker 2: Kumail had worked with our art department to have, make

702
00:34:01,320 --> 00:34:03,760
Speaker 2: sure that the language he wanted was, was on these menus.

703
00:34:04,020 --> 00:34:05,500
Speaker 2: Cause he, and he, so he wrote a lot of

704
00:34:05,540 --> 00:34:10,400
Speaker 2: his own jokes for this. And, um, the, this became, uh,

705
00:34:11,920 --> 00:34:16,170
Speaker 2: like the dynamic that always sort of occurred between whoever

706
00:34:16,230 --> 00:34:19,189
Speaker 2: Kumail was playing and Fred and Carrie, which was that

707
00:34:19,530 --> 00:34:23,670
Speaker 2: we were just completely thwarted. We wanted things to move quickly.

708
00:34:24,969 --> 00:34:27,170
Speaker 2: There was an urgency in season one. We're trying to

709
00:34:27,210 --> 00:34:30,610
Speaker 2: find the mayor. In this scene, we are very hungry,

710
00:34:30,820 --> 00:34:35,400
Speaker 2: very thirsty. All we want is food and that is

711
00:34:35,440 --> 00:34:36,140
Speaker 2: just not going to happen.

712
00:34:36,800 --> 00:34:39,700
Speaker 1: And I'm trying my best to keep it simple and

713
00:34:39,719 --> 00:34:46,360
Speaker 1: just order a burger. And it just cannot happen It

714
00:34:46,440 --> 00:34:48,660
Speaker 1: is a wall. It is a wall. He is a wall.

715
00:34:48,780 --> 00:34:51,719
Speaker 2: He is a wall. It's one of the most fun

716
00:34:51,760 --> 00:34:52,419
Speaker 2: games to play.

717
00:34:52,580 --> 00:34:52,819
Speaker 1: Yeah.

718
00:34:53,080 --> 00:34:57,180
Speaker 2: As an actor. And I'm just mostly trying not to laugh.

719
00:34:57,420 --> 00:35:00,520
Speaker 2: I mean, just what he was throwing out, like.

720
00:35:00,940 --> 00:35:01,739
Speaker 1: His logic.

721
00:35:01,760 --> 00:35:03,980
Speaker 2: Smile tea. Every.

722
00:35:04,340 --> 00:35:06,839
Speaker 1: And restaurants, some restaurants are like this, where they've got

723
00:35:06,900 --> 00:35:09,049
Speaker 1: names for things and sizes and.

724
00:35:09,680 --> 00:35:09,899
Speaker 2: Yes.

725
00:35:10,380 --> 00:35:12,839
Speaker 1: Just make it very, it slows everything down.

726
00:35:12,860 --> 00:35:16,430
Speaker 2: It slows everything down. And if you don't order using

727
00:35:16,790 --> 00:35:21,009
Speaker 2: the correct parlance, they really sometimes act as if they

728
00:35:21,050 --> 00:35:22,090
Speaker 2: don't understand what you're saying.

729
00:35:22,250 --> 00:35:22,489
Speaker 1: Yeah.

730
00:35:23,070 --> 00:35:25,710
Speaker 2: And they force you to say it like that.

731
00:35:25,730 --> 00:35:28,009
Speaker 1: Do you want to, what was it? Double down or

732
00:35:28,050 --> 00:35:29,089
Speaker 1: do you want, whatever it is.

733
00:35:29,170 --> 00:35:31,180
Speaker 2: Lobster eyes. I mean, there were so many.

734
00:35:31,739 --> 00:35:34,580
Speaker 1: And it's around. And then the restaurant is around the

735
00:35:34,620 --> 00:35:37,359
Speaker 1: world in 80 plates, which makes it, you realize, oh,

736
00:35:37,380 --> 00:35:40,730
Speaker 1: this is a real nightmare. Yes. Because they're taking you

737
00:35:40,750 --> 00:35:44,230
Speaker 1: around the world. And I remember the menus were also cumbersome.

738
00:35:44,750 --> 00:35:45,669
Speaker 2: It was like a book.

739
00:35:46,170 --> 00:35:46,470
Speaker 1: Yeah.

740
00:35:46,989 --> 00:35:47,669
Speaker 2: Yeah.

741
00:35:47,790 --> 00:35:50,739
Speaker 1: There's one shot where I'm trying to give him back

742
00:35:50,760 --> 00:35:53,680
Speaker 1: the menu and he pushes it back down.

743
00:35:55,040 --> 00:35:58,440
Speaker 2: Yeah. There's a moment where you ask for an iced

744
00:35:58,500 --> 00:36:00,900
Speaker 2: tea and he says, we don't have iced tea. We

745
00:36:00,920 --> 00:36:02,920
Speaker 2: have smile tea. And you're like, what's smile tea? And

746
00:36:02,940 --> 00:36:04,259
Speaker 2: he says, it's tea with ice.

747
00:36:04,580 --> 00:36:08,410
Speaker 1: Yes. Yeah.

748
00:36:08,710 --> 00:36:09,210
Speaker 2: And yeah.

749
00:36:09,489 --> 00:36:10,510
Speaker 1: I'm mad now.

750
00:36:10,590 --> 00:36:16,360
Speaker 2: I know. I know. And another thing that often happens

751
00:36:16,460 --> 00:36:19,900
Speaker 2: in scenes is that I kind of become susceptible to it.

752
00:36:19,920 --> 00:36:22,460
Speaker 2: Like I buy in, which really pisses you off.

753
00:36:22,540 --> 00:36:22,759
Speaker 1: Yes.

754
00:36:22,880 --> 00:36:25,480
Speaker 2: Because like I start to think like some of this

755
00:36:25,520 --> 00:36:26,819
Speaker 2: stuff sounds good. Yes.

756
00:36:27,000 --> 00:36:27,200
Speaker 1: Yeah.

757
00:36:27,580 --> 00:36:31,930
Speaker 2: So I think I either lobsterize or double down on something.

758
00:36:31,989 --> 00:36:34,110
Speaker 2: And I'm ordering. There's a list of sides.

759
00:36:34,330 --> 00:36:34,509
Speaker 1: Yeah.

760
00:36:34,550 --> 00:36:36,009
Speaker 2: And I order like a couple of them.

761
00:36:36,570 --> 00:36:38,589
Speaker 1: I remember looking at the list of sides too, and

762
00:36:38,630 --> 00:36:41,750
Speaker 1: it's really well written, meaning they don't have French fries,

763
00:36:42,390 --> 00:36:45,690
Speaker 1: but these other things that I'm like, fried something.

764
00:36:45,770 --> 00:36:48,529
Speaker 2: From all different cuisines, which also is not a great

765
00:36:48,550 --> 00:36:53,190
Speaker 2: way to eat. You know, like good separately, not great together.

766
00:36:53,430 --> 00:36:55,350
Speaker 1: No. Terrible, terrible.

767
00:36:55,489 --> 00:36:55,709
Speaker 2: Yeah.

768
00:36:56,070 --> 00:36:56,850
Speaker 1: No sharing.

769
00:36:57,330 --> 00:37:00,089
Speaker 2: Yeah. Like an egg roll and a tostada is like,

770
00:37:00,690 --> 00:37:04,390
Speaker 2: you know, separately amazing together, like a lot, you know?

771
00:37:04,410 --> 00:37:05,049
Speaker 1: Yeah.

772
00:37:05,840 --> 00:37:07,680
Speaker 2: Although, to be fair, it's really how I loved eating

773
00:37:07,719 --> 00:37:10,779
Speaker 2: as a child. Oh, yeah. Yeah. A buffet to me

774
00:37:10,820 --> 00:37:15,609
Speaker 2: was like a really great place. Because it's all your

775
00:37:15,630 --> 00:37:16,890
Speaker 2: favorite food on one plate.

776
00:37:17,270 --> 00:37:19,230
Speaker 1: Something happens as you get older, I think, with buffets.

777
00:37:19,250 --> 00:37:22,810
Speaker 1: Where you just realize like this is not a good idea.

778
00:37:24,090 --> 00:37:24,950
Speaker 1: Germs wise.

779
00:37:25,050 --> 00:37:26,070
Speaker 2: Oh, germs wise?

780
00:37:26,150 --> 00:37:26,610
Speaker 1: Yeah.

781
00:37:27,110 --> 00:37:28,779
Speaker 2: Oh, I wasn't even thinking germs. I was just thinking

782
00:37:28,820 --> 00:37:30,600
Speaker 2: like in terms of like it's kind of a gut bomb,

783
00:37:30,640 --> 00:37:33,460
Speaker 2: I think, to just like. But yeah, germs wise.

784
00:37:33,580 --> 00:37:35,920
Speaker 1: It's a little bit like, wait a minute. What? What's this?

785
00:37:35,980 --> 00:37:37,020
Speaker 1: Why are we all handling the same?

786
00:37:37,040 --> 00:37:38,459
Speaker 2: You know, there's that like sneeze guard.

787
00:37:38,520 --> 00:37:39,819
Speaker 1: Yeah. Yeah. Yeah.

788
00:37:39,840 --> 00:37:40,330
Speaker 2: So you're fine.

789
00:37:40,630 --> 00:37:40,810
Speaker 1: Yeah.

790
00:37:40,930 --> 00:37:41,989
Speaker 2: As long as there's a sneeze guard.

791
00:37:42,010 --> 00:37:42,569
Speaker 1: That's true.

792
00:37:43,350 --> 00:37:45,609
Speaker 2: Yeah. Anyway, we should go to a buffet later.

793
00:37:46,730 --> 00:37:47,090
Speaker 1: Yes.

794
00:37:48,890 --> 00:37:53,300
Speaker 2: Anyway, that is the end of that part, that part

795
00:37:53,320 --> 00:37:58,120
Speaker 2: two of Mixologist. And yeah, I just, Kumail, just one

796
00:37:58,140 --> 00:37:59,520
Speaker 2: of the best. And I remember.

797
00:38:00,360 --> 00:38:01,820
Speaker 1: I mean, it's its own show.

798
00:38:01,920 --> 00:38:02,480
Speaker 2: It's its own show.

799
00:38:02,989 --> 00:38:06,450
Speaker 1: Yeah. I could live in it forever, although it frustrates me.

800
00:38:07,250 --> 00:38:11,690
Speaker 1: But he really keeps getting in the way and I

801
00:38:11,810 --> 00:38:13,070
Speaker 1: just love how he does it. Yeah.

802
00:38:13,550 --> 00:38:17,319
Speaker 2: And again, like once we start establishing sort of what

803
00:38:17,340 --> 00:38:19,780
Speaker 2: the dynamics are, we start writing for them. Yeah. So,

804
00:38:20,719 --> 00:38:23,980
Speaker 2: you know, I think when we were writing this bit

805
00:38:24,060 --> 00:38:26,739
Speaker 2: and we were thinking of who could play that or

806
00:38:26,760 --> 00:38:29,129
Speaker 2: what kind of character we needed, it was like, oh,

807
00:38:29,210 --> 00:38:32,830
Speaker 2: let's get Kumail and then you know, in subsequent seasons,

808
00:38:33,050 --> 00:38:35,750
Speaker 2: it was even more deliberate. It was like, okay, we

809
00:38:35,830 --> 00:38:38,350
Speaker 2: need that kind of like antagonist.

810
00:38:38,710 --> 00:38:38,990
Speaker 1: Yes.

811
00:38:39,310 --> 00:38:42,130
Speaker 2: Who can come in and just like throw up a

812
00:38:42,170 --> 00:38:46,930
Speaker 2: roadblock for Fred and Carrie. That's Kumail, you know, which

813
00:38:47,030 --> 00:38:49,649
Speaker 2: is really fun to do.

814
00:38:50,050 --> 00:38:51,770
Speaker 1: I think he's laughing a little in it.

815
00:38:52,160 --> 00:38:52,390
Speaker 2: Yes.

816
00:38:52,410 --> 00:38:53,759
Speaker 1: I think there's a couple of spots.

817
00:38:53,820 --> 00:38:57,319
Speaker 2: I feel like he's one of the guest stars who

818
00:38:57,680 --> 00:38:58,960
Speaker 2: makes me break the most.

819
00:38:59,660 --> 00:39:01,359
Speaker 1: Yeah. Oh, so good.

820
00:39:01,560 --> 00:39:14,560
Speaker 2: Anyway. Then we get to a feminist bookstore sketch. Feminist bookstore,

821
00:39:14,640 --> 00:39:16,600
Speaker 2: Tony and Candace, Women and Women First is the name

822
00:39:16,620 --> 00:39:20,710
Speaker 2: of our bookstore. We shot at a real feminist bookstore.

823
00:39:21,770 --> 00:39:26,650
Speaker 2: In other words, in North Portland. And this is one

824
00:39:26,670 --> 00:39:31,020
Speaker 2: of the only feminist bookstore sketches that doesn't feature like

825
00:39:31,060 --> 00:39:33,339
Speaker 2: an out-of-town guest star right it might be the only

826
00:39:33,440 --> 00:39:35,479
Speaker 2: one yeah or it's definitely oh.

827
00:39:35,400 --> 00:39:37,000
Speaker 1: That that i'm not sure but yes.

828
00:39:36,800 --> 00:39:41,120
Speaker 2: Yeah a rare yeah sketch a feminist bookstore sketch because

829
00:39:41,320 --> 00:39:45,100
Speaker 2: often they were popular characters we loved playing them and

830
00:39:45,320 --> 00:39:47,700
Speaker 2: they were characters that we knew guest stars would want

831
00:39:47,719 --> 00:39:54,489
Speaker 2: to play opposite to yeah But yeah, this is Ernie. Yep.

832
00:39:54,510 --> 00:39:57,950
Speaker 2: He's the actor. And we have him back multiple times.

833
00:39:58,410 --> 00:39:58,569
Speaker 1: Yeah.

834
00:39:58,630 --> 00:40:03,219
Speaker 2: He plays the ACs out and we're overheated and he

835
00:40:03,260 --> 00:40:03,940
Speaker 2: comes in to fix it.

836
00:40:04,160 --> 00:40:11,120
Speaker 1: Yes. Yeah. I see now that as I watch it, hair,

837
00:40:11,590 --> 00:40:15,260
Speaker 1: like the wigs are a little more taken care of.

838
00:40:15,270 --> 00:40:15,690
Speaker 2: Mm-hmm.

839
00:40:16,760 --> 00:40:19,080
Speaker 1: We're just a little more conscious. In a good way.

840
00:40:19,739 --> 00:40:24,300
Speaker 1: I could tell that my makeup is a little more...

841
00:40:24,160 --> 00:40:28,330
Speaker 1: Maybe I'm more shaved or something. It's just a little

842
00:40:28,750 --> 00:40:32,390
Speaker 1: streamlined a bit. I think the wigs are also styled.

843
00:40:33,570 --> 00:40:36,930
Speaker 1: It's combed in a way that's getting better. Right.

844
00:40:37,270 --> 00:40:42,080
Speaker 2: Well, just as writers and then as performers, we started

845
00:40:42,100 --> 00:40:46,180
Speaker 2: being more intentional and learning from past... mistakes or just

846
00:40:46,620 --> 00:40:48,439
Speaker 2: realizing there were things we could do better. I feel

847
00:40:48,480 --> 00:40:51,960
Speaker 2: like all the department heads did that too. Like, Oh,

848
00:40:52,140 --> 00:40:54,540
Speaker 2: this is how we can streamline this or, Hey, I

849
00:40:54,560 --> 00:40:58,670
Speaker 2: need to remind Fred shave or here's literally, here's a razor.

850
00:40:58,730 --> 00:41:01,870
Speaker 2: I remember, um, you know, you would be handed a

851
00:41:01,890 --> 00:41:05,350
Speaker 2: razor to shave like chest hair or, you know, like

852
00:41:05,810 --> 00:41:09,870
Speaker 2: everyone started, I think being more particular about that stuff

853
00:41:09,910 --> 00:41:12,299
Speaker 2: and just wanting it to look better.

854
00:41:12,600 --> 00:41:12,779
Speaker 1: Yeah.

855
00:41:13,440 --> 00:41:17,109
Speaker 2: Uh, and it became sort of less like haphazard and

856
00:41:17,410 --> 00:41:20,210
Speaker 2: like just intentional is the right word. Like we just,

857
00:41:20,230 --> 00:41:22,089
Speaker 2: there was more intention I think with season two.

858
00:41:22,330 --> 00:41:22,489
Speaker 1: Yeah.

859
00:41:23,290 --> 00:41:28,830
Speaker 2: Um, so yeah, I agree with that. Um, and this

860
00:41:28,910 --> 00:41:31,670
Speaker 2: ends with them basically just taking our entire tip jar. Well,

861
00:41:31,690 --> 00:41:33,750
Speaker 2: you can't, we literally don't have money to pay them.

862
00:41:33,930 --> 00:41:34,149
Speaker 1: Yeah.

863
00:41:34,290 --> 00:41:34,450
Speaker 3: Yeah.

864
00:41:34,750 --> 00:41:38,810
Speaker 1: Okay. And it seems to be okay that that's the

865
00:41:38,850 --> 00:41:43,880
Speaker 1: amount that we ended up paying him. Is that $ 28? Yes. Something,

866
00:41:43,940 --> 00:41:46,900
Speaker 1: I mean, I just feel like that's also kind of,

867
00:41:46,989 --> 00:41:51,469
Speaker 1: maybe at the time, Portland-y too. Money. I remember I

868
00:41:51,510 --> 00:41:55,030
Speaker 1: had a couch delivered there, and I tried to tip

869
00:41:55,230 --> 00:41:57,740
Speaker 1: the delivery guys, and they wouldn't take my tip.

870
00:41:58,410 --> 00:41:58,549
Speaker 2: Oh.

871
00:41:59,460 --> 00:42:01,779
Speaker 1: And that was a very rare thing for me.

872
00:42:02,660 --> 00:42:02,859
Speaker 2: Yeah.

873
00:42:03,140 --> 00:42:10,259
Speaker 1: They're like, nope. Yeah. From there, we go to helicopter parents.

874
00:42:10,280 --> 00:42:15,000
Speaker 2: Malcolm and Chris, who are also... recurring characters. And I

875
00:42:15,080 --> 00:42:17,790
Speaker 2: think their last name is Singer. And we were sort of,

876
00:42:18,239 --> 00:42:22,350
Speaker 2: our executive producer is Andrew Singer. And this is something

877
00:42:22,390 --> 00:42:24,870
Speaker 2: we did a lot, which is sometimes we would just

878
00:42:24,930 --> 00:42:27,489
Speaker 2: nod to like, you know, tip our hat to a

879
00:42:27,570 --> 00:42:31,830
Speaker 2: friend or colleague and, you know, just kind of a

880
00:42:31,830 --> 00:42:34,120
Speaker 2: little Easter egg if, you know, you were watching and

881
00:42:35,040 --> 00:42:39,739
Speaker 2: you would know like, okay, this is this person to

882
00:42:39,780 --> 00:42:43,140
Speaker 2: which we're referring. So yeah. These people I remember, Malcolm

883
00:42:43,180 --> 00:42:47,890
Speaker 2: and Chris, I grew up in and around Seattle, mostly

884
00:42:48,270 --> 00:42:53,790
Speaker 2: in the suburbs of Seattle. And Seattle and Portland, it's

885
00:42:53,850 --> 00:42:58,640
Speaker 2: sometimes tricky to explain the difference. Now it might be

886
00:42:58,660 --> 00:43:00,960
Speaker 2: a little more obvious. Seattle has had a tech boom

887
00:43:00,980 --> 00:43:05,220
Speaker 2: and feels like a much bigger city. But I remember

888
00:43:06,200 --> 00:43:09,319
Speaker 2: saying to you that Malcolm and Chris were Seattleites. Like

889
00:43:09,340 --> 00:43:13,390
Speaker 2: there was a slight sophistication and they were more moneyed,

890
00:43:14,270 --> 00:43:19,330
Speaker 2: which is often like to me, Seattle, while it used

891
00:43:19,350 --> 00:43:23,229
Speaker 2: to be a little bit crunchier, a little bit more

892
00:43:23,330 --> 00:43:26,509
Speaker 2: like bohemian, obviously there was such an influx of money there.

893
00:43:26,630 --> 00:43:30,960
Speaker 2: I think certainly before Portland had it and still, of course.

894
00:43:32,160 --> 00:43:35,819
Speaker 2: And I think less self-conscious about like displays of wealth

895
00:43:37,120 --> 00:43:40,000
Speaker 2: in Seattle and you know, or Portland, I think wears

896
00:43:40,040 --> 00:43:42,600
Speaker 2: that a little self-consciously. It's like, you know, not wanting

897
00:43:42,660 --> 00:43:46,840
Speaker 2: to necessarily come across as like better than anyone. I

898
00:43:46,880 --> 00:43:49,940
Speaker 2: think Seattle is established enough, just feels more confident. You know,

899
00:43:49,960 --> 00:43:51,660
Speaker 2: we've talked a little bit about this, like identities of

900
00:43:51,700 --> 00:43:53,910
Speaker 2: cities and which ones are sort of willing to like

901
00:43:53,950 --> 00:43:56,870
Speaker 2: embrace things. And I feel like there's also a version

902
00:43:57,010 --> 00:43:59,489
Speaker 2: of money in Seattle where it's also still, it's like,

903
00:43:59,570 --> 00:44:03,770
Speaker 2: how can I sort of be like counterculture and, you know, bohemian?

904
00:44:03,989 --> 00:44:06,810
Speaker 2: How can I be like a wealthy looking ceramicist? You know, like,

905
00:44:07,390 --> 00:44:10,780
Speaker 2: sort of an inner like intersection of all these different identities.

906
00:44:11,040 --> 00:44:13,440
Speaker 2: But I remember thinking just in terms of the wigs

907
00:44:13,500 --> 00:44:16,459
Speaker 2: and the way that we, we were dressed that Malcolm

908
00:44:16,480 --> 00:44:19,529
Speaker 2: and Chris, for me, it was, I actually was like, Oh,

909
00:44:19,550 --> 00:44:20,310
Speaker 2: they're Seattleites.

910
00:44:20,590 --> 00:44:21,230
Speaker 1: Oh, that's great.

911
00:44:21,310 --> 00:44:24,069
Speaker 2: Transplanted because their kid lives there. In my mind, like

912
00:44:24,090 --> 00:44:26,690
Speaker 2: the backstory was like, you know, like they, okay, we're

913
00:44:26,710 --> 00:44:28,740
Speaker 2: going to raise our kid in Portland. So this is,

914
00:44:30,270 --> 00:44:33,540
Speaker 2: we're sort of helicopter parenting. And again, our, uh, co-creator

915
00:44:33,860 --> 00:44:35,440
Speaker 2: and the director of the first couple of seasons, John

916
00:44:35,460 --> 00:44:38,840
Speaker 2: Chrysler had had a child the first year of the show.

917
00:44:39,300 --> 00:44:43,060
Speaker 2: And so he was, was he the only, well, Alison Silverman,

918
00:44:43,100 --> 00:44:45,839
Speaker 2: one of our writers from first season had kids, but

919
00:44:46,239 --> 00:44:49,549
Speaker 2: they were like, depending on where the writers were in

920
00:44:49,570 --> 00:44:51,450
Speaker 2: their lives, like that's where a lot of the pitches

921
00:44:51,469 --> 00:44:53,830
Speaker 2: came from. And I remember John would pitch a lot

922
00:44:53,870 --> 00:44:58,549
Speaker 2: of like parent stuff and this came from him. Yeah. Yeah. Um,

923
00:44:59,120 --> 00:45:02,320
Speaker 2: pat boils in this pat boils season one she plays

924
00:45:02,440 --> 00:45:08,339
Speaker 2: a reporter um and here she's really good at like

925
00:45:08,390 --> 00:45:11,989
Speaker 2: a no nonsense character yes uh no bullshit does not

926
00:45:12,030 --> 00:45:17,390
Speaker 2: suffer fools and all of that sort of like extra

927
00:45:17,469 --> 00:45:22,330
Speaker 2: like extraneous discourse and explanation she's not having it no

928
00:45:22,590 --> 00:45:25,469
Speaker 2: she and she's having none of it and i love

929
00:45:25,510 --> 00:45:26,650
Speaker 2: that about her yeah.

930
00:45:26,690 --> 00:45:29,640
Speaker 1: Yeah it's really closes the door in a very convincing way.

931
00:45:29,700 --> 00:45:29,899
Speaker 2: Yes.

932
00:45:30,360 --> 00:45:34,200
Speaker 1: Yeah. Uh, and then this ends with, so we're helicopter

933
00:45:34,219 --> 00:45:38,299
Speaker 1: parenting and then our parents show up.

934
00:45:38,680 --> 00:45:41,049
Speaker 2: Yeah. We're already like in our, our, these characters are

935
00:45:41,090 --> 00:45:41,860
Speaker 2: like in their forties.

936
00:45:42,070 --> 00:45:42,240
Speaker 1: Yeah.

937
00:45:42,320 --> 00:45:46,730
Speaker 2: And then when we fail, yes. Our parents who are

938
00:45:46,750 --> 00:45:48,310
Speaker 2: like in their seventies.

939
00:45:48,469 --> 00:45:48,709
Speaker 1: Yeah.

940
00:45:48,910 --> 00:45:49,969
Speaker 2: Come to save us.

941
00:45:50,310 --> 00:45:50,549
Speaker 1: Yes.

942
00:45:50,690 --> 00:45:54,230
Speaker 2: Yes. Um, generational helicoptering.

943
00:45:54,450 --> 00:45:56,550
Speaker 1: Yes. We're now in SoCal.

944
00:45:56,910 --> 00:46:00,670
Speaker 2: Yeah, we have tracked Andy down because I've got to

945
00:46:00,710 --> 00:46:01,630
Speaker 2: deliver this mixtape.

946
00:46:01,750 --> 00:46:03,410
Speaker 1: Yeah, he doesn't recognize you at first.

947
00:46:03,650 --> 00:46:06,029
Speaker 2: Well, because he's no longer, we even say this is

948
00:46:06,070 --> 00:46:08,689
Speaker 2: where it's like he's not a mixologist. Now he's just

949
00:46:08,969 --> 00:46:16,210
Speaker 2: a bartender, a lowly bartender, like very Tom Cruise cocktail vibes. Yeah. sunglasses,

950
00:46:16,390 --> 00:46:19,430
Speaker 2: like flipping the bottles. Like, and now it's like a club,

951
00:46:19,730 --> 00:46:25,160
Speaker 2: like not like a little, you know, bespoke like cocktail bar,

952
00:46:25,800 --> 00:46:28,140
Speaker 2: like overly considered, but like just a big kind of

953
00:46:28,180 --> 00:46:34,420
Speaker 2: generic warehouse bar club. And I worry that Andy no

954
00:46:34,460 --> 00:46:35,480
Speaker 2: longer recognizes me.

955
00:46:36,960 --> 00:46:39,700
Speaker 1: And the way, you know, the way I'm sort of

956
00:46:39,719 --> 00:46:43,920
Speaker 1: being a cheerleader, I say, well, go, you know, go

957
00:46:43,980 --> 00:46:47,760
Speaker 1: back and try again. And then you sing a song

958
00:46:48,440 --> 00:46:49,419
Speaker 1: from summer camp.

959
00:46:49,860 --> 00:46:55,140
Speaker 2: Yes. We didn't say, but in the first part I say, Hey,

960
00:46:55,160 --> 00:46:56,839
Speaker 2: I think I know that guy from camp. Right. So

961
00:46:56,890 --> 00:46:59,090
Speaker 2: we use this camp song is almost the way of

962
00:46:59,200 --> 00:47:02,969
Speaker 2: breaking the spell, breaking the SoCal spell that Andy has

963
00:47:03,030 --> 00:47:03,850
Speaker 2: fallen prey to.

964
00:47:04,170 --> 00:47:04,589
Speaker 1: And it works.

965
00:47:04,730 --> 00:47:07,510
Speaker 2: And it works. And that is not my voice. Mostly

966
00:47:07,530 --> 00:47:09,270
Speaker 2: when I'm singing on the show, you're singing on the show.

967
00:47:09,310 --> 00:47:12,150
Speaker 2: We have prerecorded and it's actually our voice. I am

968
00:47:12,210 --> 00:47:15,799
Speaker 2: lip syncing. It's an original song, but yeah, I did

969
00:47:15,840 --> 00:47:20,080
Speaker 2: not do the pre-record on this. And it brings us together. Yep.

970
00:47:20,600 --> 00:47:22,980
Speaker 1: And then we end it with that sort of guy

971
00:47:23,040 --> 00:47:26,200
Speaker 1: tone of like, I'll see you later. Okay. Yeah.

972
00:47:26,860 --> 00:47:27,060
Speaker 2: Yeah.

973
00:47:27,420 --> 00:47:28,660
Speaker 1: A little, you know.

974
00:47:29,320 --> 00:47:31,020
Speaker 2: It's like the button after the button. Yeah.

975
00:47:31,180 --> 00:47:31,450
Speaker 1: Yeah.

976
00:47:32,120 --> 00:47:33,649
Speaker 2: The denouement. Yeah. Yeah.

977
00:47:33,850 --> 00:47:38,050
Speaker 1: But loved having Andy on. Love this episode. What a

978
00:47:38,230 --> 00:47:39,689
Speaker 1: great way to start the new season.

979
00:47:39,710 --> 00:47:39,850
Speaker 3: Yes.

980
00:47:40,290 --> 00:47:43,930
Speaker 2: Yes. to start one of what will become one of

981
00:47:44,090 --> 00:47:47,230
Speaker 2: our favorite seasons. So thank you for tuning in.