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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.

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

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Speaker 1: You're watching Podlandia. Hi, I'm Fred.

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Speaker 2: And I am Keri.

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Speaker 1: This is AO Rewatch.

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Speaker 2: AO Rewatch.

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Speaker 1: A Portlandia Rewatch podcast.

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Speaker 2: Hi, Fred.

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Speaker 1: Hi, Keri.

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Speaker 2: How are you today?

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Speaker 1: I'm doing great. And we are going through episodes in

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Speaker 1: our second season of Portlandia. And so I watched, last

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Speaker 1: night I watched Cat Nap.

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Speaker 2: That's so weird. I did too.

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Speaker 1: Oh, weird. So I guess we can... Maybe we shouldn't

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Speaker 1: talk about it. We'll just skip it. We both watched it. Anyway,

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Speaker 1: I loved watching this. I really laughed a lot.

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Speaker 2: Me too.

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Speaker 1: Even though I'm in it, I still laughed about it.

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Speaker 3: It gave me a lot of joy to watch it.

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Speaker 3: And I know we've talked about this with the second

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Speaker 3: season that it's a season we're proud of. It's a

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Speaker 3: season where we feel like we hit our stride. I

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Speaker 3: think where a lot of ideas that were just forming

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Speaker 3: in season one really coalesced. It also became sort of

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Speaker 3: a platform from which we ended up expanding on later.

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Speaker 3: So many things are working in season two, but in

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Speaker 3: this episode, I felt that the whole way through, including

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Speaker 3: the cold open.

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Speaker 1: Oh, yeah, that cold open. So the cold open for

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Speaker 1: Catnap is Miranda July. and yourself. Two girls, two shirts. Yes.

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Speaker 3: And just for context, Miranda is one of my oldest friends.

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Speaker 3: We met when we were 18. And she's one of

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Speaker 3: my closest friends. And when I watch this, it is

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Speaker 3: so us. And some of that dynamic is also just

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Speaker 3: little hints of us.

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Speaker 2: Like her.

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Speaker 3: kind of poking at my character for being less sophisticated,

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Speaker 3: less urbane than she is. I mean, Miranda is not

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Speaker 3: like that, but sometimes, you know, like she just will

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Speaker 3: go and do something and I will not have done that.

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Speaker 3: And I always just feel like a slight amount of

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Speaker 3: like inferiority.

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Speaker 2: And she's just really brilliant.

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Speaker 3: And, you know, just every once in a while I'm like, okay, yeah,

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Speaker 3: she's just, she has these certain experiences that, that I'm

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Speaker 3: not privy to and she'll sort of tell me about them.

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Speaker 3: And I like, I sit just like an apt listener.

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Speaker 3: So there's just, I could just see.

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Speaker 2: Like the real Miranda and Carrie behind these characters.

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Speaker 1: See, I didn't know that. I didn't know that that

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Speaker 1: was like an element to what was going on in

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Speaker 1: the sketch.

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Speaker 3: I think it's more how I feel than how she

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Speaker 3: treats me, you know, because she's such an artist. So

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Speaker 3: the lens through which she views things is just, it's

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Speaker 3: so wholly creative. And sometimes I'm just like a passenger

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Speaker 3: along for the ride with her in like a kid

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Speaker 3: sister way. But I also, I just, yeah, I really

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Speaker 3: just enjoyed watching us. And I love you at the

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Speaker 3: end coming in after our business fails.

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Speaker 1: Well, some of the observation of that kind of store,

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Speaker 1: I think it came from our, you know, I mean,

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Speaker 1: obviously our discussions in the writer's room of just happening

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Speaker 1: upon a store that That has so little inventory, but

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Speaker 1: on purpose, sort of like all we have is these

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Speaker 1: few designs. And I thought it was, you know, well depicted.

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Speaker 1: And then in Portland, I remember there are some stereo

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Speaker 1: stores that are also very like, that's all they had

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Speaker 1: were just a few vintage pieces, components. Yeah. And some

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Speaker 1: records and stuff, but just very specific pieces.

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Speaker 3: So minimalist that you honestly don't know how they stay

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Speaker 3: in business. I mean, that was the other thing. How

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Speaker 3: is this a business model?

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Speaker 2: How does this function? How do you pay the bills?

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Speaker 1: Who's in here? Yeah, ever.

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Speaker 3: And what happens with those stores is that because you don't,

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Speaker 3: as a customer, as a passerby, you don't see anyone

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Speaker 3: else in there, so then you become intimidated to go in.

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Speaker 3: And if you go in, despite them having no other

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Speaker 3: customers that day, They almost act like, why are you here?

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Speaker 2: Like, please leave. So there is just that almost like antagonism.

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Speaker 1: Yes. I mean, it pressures me. I'm sure I've bought

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Speaker 1: things out of, I don't think guilt is the right word,

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Speaker 1: but intimidation. I'm so intimidated in a place like that.

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Speaker 1: I'm like, I guess I should buy this cassette player.

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Speaker 3: I have tried things on that look terrible on me

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Speaker 3: and purchased them because I just didn't want to be disappointing.

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Speaker 3: You walk out, they don't have a mirror. And in

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Speaker 3: clothing stores like that, they refuse to have a mirror

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Speaker 3: in the changing room. You have to walk out. And

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Speaker 3: sometimes the only mirror is that person's eyes, right? So

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Speaker 3: you walk out and the employee, you just read their face.

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Speaker 3: And you're like, I guess this looks bad, but I

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Speaker 3: still need to buy it.

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Speaker 2: Okay.

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Speaker 3: Then you pay money and leave. And their return policy

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Speaker 3: does not exist. It is like you walk out of

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Speaker 3: the store... You own it.

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Speaker 2: Also, you would never go back in there.

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Speaker 1: I wouldn't dare.

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Speaker 2: The shame. So, I mean, it's highway robbery. I mean,

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Speaker 2: it's just like.

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Speaker 1: And it's flimsy stuff. I think the times I've bought

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Speaker 1: things in places like that, none of it's lasted.

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Speaker 3: It's flimsy or it's like hard as a board. You're

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Speaker 3: just like, this is a shirt? Like, you're just like

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Speaker 3: cracking it.

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Speaker 2: It's like, yeah.

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Speaker 1: I wonder... If that is a type of business model, intimidation, retail.

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Speaker 2: Yeah, like if you go to business school.

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Speaker 1: Yeah.

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Speaker 3: And they're like, well, there's this one. It's not for everyone.

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Speaker 3: There's this thing you could try. It doesn't always work.

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Speaker 3: It's a lot of commitment.

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Speaker 1: It's a little bit of time. Yeah. But open up

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Speaker 1: a shop.

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Speaker 2: Yeah. I definitely still see stores like that.

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Speaker 1: I do too.

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Speaker 3: I think, um, you know, the pandemic and, um, kind

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Speaker 3: of wiped out some of those stores, you know, like

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Speaker 3: any kind of recession I think gets, you know, sort

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Speaker 3: of like cleans the slate a little bit, but I've

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Speaker 3: seen them repopulate, you know, as, as we've sort of

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Speaker 3: bounced back from, from like decline. Like it's like, Oh,

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Speaker 3: here they are again. Here's someone else going for it.

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Speaker 1: Yeah. Have you ever, um, seen a store that you

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Speaker 1: can't quite tell what it is exactly. I don't mean

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Speaker 1: it as like a big joke of like, I don't

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Speaker 1: know what this is, but there's a theme that eludes you. Yeah.

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Speaker 1: I've seen somewhere it's like, is this like based on

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Speaker 1: a video game or something? It's like an inside joke

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Speaker 1: or something that I'm like, I think this, this isn't

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Speaker 1: meant for me, but there's something going on that has

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Speaker 1: nothing to do with me.

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Speaker 3: Like, esoteric and inscrutable and on purpose of course and

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Speaker 3: so you don't feel in on the joke which I

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Speaker 3: think is a really hard like pretense you know you're

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Speaker 3: just like it's hard to penetrate something that you don't

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Speaker 3: understand and it's hard to feel like you have any

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Speaker 3: agency when you go into a store like that and

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Speaker 3: you're disoriented right from the beginning yeah yeah.

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Speaker 1: And I'd like to think I'm open-minded enough to be

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Speaker 1: like I you could explain this to me I wouldn't

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Speaker 1: but They don't seem interested.

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Speaker 3: You know what version, I think in the food, in

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Speaker 3: the restaurant industry, I don't mind a place that has

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Speaker 3: like a minimalist menu where they just specialize in like,

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Speaker 3: we just do coffee. You're not here. This is not

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Speaker 3: a cafe. Like you're not going to get a sandwich here.

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Speaker 3: You're not going to get like a frittata. You're just

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Speaker 3: going to get really good coffee. I like that.

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Speaker 1: That I like. Yeah.

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Speaker 3: I don't mind that with food because I think, great,

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Speaker 3: let's specialize. But I find it a little alienating with

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Speaker 3: other things.

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Speaker 1: I think I'm remembering, this is like a hodgepodge of

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Speaker 1: memory of walking into a place, but I've seen shops,

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Speaker 1: even in different countries, that are, there'll be some sort

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Speaker 1: of 3D cartoon character, but for adults, like a robot

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Speaker 1: or something. And that's kind of all that's in the

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Speaker 1: shop are like different variations of some cute robot. A toy.

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Speaker 1: A toy, but it doesn't look like they're for kids.

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Speaker 2: Right. For sure not.

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Speaker 1: And then a couple other little things, but I'm like,

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Speaker 1: I guess this is a character somewhere. Yeah. Maybe some

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Speaker 1: sneakers or something, but it's mostly whatever that action figure is.

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Speaker 3: Right. The contrast to this kind of store, I think,

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Speaker 3: is also a store that I find a little confusing

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Speaker 3: is the store that has everything but is still precious.

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Speaker 2: Yeah, yeah, yeah.

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Speaker 3: Where they're serving coffee, they're selling plants, they're selling candles,

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Speaker 3: they're selling belts. They've sort of picked a couple things.

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Speaker 3: And the only time I love that shop is when

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Speaker 3: I'm shopping for Christmas presents. But other than that, I

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Speaker 3: do want them to just like focus, just narrow it down,

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Speaker 3: pick a theme. So I know I'm trying to have

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Speaker 3: it both ways, but I'm just saying there's like a

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Speaker 3: nice middle ground. Yes.

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Speaker 2: And this is like the one extreme version of it.

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Speaker 1: The kind of story you're talking about, I believe I've

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Speaker 1: taken pictures of them to send to you. And after

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Speaker 1: a while it became, you know, so boring that I

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Speaker 1: was like, because my message was going to be, what

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Speaker 1: are these kinds of stores? And they're other countries too.

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Speaker 1: I think in Ireland, I saw one. It's just a

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Speaker 1: little bit of everything, little notebooks, just like you said, gifts.

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Speaker 3: Yeah, I think my theory is that there are certain

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Speaker 3: stores that are trying to emulate people's experience online. which

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Speaker 3: is to have choice and to not have to go

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Speaker 3: very far to find something. So they're like, okay, our

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Speaker 3: store is like when you go, when you're, you know,

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Speaker 3: you have all the tabs open and you're like, I

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Speaker 3: need this. And then that reminds me I need this.

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Speaker 3: And I don't want in-person things.

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Speaker 2: To be like that.

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Speaker 3: Like I like site specificity, you know, I'm like this store,

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Speaker 3: we just, we just have these things. Like I don't,

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Speaker 3: I don't want my real life world to emulate my

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Speaker 3: online like habits and And also, there's a real homogeny

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Speaker 3: that comes from this, where, to your point of seeing

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Speaker 3: this store in Ireland, we've seen this store everywhere.

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Speaker 2: And they now get the same products. They must.

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Speaker 3: They're sourcing the same scented candle, those scents, like little

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Speaker 3: oils and that kind of stuff.

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Speaker 1: I think brass bowls, that little brass bowl that you put.

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Speaker 3: Oh, yeah, incense holders. Yeah, it's like they're all coming

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Speaker 3: from the same spot. And I don't want... It just feels...

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Speaker 3: You're like, oh my gosh, of course. It's too predictable.

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Speaker 3: There's nothing surprising about it. Actually, we're making a case

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Speaker 3: for the store that.

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Speaker 1: We showed in this episode. You know what?

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Speaker 2: Do it.

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Speaker 1: Go for it.

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Speaker 2: We come all the way back around.

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Speaker 3: We are pro-minimalist, esoteric, don't-know-what-the-fuck-it-is store.

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Speaker 2: Proliferate.

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Speaker 1: Go crazy. Yeah. For as long as you can. Yes.

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Speaker 1: I was going to say about that cold open tube.

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Speaker 1: Miranda July, as a performer, it's also fun seeing her

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Speaker 1: because I've seen her do performance art and shows and everything.

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Speaker 1: And I like seeing her in a sketch. I was like,

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Speaker 1: I've never seen her in a sketch before.

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Speaker 3: Well, you are onto something there because I remember she

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Speaker 3: was a little nervous and also said to John Kreisel,

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Speaker 3: our director, I have not acted in someone else's thing

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Speaker 3: in a very long time. I wouldn't say ever, but

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Speaker 3: it's so rare. And up until that point, it had

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Speaker 3: been a really long time. And he was sort of

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Speaker 3: the first person to direct her in something because she

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Speaker 3: usually directs herself like in her film.

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Speaker 2: So it is quite a rarity. And she chose Portlandia.

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Speaker 1: Great. Yeah. The concept of this sketch, I think that

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Speaker 1: you and I still talk about this in the present tense.

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Speaker 1: Yesterday you were talking about, well, it's about, bands having

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Speaker 1: like a theme that makes them stand out.

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Speaker 3: A gimmick is, I guess, the more demeaning way of

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Speaker 3: describing that. But yeah, just something distinct.

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Speaker 1: And yesterday we were talking about Engines de Portrine, the

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Speaker 1: band from Quebec. And this is exactly, this is like

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Speaker 1: an ongoing conversation about bands that like, what are we

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Speaker 1: going to do to stand out? Yeah. And as I

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Speaker 1: was watching the sketch, I kept thinking of like, oh,

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Speaker 1: I hope we use this as an example. And then

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Speaker 1: we did. So I was really relieved. I was like, yeah,

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Speaker 1: that's exactly what I mean. Yeah. And it's just that

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Speaker 1: sketch is very alive.

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Speaker 2: It's very alive. It's very us.

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Speaker 3: It feels like a Fred and Carrie idea. And to

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Speaker 3: your point, an extension of something that we talked about

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Speaker 3: before we filmed this and that we continue to talk

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Speaker 3: about now. Because it's always conspicuous. And when it works well,

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Speaker 3: that disappears. Whatever the gimmick is, whatever. Like the anomaly

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Speaker 3: is like it recedes into the background because the music

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Speaker 3: is so great. But there are other times where it's

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Speaker 3: just that's at.

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Speaker 2: The forefront, you know, this little trick. You know, you

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Speaker 2: feel a little manipulated.

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Speaker 3: But in a real way, what I loved about part

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Speaker 3: one is, first of all, I can tell you have

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Speaker 3: a cold in this.

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Speaker 1: It's allergies. I remember it was allergies of cats.

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Speaker 2: That's right.

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Speaker 1: Okay. And so there was a cat there. I think

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Speaker 1: we went to a cat house. That's right.

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Speaker 2: That's what it was.

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Speaker 1: It was allergies. Yeah.

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Speaker 3: I'm mad at myself for not realizing that because I

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Speaker 3: was like, oh, you're stuffed up. But what I was

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Speaker 3: going to– and this is a compliment. You are so real.

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Speaker 3: Like the way that you're portraying Gil, which is– right?

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Speaker 3: That's like your character's name in this, which is a

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Speaker 3: one-off character. But it's such an earnest conversation. Like the

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Speaker 3: way that you're talking about just like the disappointment of

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Speaker 3: like trying– it's such a real band conversation. And obviously

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Speaker 3: we were drawing on our experience of like playing in

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Speaker 3: bands and, you know, feeling like something isn't hitting or

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Speaker 3: that we're misunderstood or that we're not finding an audience.

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Speaker 3: And it's just such a real, I was glad that

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Speaker 3: the first part of the sketch is just, it feels

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Speaker 3: very authentic.

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Speaker 1: Including the, where, where we're jamming. We're like, we're listening,

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Speaker 1: even though it's comedic. Yeah. It's still in the realm

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Speaker 1: of like a band who's really trying.

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Speaker 2: Yeah, it's grounded. It's a grounded premise.

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Speaker 3: And then, of course, we happen upon this brilliant idea

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Speaker 3: that we could have our cat, Kevin, join the band.

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Speaker 3: And that that would set us apart from other bands.

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Speaker 1: Yeah. And I think, because I'd forgotten that we'd shot

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Speaker 1: this part of it, because we're telling the cat what

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Speaker 1: to do. There's a scratching post. Didn't we say to like.

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Speaker 2: I was like, turn your chorus pedal on. Yeah, and

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Speaker 2: you see his little... Little paw.

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Speaker 3: And the pedal for his chorus pedal has a little

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Speaker 3: paw on it, which of course is our brilliant production

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Speaker 3: design and art team led by Tyler Robinson.

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Speaker 1: But yeah, it's... That the cat would understand like, oh,

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Speaker 1: they want me to press something with my paw. Yeah.

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Speaker 3: No, the fact that we imbued this cat with like

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Speaker 3: any kind of like musical intuition or talent But it

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Speaker 3: really works. I think because it starts off so grounded

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Speaker 3: and because we are just so excited watching Kevin play

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Speaker 3: a scratching post and we're immediately happier.

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Speaker 2: It just really elevates the mood.

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Speaker 3: And yeah, that's how that ends with us jamming away

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Speaker 3: with our new bandmate.

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Speaker 1: And then does Pitchfork, they give us a good review

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Speaker 1: right away? I think in that first part.

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Speaker 2: I think it ends.

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Speaker 1: Which is such a good shorthand. I think over the

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Speaker 1: years it would have been like Rolling Stone or something

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Speaker 1: like that. But it's nice that it was a little

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Speaker 1: quick little.

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Speaker 2: Yeah, and it's not even just pitchfork. We sort of

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Speaker 2: show it going viral.

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Speaker 3: It still happens where you see the view count going

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Speaker 3: up on a YouTube video. And it's like, yeah, here

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Speaker 3: we go. It's like everyone's dream.

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Speaker 1: I think there's... Because we do the song live sometimes,

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Speaker 1: Whisker Patrol, when we do live shows. I forgot that there's.

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Speaker 2: A verse.

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Speaker 1: A verse.

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Speaker 2: Same, Fred. I was like, we're not doing the verse

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Speaker 2: when we do this.

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Speaker 1: Yeah. So I guess we have to.

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Speaker 2: Yeah.

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Speaker 3: So for people who are coming to our live show,

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Speaker 3: and we'll hopefully do more of them, we will now

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Speaker 3: add this other part of the song. And we apologize

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Speaker 3: to people who've come to the shows previously, and we

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Speaker 3: were lobbing off that first verse and only doing the chorus.

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Speaker 3: Who knew it was such a multifaceted song?

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Speaker 1: I mean, I suppose most people are entitled to a

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Speaker 1: refund of some sort.

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Speaker 3: Absolutely.

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Speaker 1: There's a sort of false advertising.

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Speaker 2: Yeah, reach out to Fred.

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Speaker 1: Reach out to me. Then we've got this, that music

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Speaker 1: video pitch one.

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Speaker 3: This one, I was like, I had, first of all,

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Speaker 3: forgotten about this completely. Not Gavin, who's a recurring character

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Speaker 3: and one of my favorite characters of yours who you're really,

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Speaker 3: is this, Is this his debut?

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Speaker 1: No, because I think he was at the Knot store.

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Speaker 2: He was at the Knot store. That's right.

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Speaker 1: And he, I wonder if I could find the photo.

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Speaker 1: It based on something we saw in the New York

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Speaker 1: Times about some sort of counterculture. And it was a photo,

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Speaker 1: he had a sweater like that and a mustache and everything.

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Speaker 2: And you're so taciturn in this video. I mean, it's,

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Speaker 2: you're just sitting there. I can't... And the screen actually freezes.

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Speaker 3: Like, basically, we're... My dad, this character's dad, he's watching

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Speaker 3: a video as we fundraise for a music video that

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Speaker 3: Gavin's making.

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Speaker 1: Yeah. Yeah. Or that you're making.

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Speaker 2: That I'm making.

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Speaker 1: Your character's making, and that Gavin is directing.

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Speaker 2: Directing, and we're trying to raise $ 25, 000. Yeah.

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Speaker 1: Yeah.

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Speaker 2: And... It's funny.

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Speaker 1: When people still fundraise, the amounts are always pretty high.

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Speaker 3: Yeah. I mean.

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Speaker 1: I understand, but I'm just like, wow.

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Speaker 2: Yeah.

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Speaker 3: I mean, 25,000 is a lot for like a, I mean,

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Speaker 3: now for real, like music, the budget for music videos

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Speaker 3: are nothing. I mean, they used to be astronomical, obviously

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Speaker 3: like in the eighties and nineties and even early two thousands.

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Speaker 3: And then for some people in music industry is so stratified,

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Speaker 3: like for the 1% music video, like budgets are huge.

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Speaker 3: And for everyone else, they're so like constrained to like,

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Speaker 3: you have to make them on a shoestring budget and

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Speaker 3: like call in so many favors. So 25,000 would definitely

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Speaker 3: be a lot for a music video.

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Speaker 1: This is a real question. What is the value of

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Speaker 1: music videos these days? I'm saying you as a music artist.

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Speaker 3: It's actually a totally valid question. I'm not sure, you know,

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Speaker 3: because it's like you, they used to be promotional. Like

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Speaker 3: you have a single that potentially, and I put single

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Speaker 3: in quotes, but a song, a track that you release

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Speaker 3: before the album comes out. And I guess it's just

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Speaker 3: a way to put a visual, to marry a visual

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Speaker 3: with that song. But I would say like their purpose.

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Speaker 2: Is definitely in question.

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Speaker 3: You know, it's not necessarily like the way that people

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Speaker 3: find music or care about music or even like consume it,

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Speaker 3: I guess. Like I think they're less and less important.

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Speaker 3: I mean, a lot of people just do visualizers or

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Speaker 3: like a lyric video, which are much cheaper. And it's

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Speaker 3: just a way to have it on like a visual platform. Right.

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Speaker 3: But I do think it really reached the extreme of

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Speaker 3: like people trying to do something that was like, ooh,

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Speaker 3: this is like shocking or like. you know, people would,

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Speaker 3: a lot of stunt stuff, like stunt casting, like, oh,

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Speaker 3: let's get this movie, you know, that's all been done now.

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Speaker 2: It's like, oh, look who's showing up. It's like an

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Speaker 2: A-list movie star in our music video.

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Speaker 1: That's been out the window. We've done that, you.

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00:20:38,890 --> 00:20:40,929
Speaker 3: Know, like we've done stuff that's like, oh my God,

401
00:20:40,950 --> 00:20:43,630
Speaker 3: this is so raunchy. Like that's how, you know, it's like,

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Speaker 3: just check it off.

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Speaker 2: We've done it.

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00:20:47,340 --> 00:20:49,820
Speaker 1: Yeah, this is raunchy. That was, like, such a move.

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Speaker 3: I remember one time my friend sent me their music

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Speaker 3: video before it was released just to, you know, just

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Speaker 3: to show me, like, get my feedback and response just

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Speaker 3: because we're friends. But unfortunately, she also sent, like, the

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Speaker 3: whole email chain, and there was someone at her label

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Speaker 3: that was like, this is going to break the internet.

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Speaker 3: And I just was like, oh, God. Like, you know,

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Speaker 3: that's everyone's hope. Like, and it just, it doesn't happen, like,

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Speaker 3: you know.

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Speaker 1: Do you remember the stunt of also, like, the stunt

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Speaker 1: of something extreme happening for real? Like, they did it

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Speaker 1: on lava. This is really at a volcano. Yes. Or whatever.

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00:21:28,570 --> 00:21:32,070
Speaker 3: Yeah, or, yeah, or it's all in one take, or they, yeah,

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Speaker 3: just whatever. They went somewhere to shoot it.

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Speaker 2: Yeah. To your point.

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Speaker 1: The first underwater, and they held their breath.

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00:21:39,070 --> 00:21:41,930
Speaker 3: Yeah, they used this, you know, or it's like, first

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Speaker 3: one shot in an iPhone and then first one shot

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Speaker 3: on whatever.

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Speaker 2: I mean, it's just, it's all been done.

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Speaker 3: Like it's just, you know, so that you might as

426
00:21:51,400 --> 00:21:56,369
Speaker 3: well just make a video for fun for, and that

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00:21:56,410 --> 00:22:00,710
Speaker 3: is cheap with your friends where you live. And just

428
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Speaker 3: put it out because now there's some visuals to.

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00:22:03,869 --> 00:22:05,830
Speaker 2: Go along with your song. But like, yeah, trying to

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00:22:05,890 --> 00:22:09,290
Speaker 2: do something that's going to like, you know, make people's

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Speaker 2: heads explode. I think those days are over.

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Speaker 1: That's gone. Yeah. Although I wonder if it's good for announcements.

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Speaker 2: It's good for announcements. I mean, I think it's also,

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Speaker 2: it's just, it's fun to make short films.

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Speaker 3: I mean, I think, I think that like there's still

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Speaker 3: enjoyment that like the last Slytherin Kenny video, we had J.

437
00:22:27,430 --> 00:22:30,930
Speaker 3: Smith Cameron in it. And like, it was just her

438
00:22:31,030 --> 00:22:33,910
Speaker 3: like in this restaurant. And like, that was just fun

439
00:22:33,930 --> 00:22:37,030
Speaker 3: to sort of work with a, you know, an actress

440
00:22:37,050 --> 00:22:40,410
Speaker 3: who I like and just, you know, make something with a.

441
00:22:41,310 --> 00:22:42,070
Speaker 1: Group of people.

442
00:22:42,190 --> 00:22:44,129
Speaker 2: And, you know, it's, I don't know.

443
00:22:44,170 --> 00:22:48,420
Speaker 3: I think, I think if you're doing it because it's

444
00:22:49,040 --> 00:22:51,820
Speaker 3: fun to be creative, that's a good reason to still

445
00:22:51,840 --> 00:22:52,100
Speaker 3: do it.

446
00:22:52,160 --> 00:22:52,740
Speaker 2: You know, like.

447
00:22:53,220 --> 00:22:55,859
Speaker 1: It's a good tradition too. Like the tradition of music videos.

448
00:22:56,380 --> 00:22:59,540
Speaker 3: Yeah, and I think there's absolutely nothing wrong. It's just

449
00:23:00,160 --> 00:23:04,580
Speaker 3: doing it to follow tradition and to just, you know,

450
00:23:05,060 --> 00:23:07,360
Speaker 3: for the fun of it, but not because it's going to, like,

451
00:23:07,960 --> 00:23:09,740
Speaker 3: you know, change the world.

452
00:23:12,080 --> 00:23:15,620
Speaker 1: That would have been a good new... Like, if we

453
00:23:15,660 --> 00:23:18,379
Speaker 1: did another season of the show, it would be the

454
00:23:18,400 --> 00:23:20,540
Speaker 1: Catnap Band trying to think of what is the best

455
00:23:20,580 --> 00:23:21,580
Speaker 1: way to make a video now.

456
00:23:21,820 --> 00:23:26,120
Speaker 2: Yeah, for sure. So, but anyway, this... And what's her band?

457
00:23:26,130 --> 00:23:29,660
Speaker 2: It's like Jade Says Seven or something. I don't know.

458
00:23:30,340 --> 00:23:33,340
Speaker 1: Yeah. Yeah.

459
00:23:33,380 --> 00:23:35,820
Speaker 2: Anyway, this was a weird little sketch.

460
00:23:35,840 --> 00:23:38,020
Speaker 3: But I mostly liked it because of Gavin, who's just

461
00:23:38,090 --> 00:23:41,110
Speaker 3: this character to me that like.

462
00:23:41,630 --> 00:23:41,930
Speaker 2: You know.

463
00:23:42,109 --> 00:23:44,510
Speaker 1: Music guy kind of.

464
00:23:45,250 --> 00:23:47,650
Speaker 2: A weird little dude.

465
00:23:50,350 --> 00:23:53,520
Speaker 1: Feminist bookstore with Amber Tamblyn. Yeah.

466
00:23:53,700 --> 00:23:54,520
Speaker 2: She plays an intern.

467
00:23:55,500 --> 00:23:59,600
Speaker 1: She was great. And I like this simple premise. Yeah.

468
00:24:00,300 --> 00:24:03,000
Speaker 1: That she's helping us out. We're making it difficult.

469
00:24:03,380 --> 00:24:03,700
Speaker 2: Of course.

470
00:24:03,980 --> 00:24:04,160
Speaker 1: Yeah.

471
00:24:04,680 --> 00:24:08,240
Speaker 3: Which is the classic Tony and Candice MO. It's just

472
00:24:08,280 --> 00:24:13,160
Speaker 3: to take something that should be easy, should be, you know,

473
00:24:13,300 --> 00:24:18,760
Speaker 3: like rote and routine and just completely make it difficult

474
00:24:18,960 --> 00:24:22,459
Speaker 3: and insurmountable for the other person at our own expense.

475
00:24:22,660 --> 00:24:23,320
Speaker 1: Yeah. Yeah.

476
00:24:24,190 --> 00:24:28,260
Speaker 3: Um, this has one of my favorite Candace moments and

477
00:24:28,420 --> 00:24:31,140
Speaker 3: one that I think you started to do more after this,

478
00:24:31,200 --> 00:24:36,160
Speaker 3: where you, as a threat, you sort of tell the

479
00:24:36,180 --> 00:24:39,700
Speaker 3: person what you're going to do, like this hypothetical, like,

480
00:24:39,740 --> 00:24:42,080
Speaker 3: if you do that, I'm going to go outside. I'm

481
00:24:42,119 --> 00:24:43,860
Speaker 3: going to, and it's, you know, like, it's just this

482
00:24:43,900 --> 00:24:48,060
Speaker 3: like lengthy diatribe and it's, oh, I know what it

483
00:24:48,100 --> 00:24:51,580
Speaker 3: was your brother. She says, I'm going to bring. Vodka

484
00:24:51,760 --> 00:24:54,220
Speaker 3: to the party. Let's have a party with vodka. And

485
00:24:54,240 --> 00:24:58,480
Speaker 3: you're like, Oh, vodka. And you're, and you, you improvise

486
00:24:59,420 --> 00:25:03,500
Speaker 3: a wedding that you're Candace's brother is at.

487
00:25:04,380 --> 00:25:06,100
Speaker 2: And it's so funny.

488
00:25:06,940 --> 00:25:07,830
Speaker 1: Oh, thanks.

489
00:25:07,920 --> 00:25:10,790
Speaker 2: I mean, anyway, but it's, to me, that's one of my.

490
00:25:10,770 --> 00:25:15,730
Speaker 3: Favorite parts of Candace is just to weaponize every interaction.

491
00:25:16,750 --> 00:25:22,330
Speaker 3: And it's so stifling for the other person. Like, you know, you, they're, they're,

492
00:25:23,280 --> 00:25:25,620
Speaker 3: Attempting to, you know, they're attempting to be helpful.

493
00:25:25,720 --> 00:25:25,900
Speaker 1: Yeah.

494
00:25:26,020 --> 00:25:29,580
Speaker 3: And their intention is so innocent and well-meaning. And you

495
00:25:29,619 --> 00:25:31,590
Speaker 3: just take that and you just destroy it.

496
00:25:32,180 --> 00:25:34,800
Speaker 1: And they have regret for bringing it up at all. Yes.

497
00:25:35,320 --> 00:25:38,220
Speaker 3: But it was such a funny, I mean, you describing

498
00:25:38,260 --> 00:25:42,160
Speaker 3: this guy at the wedding was wild.

499
00:25:44,000 --> 00:25:45,280
Speaker 1: He put on the wedding dress.

500
00:25:45,300 --> 00:25:48,580
Speaker 3: Yeah. He was wearing a wedding dress. He did 17 toasts.

501
00:25:49,600 --> 00:25:52,740
Speaker 3: And you said that he was a clown without makeup.

502
00:25:53,850 --> 00:25:56,969
Speaker 3: Like you're like, it's just everything about it was, and

503
00:25:56,990 --> 00:26:00,080
Speaker 3: I knew that, I mean, I knew watching it last

504
00:26:00,100 --> 00:26:01,880
Speaker 3: night and also at the time, like you were just

505
00:26:01,980 --> 00:26:04,060
Speaker 3: making that up on the spot and it just, it

506
00:26:04,080 --> 00:26:07,100
Speaker 3: was such a vivid story and also didn't feel that

507
00:26:07,119 --> 00:26:08,740
Speaker 3: far fetched for someone who.

508
00:26:09,080 --> 00:26:09,740
Speaker 2: Is an alcoholic.

509
00:26:10,240 --> 00:26:10,480
Speaker 1: Right.

510
00:26:10,859 --> 00:26:13,449
Speaker 3: You know, like things do happen because it just, the

511
00:26:13,550 --> 00:26:16,270
Speaker 3: details were so rich. I was like, Oh, this is

512
00:26:16,310 --> 00:26:19,070
Speaker 3: the kind of thing when something goes awry at a wedding,

513
00:26:19,090 --> 00:26:20,390
Speaker 3: it's supposed to be the best day of your life.

514
00:26:20,650 --> 00:26:23,070
Speaker 3: And you have a family member that's troubled and, This

515
00:26:23,130 --> 00:26:24,410
Speaker 3: is what happens. Yeah.

516
00:26:24,530 --> 00:26:29,830
Speaker 1: It was just so real. Oh, you're nice to say that. Now,

517
00:26:32,030 --> 00:26:34,600
Speaker 1: and Amber was great. I'm so glad we got to...

518
00:26:34,560 --> 00:26:37,780
Speaker 1: I remember when she was... She has books of poetry.

519
00:26:38,340 --> 00:26:41,240
Speaker 1: And so I think in Portland, she took the time

520
00:26:41,300 --> 00:26:42,580
Speaker 1: also to do some readings.

521
00:26:42,619 --> 00:26:44,000
Speaker 2: Yeah, she's a great poet, great writer.

522
00:26:44,460 --> 00:26:47,919
Speaker 1: So I'm glad that she really had the Portland experience.

523
00:26:48,060 --> 00:26:49,220
Speaker 2: Yeah, same.

524
00:26:50,119 --> 00:26:54,300
Speaker 1: So the second part of Catnap... Kristen Wiig is like... Well,

525
00:26:54,320 --> 00:26:57,200
Speaker 1: we're playing our show. We're playing our show. And Kristen

526
00:26:57,220 --> 00:27:03,010
Speaker 1: Wiig is a stalker, fan. The story... I don't even

527
00:27:03,030 --> 00:27:04,429
Speaker 1: know who thought of this part of the story, but

528
00:27:04,450 --> 00:27:07,570
Speaker 1: that she takes us hostage. Right.

529
00:27:07,590 --> 00:27:13,109
Speaker 3: Well, it's sort of like the extreme manifestation of when

530
00:27:13,450 --> 00:27:18,060
Speaker 3: someone is feeling protective and possessive of a band who

531
00:27:18,240 --> 00:27:19,480
Speaker 3: is on the verge of getting bigger.

532
00:27:19,740 --> 00:27:20,699
Speaker 2: So it's sort of like.

533
00:27:21,480 --> 00:27:26,080
Speaker 3: This is, like, the ultimate most, you know, like, sort

534
00:27:26,119 --> 00:27:29,270
Speaker 3: of obviously violent, inappropriate version of that. But it's based

535
00:27:29,310 --> 00:27:32,190
Speaker 3: on something very real, that sense of ownership that people

536
00:27:32,250 --> 00:27:36,229
Speaker 3: have over their favorite artists, and especially one who you

537
00:27:36,270 --> 00:27:36,950
Speaker 3: discover early.

538
00:27:37,190 --> 00:27:39,350
Speaker 2: And you're like, this is just for me. This is

539
00:27:39,369 --> 00:27:40,230
Speaker 2: for me and my friends.

540
00:27:40,820 --> 00:27:43,060
Speaker 3: Like, I don't want them to get big because then

541
00:27:43,380 --> 00:27:46,440
Speaker 3: it's like they become diffuse or they, like, people won't

542
00:27:46,480 --> 00:27:46,800
Speaker 3: get it.

543
00:27:47,140 --> 00:27:47,879
Speaker 2: That feeling like if.

544
00:27:48,760 --> 00:27:51,400
Speaker 3: that person doesn't get it you know like this this

545
00:27:51,440 --> 00:27:53,260
Speaker 3: person who isn't like me at all like how can

546
00:27:53,280 --> 00:27:56,600
Speaker 3: they like the same music as me and even though

547
00:27:56,780 --> 00:28:00,350
Speaker 3: that was you know very like prevalent in the 90s

548
00:28:00,369 --> 00:28:03,909
Speaker 3: I think that still happens now you know where you

549
00:28:03,950 --> 00:28:06,730
Speaker 3: just like you just want something for yourself you feel

550
00:28:06,830 --> 00:28:09,530
Speaker 3: understood and seen by that song or that artist and

551
00:28:09,790 --> 00:28:13,230
Speaker 3: you don't want someone who like this in like in

552
00:28:13,250 --> 00:28:15,130
Speaker 3: today's example would be like this person on the other

553
00:28:15,150 --> 00:28:17,230
Speaker 3: end of the political spectrum likes the same music as

554
00:28:17,290 --> 00:28:19,870
Speaker 3: me like how how could they? Like, so I think

555
00:28:19,930 --> 00:28:22,449
Speaker 3: that is, it's based on something very grounded is what

556
00:28:22,470 --> 00:28:22,770
Speaker 3: I'm saying.

557
00:28:22,850 --> 00:28:26,950
Speaker 1: Oh yeah. I, like, I remember, um, bands I loved

558
00:28:26,970 --> 00:28:29,530
Speaker 1: in high school when they made it to the top 10,

559
00:28:29,530 --> 00:28:32,669
Speaker 1: seeing them on, uh, you know, some like TV show

560
00:28:32,690 --> 00:28:34,970
Speaker 1: where they're listing all the bands or they're, you know, they're,

561
00:28:35,070 --> 00:28:40,040
Speaker 1: they're performing. It was really disorienting. Like, Oh, they're saying

562
00:28:40,080 --> 00:28:42,640
Speaker 1: the clash on this show.

563
00:28:42,660 --> 00:28:45,320
Speaker 3: Yeah. Or, or like they would perform, they would just,

564
00:28:45,740 --> 00:28:48,280
Speaker 3: play a concert in your town and then the next

565
00:28:48,320 --> 00:28:50,780
Speaker 3: day at school you'd see someone else some just someone

566
00:28:50,840 --> 00:28:52,840
Speaker 3: wearing a t-shirt and you're like you went to that

567
00:28:52,900 --> 00:28:55,830
Speaker 3: show you this person who's not nice to me ever

568
00:28:55,850 --> 00:28:58,450
Speaker 3: yeah like and you're wearing the same t-shirt as i

569
00:28:58,570 --> 00:29:01,290
Speaker 3: am like it's it's really like heartbreaking.

570
00:29:01,010 --> 00:29:04,070
Speaker 1: It is and the t-shirt itself is a little uncool

571
00:29:04,110 --> 00:29:06,250
Speaker 1: suddenly it's like a little brand new brand new and

572
00:29:06,310 --> 00:29:10,350
Speaker 1: like crisp white sleeves yeah it's such a weird and

573
00:29:10,390 --> 00:29:13,330
Speaker 1: it's yeah that just keeps happening yeah yeah even with

574
00:29:14,630 --> 00:29:17,430
Speaker 1: You know, on some level, even with bands like Fugazi,

575
00:29:17,470 --> 00:29:20,170
Speaker 1: where I was like, no, this is like our secret. Yeah.

576
00:29:20,190 --> 00:29:21,840
Speaker 1: And they really were huge.

577
00:29:22,580 --> 00:29:24,180
Speaker 3: They were, yeah, they were pretty big. And it was

578
00:29:24,200 --> 00:29:26,840
Speaker 3: always really surprising to find out like that someone.

579
00:29:27,020 --> 00:29:27,240
Speaker 1: Yeah.

580
00:29:27,400 --> 00:29:30,020
Speaker 3: Yeah. It mostly was people who you didn't get along

581
00:29:30,040 --> 00:29:33,190
Speaker 3: with her, who were like literally cruel to you or

582
00:29:33,230 --> 00:29:35,290
Speaker 3: just a little dismissive. And then to find out you

583
00:29:35,310 --> 00:29:36,790
Speaker 3: liked the same music.

584
00:29:36,830 --> 00:29:38,590
Speaker 2: But yeah. So, you know, based on that.

585
00:29:38,530 --> 00:29:41,990
Speaker 3: Sense of propriety, you know, propriety, I guess.

586
00:29:42,080 --> 00:29:42,820
Speaker 1: Yeah.

587
00:29:42,840 --> 00:29:45,080
Speaker 2: Proprietary, sorry. Based on the sense of being proprietary.

588
00:29:45,420 --> 00:29:49,660
Speaker 1: And that scene is great. Kristen, I mean, to talk

589
00:29:49,700 --> 00:29:51,980
Speaker 1: about how great Kristen is, I mean, it's such an obvious,

590
00:29:53,780 --> 00:29:55,380
Speaker 1: it's easy to take for granted.

591
00:29:55,400 --> 00:29:57,340
Speaker 2: That's so funny.

592
00:29:57,380 --> 00:29:59,650
Speaker 3: I had the same feeling where it was like, it's

593
00:29:59,670 --> 00:30:03,560
Speaker 3: just like, of course, like, like it seems like such

594
00:30:03,580 --> 00:30:07,460
Speaker 3: a given, but I am reminded all the time of

595
00:30:07,500 --> 00:30:11,840
Speaker 3: how like brilliant she is. And Gathy, which is the

596
00:30:11,880 --> 00:30:13,479
Speaker 3: name that she came up with for herself. I do

597
00:30:13,540 --> 00:30:15,720
Speaker 3: not believe was that, I don't think that was in

598
00:30:15,740 --> 00:30:19,710
Speaker 3: the script. I think she improvised that her name is Gathy. Yeah.

599
00:30:20,150 --> 00:30:21,110
Speaker 2: And that, yeah.

600
00:30:21,650 --> 00:30:24,030
Speaker 3: I mean, we say Kathy and she's like Gathy with

601
00:30:24,090 --> 00:30:26,430
Speaker 3: a G and she also improvised this whole backstory with.

602
00:30:26,330 --> 00:30:29,480
Speaker 2: Being a pink fan and knowing pink before. And, Barbara

603
00:30:29,540 --> 00:30:30,540
Speaker 2: is not Pink's real name.

604
00:30:33,640 --> 00:30:36,180
Speaker 1: It seems so real. Like, as she was doing it,

605
00:30:36,200 --> 00:30:40,090
Speaker 1: it was the perfect artist to pick, too, because Pink

606
00:30:40,190 --> 00:30:41,430
Speaker 1: is so big. Yeah.

607
00:30:41,970 --> 00:30:43,270
Speaker 3: She's like, yeah, I saw her play, like, on a

608
00:30:43,330 --> 00:30:44,090
Speaker 3: wood palette.

609
00:30:44,190 --> 00:30:45,310
Speaker 1: Like, I was just like, what?

610
00:30:45,350 --> 00:30:48,710
Speaker 3: Like, yeah, just, but again, just, you know, she was

611
00:30:48,910 --> 00:30:52,870
Speaker 3: doing such a good job of portraying, like, what fandom is.

612
00:30:52,930 --> 00:30:56,030
Speaker 3: You know, it's just to be, like, latching on so

613
00:30:56,090 --> 00:30:59,810
Speaker 3: tightly to these details, to these memories. of just like,

614
00:30:59,950 --> 00:31:05,350
Speaker 3: I knew them when. And it was, her sincerity was

615
00:31:05,390 --> 00:31:08,230
Speaker 3: really relatable. I mean, obviously the, you know, the extremes

616
00:31:08,270 --> 00:31:10,250
Speaker 3: to which she goes to at the end of the

617
00:31:10,810 --> 00:31:14,160
Speaker 3: sketch where she like pulls a gun out and kidnaps us, unrelatable,

618
00:31:14,200 --> 00:31:19,000
Speaker 3: but everything up until that point, even awkward backstage interactions.

619
00:31:19,220 --> 00:31:23,400
Speaker 3: You know, I am a fan first and foremost. I

620
00:31:23,440 --> 00:31:30,150
Speaker 3: have definitely hung around too long somewhere. to, you know,

621
00:31:30,470 --> 00:31:34,170
Speaker 3: hopefully say hi to someone. I've also like been in

622
00:31:35,010 --> 00:31:37,790
Speaker 3: like proximity to someone who I'm, who I'm a fan of.

623
00:31:38,550 --> 00:31:40,010
Speaker 3: It's mostly when I'm younger, but you do that thing

624
00:31:40,050 --> 00:31:41,950
Speaker 3: where you, you're talking to your friend, you start talking

625
00:31:41,990 --> 00:31:44,390
Speaker 3: a little louder because you're hoping that they might hear

626
00:31:44,430 --> 00:31:47,980
Speaker 3: you say something cool. Like, I'm just going to bring up,

627
00:31:48,030 --> 00:31:49,790
Speaker 3: oh yeah, I really love that movie.

628
00:31:50,030 --> 00:31:53,450
Speaker 2: You know, like, yes, I love David Lynch. I love

629
00:31:53,520 --> 00:31:54,130
Speaker 2: Blue Velvet.

630
00:31:54,170 --> 00:31:57,459
Speaker 3: You know, like you'd heard, you read that they loved something,

631
00:31:57,480 --> 00:32:01,350
Speaker 3: you know, or like, yeah, James Dean, you know, just

632
00:32:01,370 --> 00:32:02,290
Speaker 3: like naming your friends.

633
00:32:02,310 --> 00:32:04,330
Speaker 2: Like, what are you talking about? You're like, no, no,

634
00:32:04,670 --> 00:32:07,730
Speaker 2: rebel without a cause is like, you know, and it's.

635
00:32:07,630 --> 00:32:10,520
Speaker 3: Only cause you, you know, everything about this person and

636
00:32:10,580 --> 00:32:14,000
Speaker 3: you know that they like their favorite actor, like their

637
00:32:14,040 --> 00:32:17,239
Speaker 3: favorite music, you know, you're like Shostakovich. I was just

638
00:32:17,280 --> 00:32:20,500
Speaker 3: listening to, and like, all you want is for them

639
00:32:20,600 --> 00:32:23,959
Speaker 3: to just acknowledge, like we're in the same sphere. And

640
00:32:24,010 --> 00:32:28,180
Speaker 3: so that I also related to watching it. Um, Even

641
00:32:28,220 --> 00:32:30,260
Speaker 3: in the last 15 years, I remember waiting with a

642
00:32:30,280 --> 00:32:36,860
Speaker 3: friend of mine who's also a pretty well-known musician to

643
00:32:36,900 --> 00:32:41,840
Speaker 3: meet Fiona Apple, and she never came out. We saw

644
00:32:41,900 --> 00:32:46,780
Speaker 3: her in concert, and then we were texting our manager

645
00:32:46,860 --> 00:32:48,790
Speaker 3: and who's texting her manager, and they're like, you just

646
00:32:48,830 --> 00:32:49,940
Speaker 3: have to wait at the side door.

647
00:32:49,960 --> 00:32:54,410
Speaker 2: Nope. Anyway, it's very relatable.

648
00:32:54,570 --> 00:32:56,410
Speaker 1: I've done that, and they're gone. Like, oh, no, no,

649
00:32:56,430 --> 00:32:57,230
Speaker 1: they left. They're gone.

650
00:32:57,870 --> 00:32:58,690
Speaker 2: There's nothing more humiliating.

651
00:32:58,710 --> 00:32:59,130
Speaker 1: What am I doing here?

652
00:32:59,350 --> 00:33:02,570
Speaker 3: I did that with Bruce Springsteen where they're like, no,

653
00:33:02,630 --> 00:33:04,360
Speaker 3: he literally left like an hour ago.

654
00:33:04,390 --> 00:33:04,670
Speaker 1: Yeah, come on.

655
00:33:04,750 --> 00:33:06,170
Speaker 2: And you're like, of course he did.

656
00:33:06,630 --> 00:33:08,770
Speaker 1: That's also true. Like, why would they hang out?

657
00:33:08,970 --> 00:33:10,530
Speaker 2: Yeah, to meet you. Yeah, anyway.

658
00:33:10,710 --> 00:33:15,670
Speaker 1: I also liked, I identified with the characters that, you know,

659
00:33:16,630 --> 00:33:18,530
Speaker 1: we're in this band and we have to go. We

660
00:33:19,050 --> 00:33:21,150
Speaker 1: have to leave. So there's a friendliness to the fan.

661
00:33:21,370 --> 00:33:21,570
Speaker 2: Yeah.

662
00:33:21,610 --> 00:33:23,790
Speaker 1: Like, oh, thank you. And then sort of like, well,

663
00:33:23,810 --> 00:33:26,850
Speaker 1: we got to pack up our stuff is a very

664
00:33:26,930 --> 00:33:30,580
Speaker 1: like that moment every night. Yeah. You want to be

665
00:33:30,620 --> 00:33:33,860
Speaker 1: nice and then all, you do actually have to pack up. Yeah.

666
00:33:33,920 --> 00:33:38,140
Speaker 3: And I think from like the musician's perspective or, you know,

667
00:33:38,240 --> 00:33:41,380
Speaker 3: any like artist perspective, it is a job like that.

668
00:33:41,400 --> 00:33:44,890
Speaker 3: And I think that is something that some fans underestimate.

669
00:33:45,510 --> 00:33:48,490
Speaker 3: I mean, let's be honest, some musicians aren't packing up

670
00:33:48,510 --> 00:33:52,980
Speaker 3: their own stuff, but there is a work element to it,

671
00:33:53,030 --> 00:33:55,950
Speaker 3: you know, and you are also, you're exhausted. Like no

672
00:33:55,970 --> 00:33:58,630
Speaker 3: matter what level you're at, like, whether you have to

673
00:33:58,650 --> 00:34:00,950
Speaker 3: pack up your own gear or not, like you just performed,

674
00:34:00,970 --> 00:34:03,530
Speaker 3: you've done your job and it is still a job

675
00:34:03,570 --> 00:34:07,110
Speaker 3: sometimes to, you know, interface with fans. And so, yeah,

676
00:34:07,130 --> 00:34:12,710
Speaker 3: I could feel that very like real like balance of like, Hey,

677
00:34:12,770 --> 00:34:13,989
Speaker 3: we really appreciate it.

678
00:34:13,989 --> 00:34:15,450
Speaker 2: Especially for cat nap.

679
00:34:15,489 --> 00:34:18,680
Speaker 3: We're like a newly sort of popular.

680
00:34:18,320 --> 00:34:20,299
Speaker 2: Band, but also we got to go.

681
00:34:20,320 --> 00:34:20,840
Speaker 1: Yeah.

682
00:34:21,120 --> 00:34:22,500
Speaker 2: And yeah, she was not having it.

683
00:34:23,320 --> 00:34:24,259
Speaker 1: Good cliffhanger too.

684
00:34:24,440 --> 00:34:25,080
Speaker 2: Good cliffhanger.

685
00:34:25,500 --> 00:34:29,280
Speaker 3: Um, and also, um, something both you and I hate

686
00:34:29,480 --> 00:34:33,520
Speaker 3: is guns in, I mean, we hate guns. I can

687
00:34:33,540 --> 00:34:34,820
Speaker 3: just put a period at the end of that sentence,

688
00:34:34,880 --> 00:34:37,259
Speaker 3: but we, a couple of times on the show, we

689
00:34:38,120 --> 00:34:42,230
Speaker 3: had guns and we, every time we always hated it,

690
00:34:42,620 --> 00:34:44,880
Speaker 3: hated the blanks, hated.

691
00:34:44,620 --> 00:34:46,400
Speaker 2: Like, it's just, it's stressful.

692
00:34:46,420 --> 00:34:48,390
Speaker 3: Um, yeah.

693
00:34:48,430 --> 00:34:49,779
Speaker 2: And I was just reminded of that a little bit.

694
00:34:49,840 --> 00:34:50,810
Speaker 2: Cause yeah.

695
00:34:51,050 --> 00:34:52,870
Speaker 1: I guess you could say it's ugly to something about it.

696
00:34:52,870 --> 00:34:56,950
Speaker 1: You're like, there's a sort of, um, so yeah, it

697
00:34:57,010 --> 00:35:00,569
Speaker 1: was necessary for the, yeah. Is that the one in

698
00:35:00,640 --> 00:35:02,779
Speaker 1: this scene? Is this where she looks, she shoots it

699
00:35:02,840 --> 00:35:04,620
Speaker 1: and then she says it's loaded or is that later?

700
00:35:04,860 --> 00:35:07,399
Speaker 3: I think that's in this one because later she's where

701
00:35:07,460 --> 00:35:08,360
Speaker 3: she's on stage with us.

702
00:35:08,400 --> 00:35:10,580
Speaker 1: And yeah, she's just sort of joking, but this one,

703
00:35:10,640 --> 00:35:14,120
Speaker 1: she kind of goes, yeah, she looks down the bottom.

704
00:35:14,739 --> 00:35:15,020
Speaker 2: Yeah.

705
00:35:15,239 --> 00:35:19,379
Speaker 3: Um, I will also just credit the, the animal trainers. Um,

706
00:35:19,460 --> 00:35:22,040
Speaker 3: it was always the same animal trainers. Um, You know,

707
00:35:22,080 --> 00:35:25,390
Speaker 3: Portland's a small film community. So, you know, New York

708
00:35:25,410 --> 00:35:29,050
Speaker 3: or LA, they're probably a handful. But Portland, just same couple.

709
00:35:29,390 --> 00:35:32,870
Speaker 3: And they brought us, you know, dogs and goats and

710
00:35:32,890 --> 00:35:34,930
Speaker 3: other things over the years. And in this case, they

711
00:35:35,210 --> 00:35:38,230
Speaker 3: brought us little Kevin. I don't think that's the real

712
00:35:38,250 --> 00:35:40,880
Speaker 3: name of the cat. But anyway, they were great. And

713
00:35:40,920 --> 00:35:44,140
Speaker 3: I can tell, like, that they were working really hard

714
00:35:44,180 --> 00:35:47,440
Speaker 3: in all those scenes to keep Kevin on his mark. Yep.

715
00:35:47,900 --> 00:35:51,140
Speaker 1: And they did. Yeah. And I think I took... Over

716
00:35:51,180 --> 00:35:54,290
Speaker 1: the course of that day, Claritin. Yeah. Claritin D. Yeah.

717
00:35:54,410 --> 00:35:54,750
Speaker 2: I can.

718
00:35:54,969 --> 00:35:58,390
Speaker 1: Because I could see then. I think I just forgot.

719
00:35:58,670 --> 00:36:00,190
Speaker 2: I can vouch for the fact that you are very

720
00:36:00,330 --> 00:36:00,969
Speaker 2: allergic to cats.

721
00:36:00,989 --> 00:36:01,109
Speaker 1: Yeah.

722
00:36:01,130 --> 00:36:03,410
Speaker 2: All right.

723
00:36:03,450 --> 00:36:05,680
Speaker 1: I love cats. But oh, there's one thing I wrote

724
00:36:05,719 --> 00:36:09,060
Speaker 1: down too. There's a thing where Kristen goes like, my van.

725
00:36:09,540 --> 00:36:09,680
Speaker 3: Yeah.

726
00:36:09,860 --> 00:36:10,160
Speaker 1: Oh, yeah.

727
00:36:10,219 --> 00:36:12,600
Speaker 2: And then the editor sort of like put it as

728
00:36:12,640 --> 00:36:13,920
Speaker 2: a little like audio.

729
00:36:14,080 --> 00:36:14,560
Speaker 1: Yeah. Yeah.

730
00:36:14,940 --> 00:36:18,160
Speaker 3: Yeah, she kept almost, I mean, maybe it's because it's Kathy.

731
00:36:18,219 --> 00:36:19,960
Speaker 3: Whatever she was latching on to had this kind of

732
00:36:20,000 --> 00:36:23,899
Speaker 3: like Midwestern Chicago, like Vianne, Kathy. Like she was really

733
00:36:23,920 --> 00:36:26,960
Speaker 3: getting her ads were getting pretty wide there.

734
00:36:30,100 --> 00:36:33,299
Speaker 1: Before I get into this now, because before we get

735
00:36:33,340 --> 00:36:36,950
Speaker 1: into the next sketch, I was thinking watching it. There's

736
00:36:38,310 --> 00:36:39,890
Speaker 1: you and, you know, Kristen.

737
00:36:40,850 --> 00:36:41,009
Speaker 3: And.

738
00:36:42,200 --> 00:36:45,799
Speaker 1: We're all in a sketch together. We're doing something. And

739
00:36:45,840 --> 00:36:48,670
Speaker 1: then I thought, you've really worked with a lot of,

740
00:36:49,239 --> 00:36:52,960
Speaker 1: with many SNL performers. And then you've been on SNL

741
00:36:52,980 --> 00:36:55,719
Speaker 1: a couple of times. And then clearly you worked with

742
00:36:55,760 --> 00:36:59,540
Speaker 1: Lorne Michaels. And I was wondering what it's like for you.

743
00:36:59,600 --> 00:37:05,660
Speaker 1: Like you're solidly a part of SNL in the sort

744
00:37:05,700 --> 00:37:08,940
Speaker 1: of lineage of it. Okay. You're in there in a

745
00:37:08,980 --> 00:37:13,250
Speaker 1: very legitimate way of, whatever that's called, you know, there's this,

746
00:37:13,410 --> 00:37:18,089
Speaker 1: you're in the, in truly connected to SNL. What is

747
00:37:18,140 --> 00:37:19,080
Speaker 1: that like for you?

748
00:37:20,140 --> 00:37:22,140
Speaker 3: Well, I mean, as, even as you're saying it, I'm

749
00:37:22,180 --> 00:37:27,280
Speaker 3: like denying it. I think because I feel like just

750
00:37:27,860 --> 00:37:31,770
Speaker 3: definitely on the periphery. I mean, Lorne Michaels was a producer,

751
00:37:32,070 --> 00:37:36,810
Speaker 3: was the producer on Portlandia, our EP. And he was

752
00:37:37,390 --> 00:37:39,469
Speaker 3: absolutely involved in the show in a way that we

753
00:37:39,510 --> 00:37:42,950
Speaker 3: didn't didn't even expect and we were like pleasantly surprised

754
00:37:42,989 --> 00:37:46,469
Speaker 3: like how much pride he took in it um how

755
00:37:46,550 --> 00:37:50,160
Speaker 3: supportive he was he would come to Portland you know

756
00:37:50,180 --> 00:37:54,100
Speaker 3: this is like we just we we didn't know and

757
00:37:54,140 --> 00:37:56,420
Speaker 3: then he was there and he showed up and he

758
00:37:56,460 --> 00:38:00,759
Speaker 3: was also very supportive of me personally like whenever I

759
00:38:01,080 --> 00:38:04,910
Speaker 3: was going through anything like you know in my personal

760
00:38:04,930 --> 00:38:08,730
Speaker 3: life like he would reach out I mean he's a

761
00:38:08,790 --> 00:38:12,489
Speaker 3: really good human and he's, he's very wise. Um, I

762
00:38:12,510 --> 00:38:15,750
Speaker 3: would turn to him for advice. Like that to me

763
00:38:15,790 --> 00:38:18,969
Speaker 3: was just not a relationship I could have ever imagined in,

764
00:38:19,290 --> 00:38:23,930
Speaker 3: in my life. And I was just so surprised, but

765
00:38:23,969 --> 00:38:28,279
Speaker 3: also like grateful for, you know, just his, his mentorship,

766
00:38:28,320 --> 00:38:32,759
Speaker 3: his guidance, like his insight. I mean, one thing that was,

767
00:38:33,320 --> 00:38:38,710
Speaker 3: I find very reassuring about people who are older is

768
00:38:39,110 --> 00:38:42,819
Speaker 3: just like the wisdom that comes from having seen like

769
00:38:42,980 --> 00:38:47,779
Speaker 3: this live through cycles you know like live through something

770
00:38:48,060 --> 00:38:51,739
Speaker 3: like the rise and the fall and all the ebbs

771
00:38:51,780 --> 00:38:54,000
Speaker 3: and flows of things and like it's easy to get

772
00:38:54,080 --> 00:38:57,540
Speaker 3: really caught up in just a moment that feels like

773
00:38:57,580 --> 00:39:00,620
Speaker 3: out of control or even to just be too swept

774
00:39:00,700 --> 00:39:03,219
Speaker 3: up in something that you should just you know kind

775
00:39:03,260 --> 00:39:05,860
Speaker 3: of take it like just take a back seat and

776
00:39:05,900 --> 00:39:08,520
Speaker 3: just you know he just was really good at just

777
00:39:08,620 --> 00:39:11,180
Speaker 3: kind of having us focus on the right stuff which

778
00:39:11,219 --> 00:39:13,510
Speaker 3: was the work and our friendship he always was like

779
00:39:13,530 --> 00:39:16,670
Speaker 3: this is about you and Fred and you know like

780
00:39:16,750 --> 00:39:19,650
Speaker 3: anyway so that that's just like my first response is

781
00:39:19,670 --> 00:39:22,089
Speaker 3: like that's how I really feel connected I think it's

782
00:39:22,150 --> 00:39:24,910
Speaker 3: because of you and because of Lauren and Andrew Singer

783
00:39:24,989 --> 00:39:29,690
Speaker 3: who was you know head of Broadway video television while

784
00:39:29,710 --> 00:39:33,630
Speaker 3: we were doing this, like you were my, those, the

785
00:39:33,650 --> 00:39:36,379
Speaker 3: three of you were my entryway into this. Everything else

786
00:39:37,200 --> 00:39:40,260
Speaker 3: was just kind of like, you know, like the icing

787
00:39:40,340 --> 00:39:43,660
Speaker 3: on the cake, you know, getting, you know, having like

788
00:39:43,820 --> 00:39:46,520
Speaker 3: proximity to your castmates and people then who ended up

789
00:39:46,560 --> 00:39:47,260
Speaker 3: coming on the show.

790
00:39:47,280 --> 00:39:49,299
Speaker 2: And they also really let me.

791
00:39:50,890 --> 00:39:52,989
Speaker 3: Allowed me to feel like I was a part of

792
00:39:53,090 --> 00:39:55,060
Speaker 3: it because I felt like such an imposter, you know,

793
00:39:55,100 --> 00:39:58,360
Speaker 3: I'd come from music. Obviously you and I had our dynamic,

794
00:39:58,380 --> 00:40:00,080
Speaker 3: but I felt like I just sort of snuck in

795
00:40:00,100 --> 00:40:02,620
Speaker 3: through the side door and had a lot of catching

796
00:40:02,680 --> 00:40:04,840
Speaker 3: up to do, you know, like a lot of, a

797
00:40:04,890 --> 00:40:07,930
Speaker 3: lot of learning, like on my feet, trial by fire.

798
00:40:07,950 --> 00:40:11,589
Speaker 3: And I think when I doubted myself, I didn't feel that.

799
00:40:11,489 --> 00:40:12,589
Speaker 2: Doubt from them.

800
00:40:13,130 --> 00:40:15,730
Speaker 3: I didn't feel that doubt from the SNL alum that

801
00:40:15,750 --> 00:40:17,430
Speaker 3: we had on the show. I never felt that doubt

802
00:40:17,450 --> 00:40:19,239
Speaker 3: from you. And I didn't feel that from Lauren either.

803
00:40:20,040 --> 00:40:23,900
Speaker 3: like he believed in the alchemy that only you and

804
00:40:23,940 --> 00:40:28,660
Speaker 3: I had that made Portlandia be as specific and unique

805
00:40:28,780 --> 00:40:32,739
Speaker 3: as it was. And so, yeah, I mean, I just,

806
00:40:33,730 --> 00:40:36,069
Speaker 3: I just feel lucky that, and I think that's part

807
00:40:36,110 --> 00:40:38,490
Speaker 3: of how, why that show is so special and why,

808
00:40:38,570 --> 00:40:41,529
Speaker 3: like when the 50th happened last year that.

809
00:40:43,230 --> 00:40:45,090
Speaker 2: Like, you know, you saw.

810
00:40:44,950 --> 00:40:48,029
Speaker 3: How big it was because it really like touches so

811
00:40:48,050 --> 00:40:50,640
Speaker 3: many lives and it's not, just, it's not just a show,

812
00:40:51,239 --> 00:40:53,940
Speaker 3: you know, there's something that's very, it's a, it's a

813
00:40:53,980 --> 00:40:56,580
Speaker 3: family and that sounds super cliche, but it really is.

814
00:40:56,960 --> 00:41:00,200
Speaker 3: And when I hear other people talk about it, I understand,

815
00:41:00,860 --> 00:41:03,219
Speaker 3: you know, but that starts with, with Lauren, I think.

816
00:41:03,620 --> 00:41:04,660
Speaker 1: And yeah.

817
00:41:04,910 --> 00:41:08,350
Speaker 3: And just his, his graciousness, but also his gravitas, you know,

818
00:41:08,370 --> 00:41:14,730
Speaker 3: there's like, it's really rare to, to be like around

819
00:41:14,770 --> 00:41:19,410
Speaker 3: someone who just understands things so deeply and and has

820
00:41:19,680 --> 00:41:23,109
Speaker 3: really seen it all. Seen it all, but is, you know,

821
00:41:23,250 --> 00:41:27,610
Speaker 3: still curious enough to like bear witness and enjoy new things.

822
00:41:27,710 --> 00:41:31,109
Speaker 3: But the fact that he has been around, there's something

823
00:41:31,270 --> 00:41:35,070
Speaker 3: so comforting in that, you know, like it's, you need that,

824
00:41:35,390 --> 00:41:36,840
Speaker 3: like in order to sort of take a leap and

825
00:41:36,860 --> 00:41:38,600
Speaker 3: take risks, which I think we were always doing and

826
00:41:38,640 --> 00:41:40,859
Speaker 3: that I felt like I was doing just by being

827
00:41:40,880 --> 00:41:42,920
Speaker 3: out of my comfort zone, you need to feel like

828
00:41:42,940 --> 00:41:45,859
Speaker 3: there's like a, you know, a fulcrum there. And he's

829
00:41:45,900 --> 00:41:48,350
Speaker 3: definitely that. So I know that's kind of a long-winded answer.

830
00:41:48,370 --> 00:41:49,689
Speaker 1: No, it's such a good answer.

831
00:41:50,110 --> 00:41:50,930
Speaker 2: That's, yeah.

832
00:41:51,010 --> 00:41:54,190
Speaker 1: Because that is the key to SNL is, you know,

833
00:41:54,210 --> 00:41:55,989
Speaker 1: is him. Yeah.

834
00:41:56,030 --> 00:41:58,200
Speaker 3: And I think, so when those people came on our

835
00:41:58,260 --> 00:42:00,580
Speaker 3: show and, you know, we haven't gotten to all of

836
00:42:00,600 --> 00:42:03,460
Speaker 3: them yet, but it ends up being a ton of SNL,

837
00:42:04,920 --> 00:42:07,800
Speaker 3: you know, cast members. I did feel like I could,

838
00:42:07,820 --> 00:42:12,750
Speaker 3: you know, like, I don't know, just meet them, match

839
00:42:12,810 --> 00:42:15,160
Speaker 3: them and still learn from them. You know, but I

840
00:42:15,200 --> 00:42:17,820
Speaker 3: wasn't cowed by it at that point. Like, I felt like, okay,

841
00:42:17,840 --> 00:42:19,660
Speaker 3: I can keep up.

842
00:42:20,580 --> 00:42:24,609
Speaker 1: Do you ever think about what SNL meant to you

843
00:42:24,910 --> 00:42:27,470
Speaker 1: when you're growing up and connect those things?

844
00:42:28,550 --> 00:42:31,070
Speaker 3: Sometimes in that way where you sort of pinch yourself.

845
00:42:31,250 --> 00:42:35,069
Speaker 3: I mean, there have been so many moments, you know,

846
00:42:35,170 --> 00:42:37,790
Speaker 3: because of Portlandia or Slater-Kinney or anything I've done where

847
00:42:38,690 --> 00:42:42,670
Speaker 3: I almost like to just acknowledge my younger self and

848
00:42:42,690 --> 00:42:45,490
Speaker 3: just feel like, oh, my God, like, if my younger

849
00:42:45,550 --> 00:42:50,529
Speaker 3: self could, you know, imagine me doing this, I think

850
00:42:50,550 --> 00:42:53,410
Speaker 3: that's one way of just appreciating. That's just a mode

851
00:42:53,450 --> 00:42:56,299
Speaker 3: of appreciation, you know, and of not taking something for

852
00:42:56,340 --> 00:43:00,850
Speaker 3: granted where you just like, yeah, I can't believe it.

853
00:43:01,020 --> 00:43:01,419
Speaker 1: But yeah.

854
00:43:01,460 --> 00:43:04,819
Speaker 3: So, I mean, Saturday nights I would, you know, stay

855
00:43:04,900 --> 00:43:07,860
Speaker 3: up and watch it or have a sleepover with a

856
00:43:07,900 --> 00:43:09,259
Speaker 3: friend and watch it.

857
00:43:09,280 --> 00:43:14,370
Speaker 2: It was like the Chris Farley era, you.

858
00:43:14,290 --> 00:43:18,399
Speaker 3: Know, Mike Myers, like getting a little bit into like

859
00:43:18,739 --> 00:43:22,339
Speaker 3: Will Ferrell, but like, you know, Molly Shannon. And I just,

860
00:43:22,440 --> 00:43:24,680
Speaker 3: I loved all that stuff. But what I also loved

861
00:43:24,820 --> 00:43:27,279
Speaker 3: was Kids in the Hall. And I knew its relationship

862
00:43:27,360 --> 00:43:30,580
Speaker 3: to SNL. And I remember, I think it was either

863
00:43:30,880 --> 00:43:34,300
Speaker 3: MTV or VH1 that re-aired at some point. It must've

864
00:43:34,320 --> 00:43:34,839
Speaker 3: been VH1.

865
00:43:34,920 --> 00:43:35,719
Speaker 1: Must've been, yeah.

866
00:43:35,739 --> 00:43:37,739
Speaker 3: Because MTV didn't do that. All of Kids in the Hall.

867
00:43:37,960 --> 00:43:40,610
Speaker 3: And I had missed it. And I watched that religiously.

868
00:43:40,620 --> 00:43:42,920
Speaker 3: And I- taped it on VHS so I could watch

869
00:43:42,980 --> 00:43:44,319
Speaker 3: it over and over and over again.

870
00:43:44,660 --> 00:43:47,040
Speaker 1: So did I. I mean, that's also the time that

871
00:43:47,120 --> 00:43:49,239
Speaker 1: I saw it, that I found it. Yeah. It was

872
00:43:49,260 --> 00:43:50,660
Speaker 1: like the second run of it or whatever.

873
00:43:51,040 --> 00:43:53,620
Speaker 3: And to me, like, and it's, I guess it's very

874
00:43:53,680 --> 00:43:57,020
Speaker 3: apropos of Portlandia because even though I loved SNL, you know,

875
00:43:57,200 --> 00:43:59,219
Speaker 3: but it was such a like juggernaut. Like I just,

876
00:43:59,340 --> 00:44:03,160
Speaker 3: it was so like mainstream. It was so ambient.

877
00:44:03,200 --> 00:44:05,220
Speaker 2: Like it was just like the weather, like SNL.

878
00:44:05,760 --> 00:44:08,760
Speaker 3: There was just this certainty to it. And I loved that.

879
00:44:09,469 --> 00:44:13,890
Speaker 3: And I, you know, enjoyed it every weekend. But when

880
00:44:13,969 --> 00:44:17,029
Speaker 3: I saw kids in the hall, like I always felt like, well,

881
00:44:17,050 --> 00:44:19,290
Speaker 3: I'm just kind of do this other thing. Like I'm,

882
00:44:19,950 --> 00:44:22,049
Speaker 3: you know, just like a little weirder, not quite like,

883
00:44:22,469 --> 00:44:25,530
Speaker 3: you know, my goal isn't to be like all exclamation points.

884
00:44:25,610 --> 00:44:28,129
Speaker 3: Like my goal is to be other forms of punctuation.

885
00:44:28,489 --> 00:44:30,230
Speaker 3: And when I, with kids in the hall, I'm like, Oh,

886
00:44:30,250 --> 00:44:32,529
Speaker 3: these are the other forms of punctuation. These are like

887
00:44:32,660 --> 00:44:35,380
Speaker 3: the commas and the semicolons and all these things.

888
00:44:35,460 --> 00:44:36,979
Speaker 2: And I loved that.

889
00:44:37,540 --> 00:44:39,980
Speaker 1: Those characters. Ah, so good.

890
00:44:40,000 --> 00:44:44,320
Speaker 2: Yeah. I, Um, yeah, these are the days I know,

891
00:44:44,400 --> 00:44:48,609
Speaker 2: like I just also the music stuff and, you know, like, yeah,

892
00:44:48,640 --> 00:44:50,169
Speaker 2: there was a lot to love about that.

893
00:44:50,810 --> 00:44:53,270
Speaker 3: Um, and I, I loved the relationship because it was,

894
00:44:53,690 --> 00:44:57,810
Speaker 3: you know, different, different DNA than SNL. Like the fact

895
00:44:57,850 --> 00:45:01,670
Speaker 3: that I could just really glean the friendship between all

896
00:45:01,710 --> 00:45:05,530
Speaker 3: those guys and the relationship. Um, and I loved watching

897
00:45:05,570 --> 00:45:08,670
Speaker 3: those guys perform in drag. Like that was, I actually

898
00:45:08,810 --> 00:45:10,790
Speaker 3: loved the way they portrayed women.

899
00:45:12,390 --> 00:45:13,310
Speaker 1: As full characters.

900
00:45:13,330 --> 00:45:13,410
Speaker 3: Yeah.

901
00:45:13,530 --> 00:45:15,799
Speaker 2: And I loved it so much.

902
00:45:15,860 --> 00:45:19,000
Speaker 3: Like I, I felt like, I was like, Oh, they're

903
00:45:19,640 --> 00:45:25,080
Speaker 3: revealing something about like femininity. And like, I can see,

904
00:45:25,100 --> 00:45:27,360
Speaker 3: I could see like my mom and that are my

905
00:45:27,380 --> 00:45:29,410
Speaker 3: mom's friends or like the ways, you know, the women

906
00:45:29,430 --> 00:45:31,590
Speaker 3: I would see like shopping in the mall or in

907
00:45:31,630 --> 00:45:34,689
Speaker 3: the grocery store, like they were finding something like really

908
00:45:34,730 --> 00:45:38,009
Speaker 3: essential there, which I think sometimes happens with like, that's

909
00:45:38,110 --> 00:45:41,410
Speaker 3: the most, like beautiful part of drag, I think the

910
00:45:41,430 --> 00:45:44,870
Speaker 3: most interesting part of it. So anyway, I know, sorry,

911
00:45:44,890 --> 00:45:45,450
Speaker 3: my nose is running.

912
00:45:54,850 --> 00:45:56,770
Speaker 1: I'll just say one quick thing about, Oh, I was

913
00:45:56,790 --> 00:45:58,910
Speaker 1: going to say about kids in the hall. I definitely,

914
00:45:58,969 --> 00:46:01,109
Speaker 1: I don't know if I could use this word, but

915
00:46:01,370 --> 00:46:04,690
Speaker 1: I copied that being in drag from kids in the hall,

916
00:46:04,770 --> 00:46:09,410
Speaker 1: that version of like, you know, keeping it, more real

917
00:46:09,469 --> 00:46:10,230
Speaker 1: than caricature.

918
00:46:10,830 --> 00:46:11,330
Speaker 2: I love that.

919
00:46:11,370 --> 00:46:16,330
Speaker 3: And there were moments with both Candice, but particularly Nina,

920
00:46:17,210 --> 00:46:21,440
Speaker 3: like a real vulnerability that I would see you convey.

921
00:46:21,460 --> 00:46:25,279
Speaker 3: It made me, as Lance, but even as Carrie, I

922
00:46:25,320 --> 00:46:29,100
Speaker 3: just felt such tenderness for how you embodied Nina and

923
00:46:29,120 --> 00:46:32,239
Speaker 3: some of your female characters. I have a question about

924
00:46:32,280 --> 00:46:34,170
Speaker 3: you and working with SNL.

925
00:46:34,180 --> 00:46:34,660
Speaker 2: What was it like.

926
00:46:36,850 --> 00:46:40,009
Speaker 3: To, I mean, sometimes you were still on SNL, but

927
00:46:40,050 --> 00:46:42,469
Speaker 3: like to be sort of post SNL doing your own

928
00:46:42,530 --> 00:46:46,030
Speaker 3: show and having all of these people from a world

929
00:46:46,050 --> 00:46:49,880
Speaker 3: that you had inhabited with them separately, have, have them

930
00:46:50,030 --> 00:46:51,260
Speaker 3: come into Portland.

931
00:46:51,280 --> 00:46:52,420
Speaker 2: What was that like working with them there?

932
00:46:52,640 --> 00:46:55,460
Speaker 1: It was the best feeling because it was like all

933
00:46:55,500 --> 00:47:00,000
Speaker 1: my worlds combined. So, and I could tell that they

934
00:47:00,060 --> 00:47:03,950
Speaker 1: loved it. I could tell that they had like a,

935
00:47:06,890 --> 00:47:08,779
Speaker 1: They had like a new opportunity. I hate using the

936
00:47:08,800 --> 00:47:11,200
Speaker 1: word opportunity, but there was like this new world for them.

937
00:47:11,680 --> 00:47:16,900
Speaker 1: But I loved even seeing you stand next to someone, Lauren, Maya, whoever.

938
00:47:16,920 --> 00:47:19,859
Speaker 1: I'm like, Seth? Seth was on the show? It made

939
00:47:19,900 --> 00:47:23,319
Speaker 1: me so happy. I was like, hey, here's everybody. And

940
00:47:24,280 --> 00:47:27,240
Speaker 1: not at some ceremony in New York.

941
00:47:27,739 --> 00:47:27,919
Speaker 2: Right.

942
00:47:28,100 --> 00:47:30,859
Speaker 1: In Oregon somewhere. I don't think they would have made

943
00:47:30,900 --> 00:47:34,460
Speaker 1: the trip if it wasn't worth it to them. They

944
00:47:34,739 --> 00:47:36,030
Speaker 1: traveled a pretty long way.

945
00:47:36,050 --> 00:47:36,550
Speaker 3: Mm-hmm.

946
00:47:37,140 --> 00:47:38,719
Speaker 1: And I could tell that they loved it and I

947
00:47:38,739 --> 00:47:40,160
Speaker 1: loved it so much. And it was like, and it

948
00:47:40,180 --> 00:47:46,040
Speaker 1: was all in harmony. It felt like everyone had known

949
00:47:46,060 --> 00:47:48,600
Speaker 1: each other. And like, it was just, it was such

950
00:47:48,640 --> 00:47:54,640
Speaker 1: a great feeling. And I could tell that they wanted

951
00:47:54,680 --> 00:47:59,660
Speaker 1: to do more. And sometimes I wonder if they were like,

952
00:48:00,239 --> 00:48:03,259
Speaker 1: because Aidy went on to shoot in Portland. Yeah. For

953
00:48:03,300 --> 00:48:07,779
Speaker 1: her show. Yeah. Much in the same way that like

954
00:48:07,820 --> 00:48:12,620
Speaker 1: when I, one time I visited Tim and Eric. This

955
00:48:12,640 --> 00:48:14,020
Speaker 1: is when I was on SNL and they had like

956
00:48:14,060 --> 00:48:18,600
Speaker 1: a board with all their sketch ideas. And I was like, ooh,

957
00:48:19,160 --> 00:48:21,320
Speaker 1: I want to try something like this. I wonder if

958
00:48:21,900 --> 00:48:25,100
Speaker 1: maybe they had a similar feeling of like there's like

959
00:48:25,260 --> 00:48:28,219
Speaker 1: a different kind of freedom. I loved it. I loved that.

960
00:48:29,660 --> 00:48:33,739
Speaker 1: Also Jodi, our hair person, wig designer, being from New York.

961
00:48:33,760 --> 00:48:36,870
Speaker 1: She's really New York. She's from the Bronx. seeing her

962
00:48:36,930 --> 00:48:38,930
Speaker 1: in Portland made me happy too, that she was like,

963
00:48:38,969 --> 00:48:40,390
Speaker 1: I love this place. Yeah.

964
00:48:40,950 --> 00:48:44,820
Speaker 3: I could sense that from you and you know, your pride,

965
00:48:45,180 --> 00:48:50,560
Speaker 3: but also that you were just so like joyful. And I,

966
00:48:50,580 --> 00:48:52,660
Speaker 3: I felt like, Oh, everyone you love is in one

967
00:48:52,700 --> 00:48:53,299
Speaker 3: place right now.

968
00:48:53,880 --> 00:48:54,080
Speaker 1: Yep.

969
00:48:54,580 --> 00:48:59,569
Speaker 3: And that's a really beautiful thing to watch someone else experiencing. Yeah.

970
00:48:59,989 --> 00:49:01,350
Speaker 1: It's like a birthday party or something.

971
00:49:01,710 --> 00:49:01,830
Speaker 3: Yeah.

972
00:49:02,630 --> 00:49:04,190
Speaker 1: Um, I was going to add, I don't want to

973
00:49:04,210 --> 00:49:06,230
Speaker 1: add too much, I'm so sorry. Really quick, because you

974
00:49:06,250 --> 00:49:09,819
Speaker 1: were talking about Lorne and his wisdom. You might have

975
00:49:09,840 --> 00:49:12,600
Speaker 1: experienced this already, but when he talks about music and bands,

976
00:49:13,320 --> 00:49:17,250
Speaker 1: it is the best. Because he also has theories on

977
00:49:17,270 --> 00:49:19,850
Speaker 1: why things work and why things don't, and I'm just

978
00:49:19,870 --> 00:49:23,450
Speaker 1: going these are just memories of conversations we've had. One

979
00:49:23,489 --> 00:49:28,239
Speaker 1: thing he noticed is that some bigger pop stars, he

980
00:49:28,280 --> 00:49:32,000
Speaker 1: says they always go through a phase of doing a

981
00:49:32,460 --> 00:49:37,120
Speaker 1: video or a sort of costume of big band crooners.

982
00:49:37,910 --> 00:49:39,799
Speaker 1: that they always you know they always go through this

983
00:49:39,860 --> 00:49:42,460
Speaker 1: one period where they have an old microphone and he

984
00:49:42,500 --> 00:49:44,440
Speaker 1: could see it he sees it coming like they're gonna

985
00:49:44,480 --> 00:49:46,640
Speaker 1: do that thing where they're like I'm actually a crooner

986
00:49:46,700 --> 00:49:51,080
Speaker 1: which I thought was really funny and then he was

987
00:49:51,520 --> 00:49:53,910
Speaker 1: they were blocking a band I actually don't remember who

988
00:49:53,930 --> 00:49:56,890
Speaker 1: I think I was asking him about the band and

989
00:49:56,930 --> 00:49:58,630
Speaker 1: he was like I just don't like it when they

990
00:49:58,650 --> 00:50:02,029
Speaker 1: wear hats and I think he meant the lighting or

991
00:50:02,070 --> 00:50:04,270
Speaker 1: something like it just does something but it was like

992
00:50:04,310 --> 00:50:06,570
Speaker 1: a little observation and he wasn't being nasty about it

993
00:50:06,590 --> 00:50:09,520
Speaker 1: he was just like I don't like that. And then

994
00:50:09,580 --> 00:50:10,940
Speaker 1: it stuck with me. I was like, I was like, Oh,

995
00:50:10,960 --> 00:50:14,580
Speaker 1: maybe I don't like that either. Yeah. Um, there's so

996
00:50:14,620 --> 00:50:17,210
Speaker 1: many of those and it's not nasty. It's just a

997
00:50:17,230 --> 00:50:19,630
Speaker 1: very like little observations.

998
00:50:19,650 --> 00:50:22,529
Speaker 3: Someone should really, I have this Ben Franklin book. It's

999
00:50:22,610 --> 00:50:25,469
Speaker 3: called like wit and wisdom or something. I feel like

1000
00:50:25,489 --> 00:50:27,730
Speaker 3: there could be a Lorne Michaels one. It's just, it's

1001
00:50:27,750 --> 00:50:29,130
Speaker 3: just little Ben Franklin quotes.

1002
00:50:29,230 --> 00:50:29,490
Speaker 1: Yeah.

1003
00:50:29,770 --> 00:50:31,210
Speaker 2: I feel like there could be a Lorne Michaels one.

1004
00:50:31,469 --> 00:50:34,520
Speaker 1: Yeah. Yeah. And like a specific, and then like one

1005
00:50:35,420 --> 00:50:37,000
Speaker 1: chapter just on music stuff. Yeah.

1006
00:50:37,469 --> 00:50:39,690
Speaker 2: Yeah, broken down by categories.

1007
00:50:40,489 --> 00:50:40,709
Speaker 1: Okay.

1008
00:50:41,130 --> 00:50:43,730
Speaker 2: Oh, my gosh, jewelry. She's making jewelry now.

1009
00:50:44,630 --> 00:50:47,750
Speaker 1: Kind of based on your sister a little or no?

1010
00:50:47,770 --> 00:50:48,330
Speaker 1: A little.

1011
00:50:48,430 --> 00:50:50,910
Speaker 3: You know, this is kind of a hybrid pitch.

1012
00:50:50,930 --> 00:50:52,290
Speaker 2: So I think it was Carrie Dornetto.

1013
00:50:53,630 --> 00:50:56,969
Speaker 3: I remember she pitched the idea of like, or at

1014
00:50:57,010 --> 00:50:58,900
Speaker 3: least brought up in the writer's room, like, oh, it

1015
00:50:59,239 --> 00:51:02,000
Speaker 3: seems like a lot of people are making jewelry. I mean,

1016
00:51:02,020 --> 00:51:05,620
Speaker 3: it was just that plain of an observation, a very, like,

1017
00:51:05,640 --> 00:51:10,340
Speaker 3: an accurate one. um, that, yeah, people were sort of

1018
00:51:10,480 --> 00:51:14,500
Speaker 3: finding these like hobbies, like it wasn't quite the midlife crisis,

1019
00:51:14,540 --> 00:51:17,420
Speaker 3: but just like in the search for meaning, could I

1020
00:51:17,500 --> 00:51:20,780
Speaker 3: leave my more traditional corporate job and do something that's

1021
00:51:21,300 --> 00:51:24,460
Speaker 3: like creative where I can express myself? And, you know,

1022
00:51:24,520 --> 00:51:26,180
Speaker 3: I feel like there were just more and more avenues

1023
00:51:26,219 --> 00:51:30,300
Speaker 3: for that with technology and the internet. It was like, oh, there's,

1024
00:51:30,600 --> 00:51:32,819
Speaker 3: you know, there's Etsy or there's like social media where

1025
00:51:32,840 --> 00:51:35,279
Speaker 3: I can like, you know, sell my wares. And I

1026
00:51:35,440 --> 00:51:40,150
Speaker 3: did see I did have friends who like left jobs

1027
00:51:40,190 --> 00:51:44,610
Speaker 3: like more, you know, just like consistent, reliable careers to

1028
00:51:44,650 --> 00:51:46,110
Speaker 3: do something that certainly.

1029
00:51:45,870 --> 00:51:46,710
Speaker 2: Felt a little more risky.

1030
00:51:46,770 --> 00:51:49,430
Speaker 3: And also like you weren't sure that it was like

1031
00:51:49,450 --> 00:51:51,549
Speaker 3: the right move because you weren't sure how good they

1032
00:51:51,570 --> 00:51:55,090
Speaker 3: were at the new thing. And then in terms of

1033
00:51:55,130 --> 00:51:59,150
Speaker 3: my sister, kind of based on her, I guess in

1034
00:51:59,190 --> 00:52:02,239
Speaker 3: the sense, even though my sister is like such a

1035
00:52:02,260 --> 00:52:06,469
Speaker 3: badass and has a very like intense job, She probably

1036
00:52:06,489 --> 00:52:08,770
Speaker 3: won't even want me to name because it's like serious.

1037
00:52:10,390 --> 00:52:10,589
Speaker 1: Yeah.

1038
00:52:10,630 --> 00:52:12,090
Speaker 2: She was like more of a late bloomer.

1039
00:52:14,230 --> 00:52:16,710
Speaker 1: A late bloomer to getting to that. Yes.

1040
00:52:16,730 --> 00:52:19,870
Speaker 2: You know, just like, which is totally normal.

1041
00:52:20,090 --> 00:52:20,610
Speaker 1: Yeah.

1042
00:52:20,670 --> 00:52:22,609
Speaker 3: I just happened to be someone that was like, you know,

1043
00:52:22,800 --> 00:52:24,430
Speaker 3: left the house at 17 to go to college and

1044
00:52:24,530 --> 00:52:26,940
Speaker 3: never looked back. And, you know, but I was like

1045
00:52:26,960 --> 00:52:28,879
Speaker 3: the oldest and my sister is younger. And, you know,

1046
00:52:29,080 --> 00:52:32,440
Speaker 3: she just, she actually was, I should say, just shout

1047
00:52:32,460 --> 00:52:34,640
Speaker 3: out to my sister. The whole time she was doing

1048
00:52:34,680 --> 00:52:38,469
Speaker 3: really important stuff. She was like, working like, you know,

1049
00:52:38,530 --> 00:52:40,330
Speaker 3: in the housing courts in New York for the legal

1050
00:52:40,350 --> 00:52:42,130
Speaker 3: aid society, like doing a lot of cool stuff and

1051
00:52:42,150 --> 00:52:46,310
Speaker 3: then just, you know, settling into something. But yeah, for

1052
00:52:46,330 --> 00:52:48,730
Speaker 3: some reason we, we sort of made this care where

1053
00:52:48,750 --> 00:52:51,609
Speaker 3: the character was my sister. And I felt like we

1054
00:52:51,770 --> 00:52:54,410
Speaker 3: sort of were basing it a little bit on my

1055
00:52:54,450 --> 00:52:57,210
Speaker 3: real sister who definitely does not make jewelry. No.

1056
00:52:58,010 --> 00:53:00,430
Speaker 1: And yeah, just like, I like that we turned it into, um,

1057
00:53:01,420 --> 00:53:03,589
Speaker 1: I guess a music video kind of, or a song.

1058
00:53:03,650 --> 00:53:04,840
Speaker 2: We wrote this song for it.

1059
00:53:04,850 --> 00:53:05,130
Speaker 1: Yeah.

1060
00:53:05,310 --> 00:53:08,529
Speaker 3: Yeah. We recorded it and kind of like, you know,

1061
00:53:09,130 --> 00:53:11,210
Speaker 3: dream of the nineties where it's like, you know, the

1062
00:53:11,230 --> 00:53:14,149
Speaker 3: verses we talk and we sort of, that's how the,

1063
00:53:14,710 --> 00:53:16,680
Speaker 3: the sketch progresses. And then we get to the chorus

1064
00:53:17,430 --> 00:53:22,880
Speaker 3: and in classic Portlandia casting, Megan, who plays my sister

1065
00:53:23,380 --> 00:53:26,800
Speaker 3: was the housemate of a friend of ours, Heather.

1066
00:53:28,600 --> 00:53:29,279
Speaker 1: Oh yeah.

1067
00:53:29,320 --> 00:53:31,830
Speaker 3: So we just, you know, Just wanted those sort of like,

1068
00:53:32,489 --> 00:53:35,150
Speaker 3: let's just get someone we know to come hang out

1069
00:53:35,170 --> 00:53:35,810
Speaker 3: with us on set.

1070
00:53:36,750 --> 00:53:39,790
Speaker 1: And I think the people washing our hair, I think

1071
00:53:39,830 --> 00:53:41,589
Speaker 1: I saw Jen. Yeah.

1072
00:53:41,610 --> 00:53:44,870
Speaker 3: It's our actual, yeah. One of our actual, you know,

1073
00:53:45,370 --> 00:53:45,930
Speaker 3: hair people.

1074
00:53:47,150 --> 00:53:50,310
Speaker 2: Yeah. This, I felt like this was a very relatable.

1075
00:53:50,370 --> 00:53:53,390
Speaker 3: I remember this being one of the sketches from this season,

1076
00:53:53,410 --> 00:53:55,030
Speaker 3: you know, like sort of standalone.

1077
00:53:55,530 --> 00:53:56,680
Speaker 2: That was kind of zeitgeisty.

1078
00:53:56,719 --> 00:54:00,209
Speaker 3: Yeah. Yeah. you know, just sort of hitting like culture

1079
00:54:00,230 --> 00:54:02,170
Speaker 3: at the right time that a lot of people saw

1080
00:54:02,190 --> 00:54:05,670
Speaker 3: themselves in it, saw someone they knew in it. And

1081
00:54:05,710 --> 00:54:07,170
Speaker 3: it's also a song that, you know, we did a

1082
00:54:07,190 --> 00:54:09,690
Speaker 3: series of live shows when Portland was on the air,

1083
00:54:09,750 --> 00:54:12,969
Speaker 3: we played this live and we do a version of this.

1084
00:54:13,010 --> 00:54:15,549
Speaker 3: We've changed it from she's making jewelry to something else,

1085
00:54:15,570 --> 00:54:19,230
Speaker 3: but we play this, the music at our live show now.

1086
00:54:19,690 --> 00:54:23,870
Speaker 1: Now the punchline we have at the live shows is

1087
00:54:23,910 --> 00:54:25,750
Speaker 1: me saying, I have a podcast now.

1088
00:54:25,930 --> 00:54:27,850
Speaker 2: That's right. Which you actually do.

1089
00:54:28,030 --> 00:54:28,570
Speaker 1: And now.

1090
00:54:28,590 --> 00:54:29,490
Speaker 2: It's very on the nose.

1091
00:54:30,590 --> 00:54:31,570
Speaker 1: It's no longer.

1092
00:54:31,590 --> 00:54:35,160
Speaker 3: But it's actually, she's a life coach now. But then

1093
00:54:35,200 --> 00:54:36,160
Speaker 3: that's your punchline, right?

1094
00:54:36,180 --> 00:54:37,799
Speaker 1: Yeah, yeah. I think way at the end. I'm like,

1095
00:54:37,880 --> 00:54:38,860
Speaker 1: I want to try something.

1096
00:54:39,000 --> 00:54:40,040
Speaker 2: Yeah, you want to try something.

1097
00:54:40,580 --> 00:54:45,140
Speaker 1: And you did. Oh, and also I was, I noticed

1098
00:54:45,160 --> 00:54:49,489
Speaker 1: that there's like a real reaction in the actual sketch.

1099
00:54:49,800 --> 00:54:50,050
Speaker 2: Mm-hmm.

1100
00:54:50,530 --> 00:54:53,350
Speaker 1: Where you're waiting for me to answer.

1101
00:54:53,370 --> 00:54:54,730
Speaker 2: And I'm really annoyed?

1102
00:54:55,510 --> 00:54:59,670
Speaker 1: Yes. Yeah. I think I could see in your eyes,

1103
00:54:59,730 --> 00:55:05,250
Speaker 1: you're like, well, you just finished this. Not in an angry,

1104
00:55:05,350 --> 00:55:07,750
Speaker 1: angry way, but just a sort of like, and?

1105
00:55:08,690 --> 00:55:11,450
Speaker 2: There's a few of those. I didn't see it. I

1106
00:55:11,469 --> 00:55:14,490
Speaker 2: didn't clock that. I just remember, we'll get to this eventually,

1107
00:55:14,510 --> 00:55:15,569
Speaker 2: but there was a driving one.

1108
00:55:15,650 --> 00:55:19,220
Speaker 1: Oh, I know. I'm sorry. That was.

1109
00:55:19,969 --> 00:55:21,320
Speaker 2: Yeah. Every once in a while.

1110
00:55:21,340 --> 00:55:24,759
Speaker 1: That was a mistake. Yeah. Because I think I hit

1111
00:55:24,900 --> 00:55:27,219
Speaker 1: the brakes wrong. I'm sorry.

1112
00:55:27,239 --> 00:55:28,140
Speaker 2: You didn't hit the brakes.

1113
00:55:28,620 --> 00:55:28,799
Speaker 1: I'm sorry.

1114
00:55:28,820 --> 00:55:30,160
Speaker 2: You were like, I want to give her a whiplash.

1115
00:55:30,340 --> 00:55:31,859
Speaker 1: No, no, it wasn't. It was like.

1116
00:55:32,460 --> 00:55:35,840
Speaker 3: No, it was just herky-jerky driving. But that's funny that

1117
00:55:35,860 --> 00:55:37,089
Speaker 3: you saw that. I didn't see that.

1118
00:55:37,260 --> 00:55:40,830
Speaker 1: It wasn't like, you weren't like, it was more like

1119
00:55:40,850 --> 00:55:43,109
Speaker 1: you were like just waiting for it to finish. Yeah.

1120
00:55:43,489 --> 00:55:47,690
Speaker 3: But that is a Fred Armisen move. Like you love

1121
00:55:48,070 --> 00:55:51,390
Speaker 3: pauses and you like playing with timing in a way

1122
00:55:51,430 --> 00:55:53,070
Speaker 3: that's part of your brilliance.

1123
00:55:53,090 --> 00:55:53,160
Speaker 1: Yes.

1124
00:55:54,130 --> 00:55:57,070
Speaker 3: To be on the other side of that sometimes is excruciating.

1125
00:55:57,380 --> 00:56:01,819
Speaker 3: I'm sorry. No, not, not in a good way, but

1126
00:56:01,900 --> 00:56:05,620
Speaker 3: also like, because you know, cadence conversation is so much

1127
00:56:05,660 --> 00:56:09,660
Speaker 3: about cadence, but comedy is more about timing and that

1128
00:56:09,719 --> 00:56:11,580
Speaker 3: are two different things really, you know? And so you

1129
00:56:11,600 --> 00:56:13,799
Speaker 3: have to throw off the cadence to have comedy and

1130
00:56:13,840 --> 00:56:16,660
Speaker 3: you are apt to throw it off for the sake

1131
00:56:16,860 --> 00:56:20,020
Speaker 3: of a laugh and for the betterment. of a performance

1132
00:56:20,060 --> 00:56:23,140
Speaker 3: or a sketch to be the person, the human on

1133
00:56:23,180 --> 00:56:26,509
Speaker 3: the other side of that is frustrating to be your

1134
00:56:26,630 --> 00:56:29,590
Speaker 3: co-creator and, you know, is great.

1135
00:56:29,850 --> 00:56:32,969
Speaker 2: I'm like, thank you for doing something that makes the

1136
00:56:32,989 --> 00:56:33,390
Speaker 2: sketch better.

1137
00:56:33,410 --> 00:56:36,569
Speaker 1: I think in our very last sketch, and it wasn't you,

1138
00:56:36,590 --> 00:56:40,210
Speaker 1: I was doing something with water and I think it

1139
00:56:40,230 --> 00:56:42,760
Speaker 1: was such a dumb thing of me. I was pouring

1140
00:56:42,820 --> 00:56:44,339
Speaker 1: a pitcher of water, but way too slow.

1141
00:56:44,360 --> 00:56:44,540
Speaker 3: Yes.

1142
00:56:44,620 --> 00:56:46,500
Speaker 2: Even you doing it now is like, yes, yeah, yeah.

1143
00:56:46,660 --> 00:56:50,170
Speaker 1: And, This is very carefully. Yes. And I could, I

1144
00:56:50,190 --> 00:56:51,430
Speaker 1: think she even moved my hand.

1145
00:56:52,469 --> 00:56:55,310
Speaker 2: I wouldn't, I wouldn't move your hand. All right. So

1146
00:56:55,350 --> 00:56:59,310
Speaker 2: now we are at the last, the third part. Oh no,

1147
00:56:59,330 --> 00:56:59,650
Speaker 2: you have more.

1148
00:57:00,050 --> 00:57:00,670
Speaker 1: Smooth movers.

1149
00:57:00,760 --> 00:57:02,239
Speaker 2: Oh, smooth movers. You're right. Sorry.

1150
00:57:02,300 --> 00:57:05,359
Speaker 1: Smooth movers. So that's movers on a bicycle. Yes.

1151
00:57:05,620 --> 00:57:09,940
Speaker 3: Speaking of aggravating people, this is another, it's like a

1152
00:57:10,400 --> 00:57:15,700
Speaker 3: classic Portlandia sketch where our characters are driving someone else crazy.

1153
00:57:15,880 --> 00:57:16,140
Speaker 1: Yes.

1154
00:57:16,560 --> 00:57:19,540
Speaker 2: But, our intentions are good, well-meaning.

1155
00:57:20,560 --> 00:57:24,120
Speaker 3: And we, you know, we're trying to do something that's

1156
00:57:24,180 --> 00:57:25,460
Speaker 3: like slightly virtuous.

1157
00:57:25,600 --> 00:57:29,970
Speaker 2: It's like, you know, it's like good for the environment.

1158
00:57:30,150 --> 00:57:31,470
Speaker 2: It's good for our bodies.

1159
00:57:31,590 --> 00:57:35,450
Speaker 3: Like, and you know, I, the customer has the same goals. Like, Oh,

1160
00:57:35,890 --> 00:57:37,870
Speaker 3: I want to do something that's a little different, which

1161
00:57:37,910 --> 00:57:40,930
Speaker 3: is also sort of in the Portlandia wheelhouse of like,

1162
00:57:41,350 --> 00:57:43,270
Speaker 3: you know, people just not wanting to do things by

1163
00:57:43,290 --> 00:57:43,570
Speaker 3: the book.

1164
00:57:44,130 --> 00:57:44,890
Speaker 2: So we're, yeah.

1165
00:57:45,250 --> 00:57:48,970
Speaker 1: And, She played it really well of, so the premise

1166
00:57:49,010 --> 00:57:52,820
Speaker 1: is that we move people's houses, but on bicycles. Yes.

1167
00:57:52,880 --> 00:57:54,340
Speaker 1: Or on a bicycle with one trailer.

1168
00:57:54,420 --> 00:57:55,820
Speaker 2: A tandem bike with a trailer.

1169
00:57:56,480 --> 00:57:59,800
Speaker 1: Which, by the way, I've seen movers now in different

1170
00:57:59,840 --> 00:58:01,450
Speaker 1: cities that are on bikes.

1171
00:58:01,700 --> 00:58:01,800
Speaker 3: Right.

1172
00:58:01,820 --> 00:58:03,550
Speaker 2: They're not usually moving a full house.

1173
00:58:03,710 --> 00:58:06,550
Speaker 1: No, no, no. But they're sort of, they have like

1174
00:58:06,570 --> 00:58:07,450
Speaker 1: a little trailer. Yeah.

1175
00:58:07,490 --> 00:58:11,090
Speaker 3: Like little day moves that are using moving furniture, delivering furniture. Yeah.

1176
00:58:11,660 --> 00:58:14,260
Speaker 3: And this is Jamie Langdon, I believe is her name,

1177
00:58:14,300 --> 00:58:18,060
Speaker 3: and she's a recurring cast member, guest star for us.

1178
00:58:20,000 --> 00:58:25,440
Speaker 3: Always good at playing the straight person, you know, just frustrated.

1179
00:58:25,460 --> 00:58:27,840
Speaker 1: And I could see how she was duped. She was like,

1180
00:58:27,880 --> 00:58:30,240
Speaker 1: you didn't say that on the call or something. Yeah, yeah.

1181
00:58:31,160 --> 00:58:34,690
Speaker 1: And there's one point where I say, what's great is

1182
00:58:34,710 --> 00:58:36,910
Speaker 1: we go through red lights, and she reacts like she goes,

1183
00:58:37,170 --> 00:58:38,130
Speaker 1: you go through red lights?

1184
00:58:38,150 --> 00:58:41,730
Speaker 2: Yeah, yeah, yeah. Yeah, you were saying it as a brag.

1185
00:58:42,090 --> 00:58:47,580
Speaker 1: Yeah. And her reaction was very like, that's illegal. Yeah.

1186
00:58:47,740 --> 00:58:48,840
Speaker 1: And my stuff is on there.

1187
00:58:49,000 --> 00:58:50,700
Speaker 2: Yeah.

1188
00:58:51,440 --> 00:58:54,820
Speaker 3: Again, I would call this the energy piece of the episode.

1189
00:58:55,220 --> 00:59:00,220
Speaker 3: So it's like quick cuts. We're literally moving through time

1190
00:59:00,280 --> 00:59:05,030
Speaker 3: and space and it just adds a little boost to

1191
00:59:05,050 --> 00:59:05,630
Speaker 3: the episode.

1192
00:59:05,650 --> 00:59:08,870
Speaker 1: A lot of shots though. like a lot of like.

1193
00:59:09,010 --> 00:59:11,960
Speaker 3: And I remember for the art department like putting we

1194
00:59:12,060 --> 00:59:14,140
Speaker 3: they did they had to move all that stuff yeah

1195
00:59:14,820 --> 00:59:18,880
Speaker 3: from one front lawn to another yeah yeah.

1196
00:59:19,600 --> 00:59:21,400
Speaker 1: And yeah they had to pilot on the bike the

1197
00:59:21,440 --> 00:59:22,840
Speaker 1: bike had to move and.

1198
00:59:23,020 --> 00:59:27,240
Speaker 3: Yeah and also riding I a tandem bike did not

1199
00:59:27,280 --> 00:59:31,580
Speaker 3: love no no no that's yeah A lot of reliance

1200
00:59:31,620 --> 00:59:31,960
Speaker 3: on the other.

1201
00:59:32,260 --> 00:59:33,920
Speaker 2: Also, one person's never pulling their weight.

1202
00:59:34,200 --> 00:59:37,300
Speaker 1: No, and you're hyper aware the whole time. You're not

1203
00:59:37,340 --> 00:59:39,260
Speaker 1: enjoying a ride.

1204
00:59:39,280 --> 00:59:40,620
Speaker 2: It feels presentational.

1205
00:59:40,740 --> 00:59:44,680
Speaker 3: It's for someone else and that neither that someone else

1206
00:59:44,720 --> 00:59:45,220
Speaker 3: is on the bike.

1207
00:59:45,360 --> 00:59:45,580
Speaker 1: No.

1208
00:59:45,780 --> 00:59:48,100
Speaker 3: It's for someone driving by or walking by in a

1209
00:59:48,120 --> 00:59:51,260
Speaker 3: car and imagining a version of being a couple where

1210
00:59:51,320 --> 00:59:54,000
Speaker 3: you get along well enough to ride tandem.

1211
00:59:54,700 --> 00:59:56,280
Speaker 1: Yeah, it is for other people, isn't it?

1212
00:59:56,430 --> 00:59:56,620
Speaker 3: Yeah.

1213
00:59:56,840 --> 00:59:58,980
Speaker 1: The invention... It doesn't help anything.

1214
00:59:59,200 --> 01:00:00,800
Speaker 2: It's like a picnic in a park.

1215
01:00:01,180 --> 01:00:01,620
Speaker 1: It's that.

1216
01:00:01,780 --> 01:00:04,980
Speaker 2: It feels like that, but on wheels. Where you're like, oh,

1217
01:00:05,160 --> 01:00:05,820
Speaker 2: we could do that.

1218
01:00:06,620 --> 01:00:10,520
Speaker 3: But then when you're actually packing all that stuff and

1219
01:00:10,600 --> 01:00:12,580
Speaker 3: lying out, it's just like, this isn't fun. No.

1220
01:00:12,640 --> 01:00:13,600
Speaker 2: Why don't we just go out to lunch?

1221
01:00:13,660 --> 01:00:14,840
Speaker 1: It's mostly not fun. Yeah.

1222
01:00:15,020 --> 01:00:17,570
Speaker 2: So anyway, tandem bikes, that's a thumbs down for me.

1223
01:00:17,590 --> 01:00:20,209
Speaker 1: Thumbs down. Carrie Dornetta, who we've mentioned as a writer,

1224
01:00:20,250 --> 01:00:21,209
Speaker 1: is in the sketch. Yep.

1225
01:00:21,310 --> 01:00:26,930
Speaker 2: She plays the– she's– Looky Lou or she comes by

1226
01:00:26,970 --> 01:00:29,490
Speaker 2: to like buy something as if it's a garage sale.

1227
01:00:29,830 --> 01:00:31,690
Speaker 2: Jamie's like, I'm not, this is not a garage sale.

1228
01:00:31,730 --> 01:00:32,170
Speaker 2: I'm moving.

1229
01:00:32,710 --> 01:00:32,870
Speaker 1: Yeah.

1230
01:00:33,310 --> 01:00:35,610
Speaker 2: That was a good little throwaway joke in there.

1231
01:00:35,650 --> 01:00:38,709
Speaker 1: Yeah. I think in the script, I think we wrote

1232
01:00:38,750 --> 01:00:41,850
Speaker 1: a Looky Lou. Yeah. I think that's the characters like

1233
01:00:41,890 --> 01:00:42,330
Speaker 1: a Looky Lou.

1234
01:00:42,350 --> 01:00:42,430
Speaker 3: Yeah.

1235
01:00:42,490 --> 01:00:43,030
Speaker 2: A Looky Lou.

1236
01:00:43,170 --> 01:00:44,490
Speaker 1: Yeah.

1237
01:00:44,570 --> 01:00:47,940
Speaker 3: Okay. Now we are at the third part of the wraparound,

1238
01:00:48,460 --> 01:00:53,260
Speaker 3: which is we are at Gathy has kidnapped us and

1239
01:00:53,320 --> 01:00:55,380
Speaker 3: tied us up in a chair.

1240
01:00:55,710 --> 01:00:55,910
Speaker 1: Yeah.

1241
01:00:56,210 --> 01:00:56,950
Speaker 2: And we're at her house.

1242
01:00:57,910 --> 01:01:02,710
Speaker 1: And we're tied up. Great little, you know, you get

1243
01:01:02,750 --> 01:01:07,590
Speaker 1: the picture of what's happening. And she's cooking. And then

1244
01:01:07,630 --> 01:01:09,230
Speaker 1: that's where we come up with the idea that, like,

1245
01:01:10,430 --> 01:01:11,450
Speaker 1: why don't we put her in the band?

1246
01:01:11,550 --> 01:01:13,220
Speaker 2: We can one-up our gimmick.

1247
01:01:13,260 --> 01:01:13,570
Speaker 1: Yeah.

1248
01:01:13,950 --> 01:01:17,600
Speaker 2: By being a guy, a girl, a cat, and a kidnapper.

1249
01:01:17,700 --> 01:01:18,000
Speaker 1: Yeah.

1250
01:01:19,060 --> 01:01:19,380
Speaker 2: And we.

1251
01:01:20,140 --> 01:01:21,140
Speaker 1: Cut to us on stage.

1252
01:01:21,160 --> 01:01:25,080
Speaker 2: Cut to us on stage. She's on stage with her gun.

1253
01:01:25,240 --> 01:01:25,439
Speaker 1: Yeah.

1254
01:01:27,560 --> 01:01:31,580
Speaker 2: And that's when we are, the button is you at

1255
01:01:31,660 --> 01:01:32,560
Speaker 2: the Pitchfork office.

1256
01:01:32,640 --> 01:01:37,020
Speaker 1: Yeah. I think as Ryan, who ran Pitchfork at the time.

1257
01:01:37,040 --> 01:01:38,540
Speaker 2: Yeah.

1258
01:01:38,980 --> 01:01:42,330
Speaker 1: And then it's just so successful that Pitchfork is like, we're,

1259
01:01:42,770 --> 01:01:45,189
Speaker 1: we no longer have to write about anybody anymore. This

1260
01:01:45,230 --> 01:01:49,270
Speaker 1: is the end. Yes. Of music innovation. Yeah.

1261
01:01:49,370 --> 01:01:51,310
Speaker 2: They've reached, music has reached its final form.

1262
01:01:51,430 --> 01:01:53,890
Speaker 3: Nothing could be better than this, which I think at

1263
01:01:53,930 --> 01:01:58,480
Speaker 3: the time, pre like, Condé Nast, Pitchfork, it really felt

1264
01:01:58,520 --> 01:02:00,940
Speaker 3: like they were kind of searching for, you know, it

1265
01:02:00,960 --> 01:02:06,010
Speaker 3: was like this existential search for like, what, where, what

1266
01:02:06,090 --> 01:02:06,320
Speaker 3: is it?

1267
01:02:06,390 --> 01:02:06,570
Speaker 1: Yeah.

1268
01:02:06,590 --> 01:02:09,410
Speaker 3: Like what's, what's the answer? And it almost felt like

1269
01:02:09,530 --> 01:02:16,750
Speaker 3: it was answerable. Answered Pitchfork's question. And, and they shut

1270
01:02:16,790 --> 01:02:18,000
Speaker 3: down the site because we did it.

1271
01:02:18,180 --> 01:02:20,980
Speaker 2: We cracked it. We got a 10.0.

1272
01:02:20,980 --> 01:02:23,760
Speaker 1: I mean, I wonder, sometimes it's almost like, it seems

1273
01:02:23,800 --> 01:02:27,080
Speaker 1: like all music journalism is like, Like, it's looking for

1274
01:02:27,100 --> 01:02:30,520
Speaker 1: that final, like, when are we going to finally do it? Yeah.

1275
01:02:32,620 --> 01:02:35,189
Speaker 3: Yeah, which is weird when they do give something, like,

1276
01:02:35,490 --> 01:02:37,810
Speaker 3: the best score, the best grade, because they're like, well,

1277
01:02:38,050 --> 01:02:39,130
Speaker 3: what else is there then?

1278
01:02:39,370 --> 01:02:40,350
Speaker 1: Yeah.

1279
01:02:40,750 --> 01:02:43,890
Speaker 3: But, yeah, you're right that it does feel like they're

1280
01:02:43,950 --> 01:02:45,620
Speaker 3: kind of, they're almost hoping for it.

1281
01:02:45,670 --> 01:02:48,010
Speaker 1: Yeah, like, there's been a problem this whole time. Like,

1282
01:02:48,030 --> 01:02:49,690
Speaker 1: there's a problem, and one of these days.

1283
01:02:49,790 --> 01:02:50,680
Speaker 2: Someone's going to solve it.

1284
01:02:50,790 --> 01:02:55,590
Speaker 1: Yeah. Yeah. And then when Pitchfork did finally get sold.

1285
01:02:56,150 --> 01:02:57,970
Speaker 1: I remember we were just texting each other of like

1286
01:02:58,730 --> 01:03:03,190
Speaker 1: that sketch would have, you know, been appropriate. Yeah.

1287
01:03:03,790 --> 01:03:06,300
Speaker 3: It, to me, it still works just for what it

1288
01:03:06,410 --> 01:03:10,040
Speaker 3: kind of symbolizes in terms of like music criticism and,

1289
01:03:10,760 --> 01:03:15,040
Speaker 3: you know, yeah. Sort of internet like reviews and online

1290
01:03:15,080 --> 01:03:16,640
Speaker 3: culture and you.

1291
01:03:16,560 --> 01:03:18,940
Speaker 2: Know, what, what are people arguing for? Like what's, you

1292
01:03:18,960 --> 01:03:20,300
Speaker 2: know what I mean? Like when people get into those

1293
01:03:20,320 --> 01:03:23,730
Speaker 2: kinds of like arguments, you're like, what are you hoping for? Like,

1294
01:03:23,830 --> 01:03:29,550
Speaker 2: what allows you to win? What is the winnable argument here?

1295
01:03:29,570 --> 01:03:32,560
Speaker 3: Because it's really not about winning, but it always feels

1296
01:03:32,580 --> 01:03:34,420
Speaker 3: like it is. And I feel like there's something at

1297
01:03:34,440 --> 01:03:37,500
Speaker 3: the end of that sketch that's kind of showing, like,

1298
01:03:37,940 --> 01:03:38,840
Speaker 3: the farce that that is.

1299
01:03:39,660 --> 01:03:39,940
Speaker 1: Yes.

1300
01:03:41,080 --> 01:03:43,280
Speaker 2: Anyway, I really liked this episode.

1301
01:03:43,460 --> 01:03:44,120
Speaker 1: Oh, so did I.

1302
01:03:45,110 --> 01:03:47,290
Speaker 2: In fact, if I was going to.

1303
01:03:47,290 --> 01:03:50,510
Speaker 3: If someone was going to say, what season and what

1304
01:03:50,570 --> 01:03:51,810
Speaker 3: episode should I start with?

1305
01:03:51,970 --> 01:03:56,430
Speaker 2: I might... This is one I could say. Yes.

1306
01:03:56,610 --> 01:03:59,510
Speaker 1: It represents the show really well.

1307
01:03:59,650 --> 01:04:01,750
Speaker 2: I really was like, no notes. That's how I felt.

1308
01:04:02,690 --> 01:04:04,810
Speaker 1: And I can't believe I'm saying this, but I really laughed.

1309
01:04:05,670 --> 01:04:11,010
Speaker 2: I laughed too. All right. Well, that's the end. Thanks

1310
01:04:11,510 --> 01:04:15,020
Speaker 2: for listening. Thanks for watching. We'll see you next time.

1311
01:04:24,150 --> 01:04:24,800
Speaker 3: Rewind.