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

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

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

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

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

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Speaker 3: You're listening to Podlandia. Hi, I'm Keri.

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Speaker 1: I'm Fred.

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Speaker 3: This is a 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. Today I'm wearing a bit of merch, a

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Speaker 1: Portlandia shirt. And this was just in my closet.

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Speaker 3: I love that.

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Speaker 1: And I thought, why would I choose now to try

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Speaker 1: to play it cool? Like, well, I wouldn't wear that.

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Speaker 1: I'm like, no, this would be the right place to

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Speaker 1: wear this.

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Speaker 3: Also, it's not like we're trying to not talk about

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Speaker 3: the show.

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Speaker 2: Right.

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Speaker 3: Like, so I think it's fine.

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Speaker 2: Yeah.

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Speaker 3: Yeah.

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Speaker 1: Bird on it. It's great. Um, we're on our first

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Speaker 1: season still, and we're, at the season finale.

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Speaker 2: And this season is the shortest season because this season

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Speaker 2: you were headed back to SNL and we made the

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Speaker 2: pilot and then we had to wait for IFC to

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Speaker 2: pick up the show. It was a pretty quick pickup,

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Speaker 2: but we had limited time in terms of how many

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Speaker 2: episodes we could get done before you went back to SNL.

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Speaker 3: And so it ended up only being six.

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Speaker 2: Yes.

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Speaker 1: And I don't, first of all, I really enjoyed this episode,

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Speaker 1: but I don't remember how we decided what the show

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Speaker 1: was going to be like if we hadn't seen it yet.

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Speaker 1: So this, this has like momentum to it. There's like,

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Speaker 1: there's something about it where even our relationship with the

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Speaker 1: mayor feels like it's evolved a little bit, but I don't,

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Speaker 1: I can't remember why or what was, how did we

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Speaker 1: know it was working?

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Speaker 2: Yeah, that's a good question because we wrote it all

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Speaker 2: in one chunk and then we would have shot it.

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Speaker 2: And I think we also might not have known that, well, one,

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Speaker 2: whether we were getting a second season and two, whether

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Speaker 2: Kyle MacLachlan was enjoying it enough to come back.

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Speaker 1: Yeah.

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Speaker 2: But he definitely did. And yeah, we'll get to this

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Speaker 2: part of the show, but we start to get into

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Speaker 2: the dynamics of Carrie, Kyle and Fred in the final season.

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Speaker 2: part of the show, you can really see there was

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Speaker 2: often a Carrie-Kyle alliance. Yes.

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Speaker 1: Where Carrie and Kyle are going off on a tangent

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Speaker 1: that just seems to keep going that direction where I'm,

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Speaker 1: I guess, trying to keep it together.

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Speaker 2: Yeah.

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Speaker 1: Or trying to keep things focused. Yeah. And it comes

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Speaker 1: up a few times in the series.

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Speaker 2: It does. And this is the first time I see

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Speaker 2: it in this episode. But of course, this episode, as

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Speaker 2: they all do, starts with a cold open. And we

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Speaker 2: were just discussing, before we started rolling, that this cold

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Speaker 2: open does not feel very Portlandia. In fact, we never

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Speaker 2: really did anything like this again.

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Speaker 1: No. It was more.

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Speaker 3: It's like a fake commercial.

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Speaker 2: Yeah.

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Speaker 1: But it's still... I mean, it's funny, and I liked

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Speaker 1: how it was edited together, especially when it starts getting

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Speaker 1: really fast. We're not only completing each... It's about completing

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Speaker 1: each other's sentences in ads, a trope that's used in ads.

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Speaker 2: Right.

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Speaker 1: Yeah. Political ads.

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Speaker 3: Political ads.

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Speaker 2: Or, yes, where someone starts talking and then the sentence

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Speaker 2: is finished by another person. And it was sort of,

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Speaker 2: it's couched in this way of like, you know, unemployment

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Speaker 2: rates are up, but now we figure out a way

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Speaker 2: to employ people by finishing each other's sentences in ads. Right. Yeah.

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Speaker 1: So, but, you know, it's a cold open and I

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Speaker 1: guess since it's our first season, we're sort of figuring

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Speaker 1: out what the show is.

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Speaker 2: Yeah, and we've talked about it in other episodes, there

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Speaker 2: are just a handful of things, particularly in season one, where.

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Speaker 3: We thought, oh, we'll probably not revisit this.

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Speaker 2: And this is one of those, when I was watching it,

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Speaker 2: I just thought, oh, we never did this again. This

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Speaker 2: was just not something that became part of the show.

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Speaker 2: Like other things, I'm like, ah, this is where we

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Speaker 2: found this, and we're going to keep repeating this, this

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Speaker 2: trope or this kind of sketch.

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Speaker 3: But this was not one of those.

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Speaker 2: So yeah. And oh, but one thing we do do here,

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Speaker 2: and I guess an element of this that we did

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Speaker 2: repeat and return to was that we play different characters

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Speaker 2: in the sketch.

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Speaker 1: Oh, yes.

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Speaker 2: Yeah. And I have a feeling that when we were

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Speaker 2: shooting those other sketches, Jonathan Kreisel, our director, would say, hey,

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Speaker 2: let's shoot this little bit for this other.

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Speaker 3: Sketch we have coming up.

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Speaker 1: And then we could just throw it in.

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Speaker 2: Yeah, because my character from Adult Hide and Seek is

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Speaker 2: in here.

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Speaker 3: I think, is it Spike?

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Speaker 1: Spike's in there.

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Speaker 2: Yeah.

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Speaker 1: I think with the ear gauges and everything.

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Speaker 2: Yeah.

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Speaker 3: So there's a handful of recurring characters. Anyway, that's a

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Speaker 3: cold open. And then we get.

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Speaker 2: To the wraparound, which we've talked about before. It's three parts,

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Speaker 2: sometimes four part through line.

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Speaker 1: Yeah.

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Speaker 2: That kind of becomes the container of the episode. Sometimes

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Speaker 2: provides the thematic content. That's not always the case and

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Speaker 2: not the case here, but occasionally it does.

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Speaker 1: And this one, the mayor has gone to Baltimore and

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Speaker 1: I think he saw that they have a baseball team. Yes.

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Speaker 1: And he tells the Fred and Carrie characters about we

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Speaker 1: should have a baseball team.

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Speaker 3: Yep.

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Speaker 2: And it is true that Portland does not have a

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Speaker 2: professional baseball team. And there has been a movement and

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Speaker 2: the movement also existed back when we were shooting season one.

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Speaker 3: Bring Major League Baseball to Portland.

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Speaker 1: Yeah.

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Speaker 2: I live in Portland right now and I still see

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Speaker 2: bumper stickers. Yeah.

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Speaker 3: It's a mission for some people to bring MLB to Portland.

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Speaker 3: I'm not judging it.

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Speaker 2: I feel like there's other things we could focus on,

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Speaker 2: but maybe Major League Baseball would bring a lot of joy,

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Speaker 2: which is sometimes what people need.

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Speaker 1: And the mayor's idea is that the team should be

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Speaker 1: called the Portland Thinkers. Yes. Which is, I like the name. Really?

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Speaker 2: I don't like the name because it just says to

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Speaker 2: me they are not. athletic like we're not focusing on

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Speaker 2: athleticism which to me is like should be the fulcrum

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Speaker 2: of a professional sports team.

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Speaker 1: Like this might be a place where we disagree okay

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Speaker 1: I lament that in professional sports we don't have the

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Speaker 1: one clown team that we don't have the one team

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Speaker 1: that's like we're gonna just be the losers of the

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Speaker 1: whole season every year and let's have fun with it I.

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Speaker 2: Think what you don't know as someone who doesn't watch

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Speaker 2: professional sports is unfortunately a lot of teams have taken

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Speaker 2: on that role.

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Speaker 1: Oh, you mean like involuntarily?

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Speaker 3: Inadvertently.

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Speaker 2: Like I'm a huge NBA fan and there will be

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Speaker 2: teams that are just doing so poorly, like only have

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Speaker 2: won 15 games. Like we're three, you know, two thirds

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Speaker 2: of the way through the season. There are some really

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Speaker 2: bad teams and they do become like the butt of

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Speaker 2: all the jokes. So there are unfortunately kind of the

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Speaker 2: clown teams. I will say also, to be fair to, um,

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Speaker 2: like IQ, like we, you know, they say like basketball IQ,

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Speaker 2: there's baseball IQ. Like these are very intelligent people, but

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Speaker 2: I just think for a thinkers, like you want a,

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Speaker 2: a mascot, like a team name that conjures something that

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Speaker 2: just has a little bit more like oomph to it.

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Speaker 1: Yeah.

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Speaker 3: You don't want to just be in your head.

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Speaker 2: Like you need pretty high sports IQ to play any

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Speaker 2: of these games, but Anyway, that's just.

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Speaker 3: Me saying that.

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Speaker 2: I mean, maybe if we really had a baseball team,

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Speaker 2: we'd be called the thinkers and we would win the

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Speaker 2: World Series.

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Speaker 3: Who knows?

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Speaker 1: I just think there could be multiple World Series. That's

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Speaker 1: what I'm saying. I think every game, every professional baseball

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Speaker 1: game should be a World Series. Like, let's just make

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Speaker 1: it like, because it's such a big event, like you'll

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Speaker 1: get more viewers per game if you call them all

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Speaker 1: the World Series.

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Speaker 3: Oh, okay. That's a wild idea.

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Speaker 1: Yeah. The math is there.

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Speaker 3: The math is there.

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Speaker 2: Yes. And that's why, yeah, you would be, that's why

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Speaker 2: you're perfect for the Portland Thinkers. Yes. Yeah.

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Speaker 3: To me, Portland Thinkers is like a name of a

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Speaker 3: trivia team, a debate team.

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Speaker 2: Oh, yeah. But maybe I'm just not thinking outside the

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Speaker 2: box enough. Maybe my thinking is limited and reductive on

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Speaker 2: what a sports team can be named.

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Speaker 3: You are thinking big.

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Speaker 1: You're not thinking outside of the batter's box.

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Speaker 2: Ugh.

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Speaker 3: Great, great transition.

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Speaker 1: Please use that clip for, if we do an ad thing,

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Speaker 1: that was, I just thought of that in the moment

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Speaker 1: and that was pretty good.

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Speaker 2: Wow. Great transition back into the sketch, which is yes,

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Speaker 2: the mayor wants a baseball team. And again, this is

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Speaker 2: a common trope is that the mayor is always roping

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Speaker 2: Fred and Carrie into these jobs that they are highly

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Speaker 2: unqualified for. Like we're, we're at this point by, this

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Speaker 2: is the third mayor wraparound of season one. We realize

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Speaker 2: as characters, we've become kind of his de facto advisors.

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Speaker 2: And now we are being tasked with something that's well

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Speaker 2: above our pay grade, not something we are really qualified

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Speaker 2: to do, which is to recruit a baseball team.

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Speaker 3: But we'll get to that.

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Speaker 1: And you get to, you know, you see that the

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Speaker 1: mayor is, you get to see that the mayor is

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Speaker 1: always on his bike.

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Speaker 2: He's always on his bike, which I think we kind of,

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Speaker 2: lose that a little bit in later seasons.

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Speaker 1: That's true.

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Speaker 3: Or is that not true? Like, even in the marathon episode,

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Speaker 3: is he on his bike?

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Speaker 1: Oh, that.

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Speaker 3: We'll find out.

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Speaker 1: We'll see.

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Speaker 3: We're re-watching this right along with you, so we'll find out.

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Speaker 1: Um, and there's like, this, this is like a common thing.

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Speaker 1: We'll see that I, that took me by surprise is

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Speaker 1: the sort of the joke in the editing that he's outside.

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Speaker 1: And then all of a sudden he's inside and he's

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Speaker 1: back outside and something I never would have, that wouldn't

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Speaker 1: have occurred to me as a device.

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Speaker 2: Yes. A little cartoony in a way that I like, again,

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Speaker 2: I feel like I'm, Struck sometimes just by how we

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Speaker 2: just wanted things to be silly.

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Speaker 1: Yeah.

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Speaker 3: Like we're just okay with silliness.

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Speaker 2: Yes. Which is something that more than ever I appreciate.

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Speaker 2: Like when I, you know, want, I, sometimes I just

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Speaker 2: watch something because I want to laugh. Yes.

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Speaker 3: And I, I don't want it to be dramedy.

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Speaker 2: I don't want to have to think too hard about like, Oh,

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Speaker 2: is this going to be funny? Or it might, might

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Speaker 2: I accidentally cry? Like I just, no, I, this is

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Speaker 2: just silly. And I, I appreciate that.

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Speaker 3: Anyway, so that's part one.

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Speaker 2: The mayor in a coffee shop lets Fred and Carrie

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Speaker 2: know that he wants a baseball team. He's always, by

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Speaker 2: the way, he has kind of an underdog, like an

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Speaker 2: inferiority complex, the mayor, about Portland. He's always comparing us

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Speaker 2: to other cities, like real cities, like Seattle, Baltimore.

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Speaker 3: That's part of his MO.

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Speaker 2: He's like, Portland, we need to make Portland a real city.

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Speaker 1: I wonder how much mayors go through that.

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Speaker 2: I bet.

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Speaker 1: You know, like it must be one thing to be

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Speaker 1: the mayor of Chicago where you're like, we're good.

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Speaker 3: Yeah.

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Speaker 1: And then from, you know, or some other, you know,

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Speaker 1: Fort Worth, the mayor of Fort Worth. I wonder what

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Speaker 1: their experience is.

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Speaker 3: Let's have them on the show.

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Speaker 1: Yeah.

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Speaker 2: Yeah.

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Speaker 1: Because at first I bet you they'd claim, no, I'm

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Speaker 1: proud of my city. But I wonder if there's a

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Speaker 1: little bit of.

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Speaker 3: By the way, you still named a pretty big city.

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Speaker 2: There's also just a tiny little beach town.

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Speaker 3: There's a mayor of.

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Speaker 1: Myrtle Beach. Yeah.

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Speaker 3: Let's have them on the show.

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Speaker 1: Do you know the name of the mayor of Myrtle Beach?

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Speaker 1: Of course you don't. Come on.

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Speaker 2: Is that something you would ever want to do? Remember

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Speaker 2: how Clint Eastwood was like, he's the mayor of Carmel?

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Speaker 2: Or Sonny Bono was a mayor.

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Speaker 1: That's right. Couldn't do it. Couldn't do it. Because... I

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Speaker 1: think I really don't understand how government works. What my goal,

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Speaker 1: like my goal as a politician would be like, I

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Speaker 1: just want to be at City Hall and be left alone.

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Speaker 1: Like the less we could talk about anything, the better,

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Speaker 1: the less we do, the better. Just come in if

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Speaker 1: you need something about the bus system or whatever. In fact,

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Speaker 1: I'm signing off yes on everything. But please, let me

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Speaker 1: just be in this office.

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Speaker 3: You do not have my vote.

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Speaker 2: Um, I, but I also think there's something, there's a

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Speaker 2: lot of people who now like run for mayor coming

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Speaker 2: exactly from the place you're talking about, which is like,

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Speaker 2: not like, uh, you know, a politician, like not coming

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Speaker 2: from like, yeah, just someone that's coming outside politics.

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Speaker 3: This is very common now.

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Speaker 2: So like you say that, but then some, sometimes cities

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Speaker 2: want someone that's just like, no, I'm not a career politician.

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Speaker 3: I just have ideas and I have.

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Speaker 2: Optimism and I'm thinking left of center here. Or I

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Speaker 2: guess some people want right of center, but whatever. Thinking

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Speaker 2: from a different perspective.

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Speaker 3: So who knows? Maybe we'll cut to.

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Speaker 1: You being the mayor of Burbank or something.

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Speaker 2: Yes.

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Speaker 1: How about yourself? Would you ever?

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Speaker 3: No, I don't think so. I think In some ways,

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Speaker 3: I agree. Like, I feel like I always want.

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Speaker 2: Elected officials to be, like, civics majors.

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Speaker 3: Like, I'm just like.

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Speaker 2: Right. I want you to understand. I want you to

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Speaker 2: have all of it memorized. The Constitution, the Bill of Rights, like,

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Speaker 2: the entire history of the state. Like, you need to

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Speaker 2: know everything about geography and the geopolitical system. And, like,

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Speaker 2: I know that's a high bar, but, like, I'm just like, please.

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Speaker 1: If it's your job.

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Speaker 2: If, like... you know, that's not my job. That's not

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Speaker 2: most people's job. I try to be informed, but like,

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Speaker 2: I really want, like when someone is like, sometimes with

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Speaker 2: Trump or something, I'm like, I know that if you

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Speaker 2: held up a map, there are places that were probably

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Speaker 2: bombing right now that he would not be able to

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Speaker 2: like point out on a map. And I just think like,

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Speaker 2: to me, like I, I'm just not qualified. Like, I

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Speaker 2: don't know the entire history of Portland or the entire

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Speaker 2: history of Oregon or, of the inner workings of the government.

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Speaker 2: Like I know some stuff, but I just, to me,

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Speaker 2: I know that's a high bar.

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Speaker 1: I'm so with you. Right.

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Speaker 3: It's shocking to me. I'm like, you have to know

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Speaker 3: like this municipal code.

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Speaker 1: Even as, and I don't mean this as joke, even

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Speaker 1: as a hobby, meaning if we're in music, we know

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Speaker 1: music history just because we love it so much.

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Speaker 2: Yes.

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Speaker 1: If you love politics and being, or gravitating towards being

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Speaker 1: a mayor, just by, just for fun. Don't you just

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Speaker 1: know the lineage of all the mayors of this city?

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Speaker 3: Or at least how government works.

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Speaker 1: Yeah.

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Speaker 2: You know, like I just, it feels like a real

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Speaker 2: basic ask, but that anyway, so I would never, I just,

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Speaker 2: I'm not qualified. That's just, that's the bottom line. Like

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Speaker 2: that's just not my wheelhouse. And I would hope that someone,

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Speaker 2: you know, much more qualified than me is running and,

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Speaker 2: And I gravitate towards those people as leaders.

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Speaker 1: I'm also, as someone in government, I think I'm fiscally irresponsible. Meaning,

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Speaker 1: if they said to me, this highway is going to

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Speaker 1: cost a billion dollars, I'd say, great, I don't care.

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Speaker 1: The sanitation department needs $ 7 million. Whenever you're ready, go ahead.

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Speaker 2: You're saying the deficit would be very high. Yeah, we'd

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Speaker 2: be in so much debt.

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Speaker 1: But even now as an adult, I still don't understand, yes,

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Speaker 1: that taxes come in and that's what you have to spend.

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Speaker 1: But I'm like, just do it and then let the

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Speaker 1: money happen.

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Speaker 3: Just print more money.

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Speaker 1: Just print more money. It is like that where I'm like,

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Speaker 1: you know, I don't know, it's around. Just reach in

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Speaker 1: and find it somewhere. I don't know. From that, we

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Speaker 1: go to artisanal light bulbs, which I think was like

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Speaker 1: an aesthetic idea.

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Speaker 3: Yeah, like the Edison bulb, like.

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Speaker 1: Yeah.

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Speaker 3: It was, again, kind of like put a bird on it.

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Speaker 2: Just this shorthand for like, oh, this, you know, we're

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Speaker 2: in that kind of restaurant.

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Speaker 3: We're in that kind of shop. It was like a

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Speaker 3: real thing. It was like, this is, you know, the craftsmanship.

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Speaker 1: Those light bulbs, you know, that you see that have

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Speaker 1: the little, you can see the coil inside and they're

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Speaker 1: oddly shaped. And yeah, I'm repeating exactly what you said,

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Speaker 1: but it was something that like you would see only

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Speaker 1: once in a while and now you you really do

363
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Speaker 1: see it everywhere. Yeah.

364
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Speaker 3: Yeah.

365
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Speaker 2: But again, this, I think when we're first filming the show,

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Speaker 2: it's kind of in this phase, this transition, you know,

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Speaker 2: it's like, yeah, there was sort of this transition taking place, right.

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Speaker 3: Where like it became important. It, people were.

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Speaker 2: Signifying like, what, what are we trying to convey here? Oh,

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Speaker 2: we're trying to convey, you know, just like we are special.

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Speaker 2: We are, Like we, you know, like we have a certain,

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Speaker 2: not just sensibility, but like an ideology. We are, you know,

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Speaker 2: like there was a lot of that like signaling.

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Speaker 3: I think.

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Speaker 1: It's also like care. Yeah. We took care of making

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Speaker 1: this light bulb. We paid attention for once.

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00:17:46,869 --> 00:17:48,870
Speaker 3: Yeah. It's artisan.

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00:17:48,990 --> 00:17:49,210
Speaker 1: Yeah.

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Speaker 2: You know?

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Speaker 1: Yeah.

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Speaker 2: It's like, it's not, it's not a corporate light bulb.

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00:17:53,730 --> 00:17:53,970
Speaker 1: Yeah.

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Speaker 2: Yeah. And it was like that aesthetic was sort of

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Speaker 2: just starting to like crop up. Yeah.

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Speaker 1: You know, now you, any hotel, any Hilton, whatever.

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Speaker 2: Yeah.

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Speaker 1: Just like, do you see the 7-Eleven? Yeah.

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00:18:08,780 --> 00:18:13,500
Speaker 2: Yeah. Yeah. But no, it's, it became again, like that

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Speaker 2: extension of like, Oh, you know, like our customer cares

390
00:18:18,200 --> 00:18:21,010
Speaker 2: about like their footwear and what their eyeglasses look like.

391
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Speaker 2: And they're also going to care about like the light

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Speaker 2: fixtures and they're, they want to go to a restaurant

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Speaker 2: that reflects like their personhood.

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Speaker 1: Yeah.

395
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Speaker 3: You know?

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Speaker 2: Yeah.

397
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Speaker 1: We are special.

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Speaker 3: We are special. And you are special, and we see that.

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Speaker 1: Yes. We see that. Yeah. We are aligned with you.

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Speaker 3: We are aligned.

401
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Speaker 1: In our specialness.

402
00:18:38,270 --> 00:18:39,290
Speaker 2: Yeah.

403
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Speaker 1: Nick Kroll is in this.

404
00:18:40,730 --> 00:18:42,330
Speaker 3: At the very end, yeah.

405
00:18:42,570 --> 00:18:49,690
Speaker 1: As a customer, a potential customer. And then you get electrocuted,

406
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Speaker 1: your character. I think these are characters we never.

407
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Speaker 3: Really did again.

408
00:18:53,970 --> 00:18:55,010
Speaker 1: Yeah.

409
00:18:55,230 --> 00:18:56,600
Speaker 3: And I'm, like, coughing, basically.

410
00:18:56,619 --> 00:19:01,429
Speaker 2: Like, I'm, like... basically developed like a, yeah, emphysema or

411
00:19:01,470 --> 00:19:05,340
Speaker 2: something from like the toxic, like chemicals. Yeah.

412
00:19:05,380 --> 00:19:09,109
Speaker 1: The gases or whatever. And then as I watched it,

413
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Speaker 1: I remembered that I think that's not you in the

414
00:19:13,160 --> 00:19:17,090
Speaker 1: final shot of you falling over. I think we got

415
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Speaker 1: Jessica Needham and put her in a wig just to

416
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Speaker 1: make it seem, I don't know why. I mean, it worked.

417
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Speaker 1: as like that you got shocked.

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Speaker 2: Yeah. I think I remember that too, but I think

419
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Speaker 2: it was because I was being changed for another sketch.

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Speaker 1: Oh, because your face is covered in the very last shot.

421
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Speaker 1: Your face is.

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Speaker 2: Covered because I don't know why else we, you know,

423
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Speaker 2: because by the way, we're talking about our makeup artists.

424
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Speaker 2: Like it's not like we subbed me out for a

425
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Speaker 2: stunt person. yeah I think there were times where we

426
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Speaker 2: were our schedule was so tight that we were like

427
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Speaker 2: we'll put so and so like you know Sophia or

428
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Speaker 2: someone else on the crew like in an outfit or

429
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Speaker 2: if we'll put someone in frescoes and we'll.

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Speaker 3: Get that last shot while you guys yes are changing

431
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Speaker 3: for the next sketch that sounds right um Yeah.

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Speaker 2: I also just want to acknowledge that I've seen the

433
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Speaker 2: show Blown Away, which is like a glass blowing competition.

434
00:20:11,369 --> 00:20:17,030
Speaker 2: And that this is extremely difficult. Like, I mean, blowing

435
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Speaker 2: glasses beyond.

436
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Speaker 1: You mean made for light bulbs or just set?

437
00:20:21,840 --> 00:20:24,859
Speaker 2: Both. Like just all of it. Like hand blown glasses.

438
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Speaker 2: It's a really fascinating thing to watch.

439
00:20:27,820 --> 00:20:29,940
Speaker 1: Really? Yes.

440
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Speaker 2: I remember I actually think like this might be not true.

441
00:20:34,750 --> 00:20:37,970
Speaker 2: So I'll have to fact check this. But I'm pretty

442
00:20:38,020 --> 00:20:41,840
Speaker 2: sure the woman whose shop this is that we shot

443
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Speaker 2: at ends up on Blown Away.

444
00:20:43,820 --> 00:20:44,320
Speaker 1: Wow.

445
00:20:44,600 --> 00:20:46,500
Speaker 2: Yeah, because I remember watching that show and being like,

446
00:20:46,820 --> 00:20:48,240
Speaker 2: and it would say that this woman's from Portland.

447
00:20:48,780 --> 00:20:49,400
Speaker 3: I might be wrong.

448
00:20:50,040 --> 00:20:53,670
Speaker 2: But anyway, I just remember even at the time, like

449
00:20:53,830 --> 00:20:55,790
Speaker 2: asking questions as we were in this shop because we

450
00:20:55,810 --> 00:21:00,530
Speaker 2: were in a real glassblowing shop. And just, yeah, the

451
00:21:00,609 --> 00:21:04,340
Speaker 2: heat like that, it's very physical, very physical work.

452
00:21:06,570 --> 00:21:10,270
Speaker 1: Wow. Yeah. Wow, indeed.

453
00:21:11,430 --> 00:21:13,510
Speaker 2: Anyway. Light bulbs. You're right.

454
00:21:13,530 --> 00:21:14,600
Speaker 3: These characters do not recur.

455
00:21:14,619 --> 00:21:18,380
Speaker 1: This whole time, I was just imagining it. That's all.

456
00:21:18,400 --> 00:21:20,139
Speaker 1: I want you to know that. I was lost in that.

457
00:21:20,200 --> 00:21:21,400
Speaker 1: Just imagining doing that.

458
00:21:22,859 --> 00:21:25,800
Speaker 2: It's one of those shows, like when I watch that,

459
00:21:25,840 --> 00:21:27,320
Speaker 2: you know, some things you watch, you're like, I could

460
00:21:27,340 --> 00:21:27,660
Speaker 2: do that?

461
00:21:27,880 --> 00:21:28,100
Speaker 1: Yeah.

462
00:21:28,140 --> 00:21:30,640
Speaker 2: This is definitely one of those skills that I watch

463
00:21:30,680 --> 00:21:32,240
Speaker 2: and think, I absolutely could not do that.

464
00:21:33,859 --> 00:21:38,720
Speaker 1: Also that they arrived at making... glass that way yeah

465
00:21:39,460 --> 00:21:43,580
Speaker 1: total puzzle to me yeah um but I don't want

466
00:21:43,600 --> 00:21:45,240
Speaker 1: that to go out on the podcast I want people

467
00:21:45,280 --> 00:21:48,140
Speaker 1: to think I'm so intelligent that I do know how

468
00:21:49,900 --> 00:21:53,530
Speaker 1: glass is made yeah so it was Andy Covell who

469
00:21:53,550 --> 00:21:55,449
Speaker 1: you were talking about and.

470
00:21:56,330 --> 00:21:58,770
Speaker 3: Let's find out whether it was Andy Covell on Blown.

471
00:21:58,609 --> 00:22:02,869
Speaker 1: Away yes yes yeah you knew it I.

472
00:22:02,609 --> 00:22:04,840
Speaker 2: Yeah I actually when I was watching on Blown Away

473
00:22:04,859 --> 00:22:07,780
Speaker 2: I was like I've met this woman She's a pretty

474
00:22:07,980 --> 00:22:11,580
Speaker 2: well-known glass artist, glassblowing artist.

475
00:22:11,820 --> 00:22:12,379
Speaker 1: Wow.

476
00:22:12,500 --> 00:22:12,700
Speaker 2: Yeah.

477
00:22:13,260 --> 00:22:15,280
Speaker 3: And we filmed at her shop back in the day.

478
00:22:15,780 --> 00:22:25,429
Speaker 1: Thank you, Amy.

479
00:22:27,210 --> 00:22:27,490
Speaker 3: Okay.

480
00:22:28,330 --> 00:22:31,510
Speaker 1: Feminist bookstore. Story, I don't know what we titled this.

481
00:22:31,550 --> 00:22:32,530
Speaker 3: I called it journaling class.

482
00:22:32,730 --> 00:22:32,970
Speaker 1: Okay.

483
00:22:32,990 --> 00:22:38,390
Speaker 3: A journaling workshop. Yeah. Heather Graham is the guest star

484
00:22:38,490 --> 00:22:38,889
Speaker 3: in this.

485
00:22:39,630 --> 00:22:43,830
Speaker 2: There's a couple of other people in this episode, or sorry,

486
00:22:43,890 --> 00:22:49,129
Speaker 2: in this sketch who recur. Angel Boucher, who ends up

487
00:22:49,369 --> 00:22:53,389
Speaker 2: being in many feminist bookstore sketches as a local actor.

488
00:22:53,780 --> 00:22:57,840
Speaker 2: And also Christine Levine, who we will talk about in

489
00:22:57,900 --> 00:23:02,320
Speaker 2: season two. But Christine also is a recurring local actor.

490
00:23:02,380 --> 00:23:06,580
Speaker 2: And this, it's been interesting watching season one because I

491
00:23:06,660 --> 00:23:08,740
Speaker 2: recognize the people. I'm like, oh, wow, this person. I

492
00:23:09,560 --> 00:23:11,340
Speaker 2: like them as I'm watching the sketch. And then I

493
00:23:11,740 --> 00:23:14,120
Speaker 2: remember at the time liking them. And we all said,

494
00:23:14,180 --> 00:23:16,219
Speaker 2: let's bring this person back. And we did that over

495
00:23:16,240 --> 00:23:20,520
Speaker 2: and over again. There were, I would say, 30 Portland

496
00:23:20,640 --> 00:23:26,220
Speaker 2: actors who came back year after year, became a really

497
00:23:26,900 --> 00:23:28,030
Speaker 2: integral part of the cast.

498
00:23:28,090 --> 00:23:28,220
Speaker 1: Yeah.

499
00:23:28,590 --> 00:23:29,649
Speaker 3: Yeah.

500
00:23:29,790 --> 00:23:33,040
Speaker 2: Anyway, I just just pointing out that especially actually both

501
00:23:33,080 --> 00:23:37,600
Speaker 2: these women end up in the in the feminist bookstore

502
00:23:37,720 --> 00:23:41,699
Speaker 2: world a handful of times. But yeah, so Tony and

503
00:23:41,720 --> 00:23:44,310
Speaker 2: Candice are leading a journaling workshop.

504
00:23:45,090 --> 00:23:47,410
Speaker 1: And Heather Graham is contributing.

505
00:23:47,630 --> 00:23:48,250
Speaker 3: Well, she comes in.

506
00:23:48,190 --> 00:23:52,909
Speaker 2: Late and she already is like very different from, you know,

507
00:23:52,990 --> 00:23:56,320
Speaker 2: the rest of the clientele. Yes. She's a little more

508
00:23:56,359 --> 00:24:01,640
Speaker 2: made up. she's like, um, coded way more feminine than,

509
00:24:01,859 --> 00:24:05,140
Speaker 2: you know, most of the other people in the workshop

510
00:24:05,180 --> 00:24:09,480
Speaker 2: and including Tony and Candace, she's sort of effervescent and,

511
00:24:09,609 --> 00:24:13,689
Speaker 2: you know, positive. And, um, you know, we're there to

512
00:24:13,730 --> 00:24:18,270
Speaker 2: really share, you know, things that are what we imagine,

513
00:24:18,330 --> 00:24:21,369
Speaker 2: like journaling. I, I, Tony even says like journaling is

514
00:24:21,410 --> 00:24:22,490
Speaker 2: a document of misery.

515
00:24:22,650 --> 00:24:23,230
Speaker 1: Yes. Yeah.

516
00:24:23,390 --> 00:24:23,620
Speaker 2: Yeah.

517
00:24:23,760 --> 00:24:25,100
Speaker 1: So she's got the positive version.

518
00:24:25,180 --> 00:24:26,940
Speaker 3: Oh, she's just basically raving about her boyfriend.

519
00:24:27,020 --> 00:24:27,220
Speaker 1: Yeah.

520
00:24:27,280 --> 00:24:27,440
Speaker 2: Yeah.

521
00:24:28,230 --> 00:24:32,540
Speaker 1: So I like that, like, we're sort of getting the,

522
00:24:33,410 --> 00:24:35,700
Speaker 1: we're figuring out, I think by now we've really got

523
00:24:35,720 --> 00:24:40,940
Speaker 1: the feminist bookstore down of what they're about. Yeah. And there's,

524
00:24:41,340 --> 00:24:44,940
Speaker 1: at the end, you meet Heather Graham behind a bookshelf.

525
00:24:45,200 --> 00:24:49,560
Speaker 1: And there's, like, a move that you do that becomes

526
00:24:49,619 --> 00:24:54,960
Speaker 1: part of Tony. And it's this kind of, like, you faint.

527
00:24:54,980 --> 00:24:56,100
Speaker 2: I know.

528
00:24:57,900 --> 00:24:59,280
Speaker 1: And I just like it. I like it as a

529
00:24:59,340 --> 00:25:05,270
Speaker 1: sort of like there's this quality to Toni where she

530
00:25:05,290 --> 00:25:06,669
Speaker 1: just sometimes faints.

531
00:25:08,570 --> 00:25:12,149
Speaker 2: Kids do this as well. But I also know adults.

532
00:25:12,430 --> 00:25:15,660
Speaker 2: When it's a kid, it makes sense. It's like you're asking,

533
00:25:15,780 --> 00:25:16,800
Speaker 2: you know, they have.

534
00:25:16,740 --> 00:25:18,740
Speaker 3: A ton of energy. And then you're like, hey, do

535
00:25:18,760 --> 00:25:19,800
Speaker 3: you mind taking the trash out?

536
00:25:19,880 --> 00:25:23,100
Speaker 2: And they're just like, what?

537
00:25:23,240 --> 00:25:23,580
Speaker 1: Okay.

538
00:25:23,940 --> 00:25:26,980
Speaker 3: But I feel like I know adults that do this.

539
00:25:27,430 --> 00:25:31,180
Speaker 2: Too where it's just like it's almost like from a

540
00:25:31,200 --> 00:25:33,240
Speaker 2: different era like everything is fine and then it's just

541
00:25:33,260 --> 00:25:36,800
Speaker 2: like suddenly like you know there's oh you know like

542
00:25:37,320 --> 00:25:39,060
Speaker 2: it's their way they just don't know how to say

543
00:25:39,119 --> 00:25:41,510
Speaker 2: no or they don't know how to just like actually

544
00:25:41,550 --> 00:25:43,750
Speaker 2: just use their words to just say they don't want

545
00:25:43,770 --> 00:25:46,109
Speaker 2: to do something and all of a sudden it becomes

546
00:25:46,130 --> 00:25:50,170
Speaker 2: like a physical ailment yes like a wave I can't

547
00:25:50,450 --> 00:25:53,659
Speaker 2: lift this pen or something you're like okay like do

548
00:25:53,680 --> 00:25:55,139
Speaker 2: you need to take it you need to take five

549
00:25:55,160 --> 00:25:57,300
Speaker 2: it's a really weird thing The other thing I want

550
00:25:57,320 --> 00:25:59,220
Speaker 2: to say about Tony and Candice, as you were saying, like,

551
00:25:59,420 --> 00:26:03,459
Speaker 2: you know, by now and probably, I think from the beginning,

552
00:26:03,500 --> 00:26:08,600
Speaker 2: we sort of had their whole MO down and like,

553
00:26:09,040 --> 00:26:14,380
Speaker 2: we really understood these characters. And I feel like we've

554
00:26:14,400 --> 00:26:18,050
Speaker 2: talked about this before in real life, but like coming

555
00:26:18,160 --> 00:26:23,550
Speaker 2: up in like punk communities and independent music communities. And again,

556
00:26:23,650 --> 00:26:27,399
Speaker 2: just thinking about, like how many rules there were, you know,

557
00:26:27,440 --> 00:26:29,619
Speaker 2: in terms of what you wore and who you listened

558
00:26:29,680 --> 00:26:32,980
Speaker 2: to and what label you signed to and like whether

559
00:26:33,030 --> 00:26:34,790
Speaker 2: you were going to be ambitious or try for things

560
00:26:34,830 --> 00:26:38,610
Speaker 2: or not. And how we've talked about that in this podcast,

561
00:26:38,630 --> 00:26:41,850
Speaker 2: like the stakes were pretty high at the time and

562
00:26:41,869 --> 00:26:48,150
Speaker 2: there were real consequences. In like sort of getting into

563
00:26:48,810 --> 00:26:53,400
Speaker 2: punk or indie music communities, it felt like, oh, this

564
00:26:53,480 --> 00:26:59,300
Speaker 2: should be the most inclusive place. Like we've rejected all

565
00:26:59,320 --> 00:27:03,920
Speaker 2: of the bullies. We've rejected the people who like conventional

566
00:27:03,960 --> 00:27:07,850
Speaker 2: mainstream society that turns its nose up at differences. And

567
00:27:07,890 --> 00:27:09,310
Speaker 2: so it's like, oh my gosh, finally, I'm going to

568
00:27:09,350 --> 00:27:11,030
Speaker 2: be accepted for who I am. And then you realize,

569
00:27:11,090 --> 00:27:14,070
Speaker 2: oh my God, there are so many rules. Like it's

570
00:27:14,330 --> 00:27:19,270
Speaker 2: as exclusive as anything. And I feel like Tony and Candice,

571
00:27:19,310 --> 00:27:24,330
Speaker 2: we've talked about how in some ways, they are like

572
00:27:24,350 --> 00:27:26,130
Speaker 2: the bookstore is kind of like that. Like you think,

573
00:27:26,190 --> 00:27:28,540
Speaker 2: Oh my gosh, a feminist bookstore, this is going to

574
00:27:28,580 --> 00:27:34,000
Speaker 2: be the most welcoming, warm, inclusive space. And instead it's

575
00:27:34,160 --> 00:27:39,859
Speaker 2: just like horrifying and like exclusive. And there, there are

576
00:27:40,119 --> 00:27:43,320
Speaker 2: so many complex rules that only make sense to them

577
00:27:44,240 --> 00:27:48,929
Speaker 2: and it's combative and they're antagonistic. And in like, in

578
00:27:49,010 --> 00:27:51,500
Speaker 2: some ways it's an homage to, To that time in

579
00:27:51,520 --> 00:27:53,350
Speaker 2: our life, because we really looked up to that. I mean,

580
00:27:53,369 --> 00:27:55,270
Speaker 2: we were like, oh my gosh, we really want to

581
00:27:55,290 --> 00:27:55,689
Speaker 2: fit in.

582
00:27:55,710 --> 00:27:55,790
Speaker 1: Yeah.

583
00:27:56,230 --> 00:27:58,270
Speaker 2: And to me, like, Tony and Candace are sort of

584
00:27:58,310 --> 00:28:03,250
Speaker 2: like those, like, strident, like, punks, like, except reimagined in, like,

585
00:28:03,510 --> 00:28:04,669
Speaker 2: a feminist bookstore.

586
00:28:04,869 --> 00:28:05,090
Speaker 1: Yeah.

587
00:28:05,750 --> 00:28:09,690
Speaker 2: Yeah. And they're also, like, terrifyingly, like, second wave. Like,

588
00:28:10,060 --> 00:28:11,820
Speaker 2: I mean, in these early episodes, you don't see it

589
00:28:11,840 --> 00:28:13,659
Speaker 2: as much, but later, you're like, oh my gosh, like,

590
00:28:13,680 --> 00:28:20,570
Speaker 2: these very, like, retrograde, you know, reductive, like, ideologies. Yeah. yeah, they,

591
00:28:20,869 --> 00:28:25,209
Speaker 2: I am often just reminded of how I felt like

592
00:28:25,250 --> 00:28:28,020
Speaker 2: sort of getting into the, you know, music scene and

593
00:28:28,300 --> 00:28:30,879
Speaker 2: thinking I was going to be, you know, accepted and

594
00:28:31,420 --> 00:28:35,080
Speaker 2: then realizing like, Oh no, this is as tricky as

595
00:28:35,280 --> 00:28:37,940
Speaker 2: high school was, you know? God.

596
00:28:38,020 --> 00:28:41,470
Speaker 1: And we were guilty also of making a lot of

597
00:28:41,510 --> 00:28:46,290
Speaker 1: those rules. I remember driving it, just being with my

598
00:28:46,330 --> 00:28:49,700
Speaker 1: band and just being in the van and just, criticizing

599
00:28:49,760 --> 00:28:56,520
Speaker 1: bands contemporaries people who we've played shows with for infractions.

600
00:28:56,590 --> 00:28:59,450
Speaker 2: Oh that is so the right word infraction yeah it

601
00:28:59,470 --> 00:29:02,210
Speaker 2: was like we were keeping tabs yeah yeah i remember

602
00:29:02,450 --> 00:29:08,790
Speaker 2: um when slater kinney got a publicist and we this

603
00:29:08,830 --> 00:29:10,490
Speaker 2: publicist by the way was a friend of ours like

604
00:29:11,390 --> 00:29:15,820
Speaker 2: in olympia olympia washington a small town and it happens

605
00:29:15,840 --> 00:29:19,790
Speaker 2: to be the state capitol It's like it is not L.A.,

606
00:29:19,870 --> 00:29:22,410
Speaker 2: New York, London. Like when I say PR, this was

607
00:29:22,450 --> 00:29:24,470
Speaker 2: just someone that was willing to make calls. Like up

608
00:29:24,540 --> 00:29:28,440
Speaker 2: until that point, we had been like sending stuff to

609
00:29:28,540 --> 00:29:31,880
Speaker 2: Spin Magazine and Rolling Stone and Option.

610
00:29:31,540 --> 00:29:32,840
Speaker 3: And all the magazines that existed.

611
00:29:33,320 --> 00:29:35,750
Speaker 2: And we asked our friend Julie Butterfield. She was like, oh,

612
00:29:35,810 --> 00:29:37,410
Speaker 2: I'd be happy to. I have, you know, a little

613
00:29:37,450 --> 00:29:41,000
Speaker 2: more experience. She had worked at Sub Pop and other

614
00:29:41,180 --> 00:29:44,660
Speaker 2: record labels. So, you know, and people were like, I

615
00:29:44,720 --> 00:29:47,740
Speaker 2: can't believe that you guys got a publicist. Like, I

616
00:29:47,790 --> 00:29:51,989
Speaker 2: can't believe you're trying to get your record reviewed. Like,

617
00:29:52,030 --> 00:29:57,050
Speaker 2: even that was an infraction. Like, the appearance of trying.

618
00:29:57,710 --> 00:30:00,450
Speaker 2: you know, as if things would just fall into our laps,

619
00:30:00,490 --> 00:30:04,970
Speaker 2: but there were people who were doing media boycotts and blackouts.

620
00:30:05,020 --> 00:30:08,020
Speaker 2: Like there were just, you know, there was, it was,

621
00:30:08,980 --> 00:30:11,840
Speaker 2: you really weren't supposed to talk to mainstream press. It's,

622
00:30:12,320 --> 00:30:18,540
Speaker 2: it's hard to explain like this really like definitive line

623
00:30:18,600 --> 00:30:22,920
Speaker 2: between like the underground and just existed. And if you

624
00:30:22,960 --> 00:30:27,200
Speaker 2: sort of ventured up above ground, like sort of stuck

625
00:30:27,220 --> 00:30:30,570
Speaker 2: your head or neck out, it seemed like, you know,

626
00:30:30,660 --> 00:30:34,050
Speaker 2: you were like a slave to capitalism and you were

627
00:30:34,090 --> 00:30:37,790
Speaker 2: like a corporate, you know, drone or something.

628
00:30:37,830 --> 00:30:42,670
Speaker 3: Like it really, it sounds silly. And it was deadly serious.

629
00:30:43,110 --> 00:30:45,790
Speaker 1: It was artistic too. We would be playing with some

630
00:30:45,830 --> 00:30:48,729
Speaker 1: bands and if they had like a funky part to

631
00:30:48,770 --> 00:30:53,180
Speaker 1: one of their songs- what yeah it was like really

632
00:30:53,240 --> 00:30:55,080
Speaker 1: an offense yeah or.

633
00:30:55,040 --> 00:30:57,930
Speaker 2: Like an amp that was too new yeah you're like

634
00:30:57,990 --> 00:31:00,890
Speaker 2: oh my god i'm sorry is that a brand new

635
00:31:01,070 --> 00:31:05,970
Speaker 2: amp like or like a a brand of clothing they

636
00:31:06,190 --> 00:31:07,510
Speaker 2: were i mean this is as.

637
00:31:07,520 --> 00:31:10,360
Speaker 1: Bad covers choices i remember some covers choices with a

638
00:31:10,380 --> 00:31:12,100
Speaker 1: band we played with at lounge x that and the

639
00:31:12,140 --> 00:31:15,260
Speaker 1: cover was something regular rock let's call it that yeah

640
00:31:15,580 --> 00:31:18,360
Speaker 1: and that was To this day, I remember how mad

641
00:31:18,400 --> 00:31:21,280
Speaker 1: we were that they played this song by a regular

642
00:31:21,320 --> 00:31:22,300
Speaker 1: rock band. Yeah.

643
00:31:22,800 --> 00:31:23,360
Speaker 2: No, for sure.

644
00:31:23,800 --> 00:31:26,700
Speaker 1: Like, that took over the whole night that they played

645
00:31:26,720 --> 00:31:31,700
Speaker 1: this song. Believe them. That's my memory of that night.

646
00:31:32,600 --> 00:31:34,220
Speaker 1: That's how big of a deal it was. 100%.

647
00:31:34,220 --> 00:31:35,940
Speaker 2: Yeah. I mean, I remember someone doing.

648
00:31:38,560 --> 00:31:39,340
Speaker 3: A Madonna cover.

649
00:31:39,400 --> 00:31:41,600
Speaker 2: And I was the, had been the biggest Madonna fan,

650
00:31:41,700 --> 00:31:43,940
Speaker 2: but now I was supposed to just be mad that,

651
00:31:44,420 --> 00:31:47,750
Speaker 2: you know, someone, you know, did, um, like a prayer

652
00:31:48,470 --> 00:31:55,210
Speaker 2: at a rock show. And I mean, it's, yes, it's

653
00:31:55,290 --> 00:32:01,780
Speaker 2: hard to explain how, how entrenched and codified this stuff was.

654
00:32:02,480 --> 00:32:06,100
Speaker 1: Even long hair. It was, we, we accepted it, but

655
00:32:06,140 --> 00:32:08,420
Speaker 1: it was still a little like, all right, The drummer

656
00:32:08,460 --> 00:32:13,830
Speaker 1: has long hair. We're not, that's our friends. That's okay.

657
00:32:14,270 --> 00:32:15,950
Speaker 1: You know, I guess that's one of the looks, but

658
00:32:15,990 --> 00:32:19,330
Speaker 1: it was a little like, we'll accept it. Yeah. Today.

659
00:32:19,350 --> 00:32:19,790
Speaker 2: Yeah.

660
00:32:20,070 --> 00:32:20,570
Speaker 1: You're lucky.

661
00:32:23,610 --> 00:32:24,190
Speaker 3: Yeah.

662
00:32:24,210 --> 00:32:27,430
Speaker 2: So if you're wondering why Tony and Candace are so extreme,

663
00:32:27,710 --> 00:32:32,540
Speaker 2: it's because we, we had been very immersed in a

664
00:32:33,100 --> 00:32:38,780
Speaker 2: pretty extreme ideology. Yeah. And also helped maintain it. We

665
00:32:38,800 --> 00:32:40,239
Speaker 2: were not like, I don't want to paint it like

666
00:32:40,260 --> 00:32:42,840
Speaker 2: we were separate from it. I mean, once we were

667
00:32:42,960 --> 00:32:46,740
Speaker 2: sort of in, then you adopt that attitude as well.

668
00:32:46,900 --> 00:32:47,140
Speaker 3: Yes.

669
00:32:47,220 --> 00:32:50,070
Speaker 2: Yeah. Until you sort of almost snap out of it

670
00:32:50,570 --> 00:32:53,290
Speaker 2: like a cult. Again, I said this in a different episode,

671
00:32:53,330 --> 00:32:57,290
Speaker 2: but my friend Nicole Georges, who's a great graphic novelist,

672
00:32:57,310 --> 00:32:58,290
Speaker 2: she calls it punk damage.

673
00:33:00,130 --> 00:33:00,550
Speaker 1: I love it.

674
00:33:00,710 --> 00:33:01,850
Speaker 3: Yeah.

675
00:33:01,870 --> 00:33:02,540
Speaker 1: We all have it.

676
00:33:02,580 --> 00:33:02,710
Speaker 2: Yeah.

677
00:33:03,240 --> 00:33:04,959
Speaker 3: We all have it or a version of punk damage.

678
00:33:04,980 --> 00:33:07,600
Speaker 2: Just, it's just something where you are a new convert

679
00:33:07,740 --> 00:33:10,090
Speaker 2: and that sort of that zeal of the, you know,

680
00:33:10,110 --> 00:33:12,130
Speaker 2: the newly converted is very real.

681
00:33:12,170 --> 00:33:14,470
Speaker 3: It's very, it's a real intoxicant.

682
00:33:14,930 --> 00:33:15,310
Speaker 1: Oh yes.

683
00:33:15,430 --> 00:33:17,590
Speaker 2: Yeah. All right.

684
00:33:18,110 --> 00:33:22,360
Speaker 1: Baseball part two. I love this part of the wraparound.

685
00:33:22,860 --> 00:33:23,300
Speaker 3: Me too.

686
00:33:23,540 --> 00:33:28,500
Speaker 2: And so we now are holding baseball tryouts on behalf

687
00:33:28,720 --> 00:33:32,060
Speaker 2: of the mayor and the Portland thinkers. And, But we

688
00:33:32,130 --> 00:33:37,200
Speaker 2: ran it like an audition, like an acting audition.

689
00:33:37,620 --> 00:33:38,620
Speaker 1: Like a Broadway show or something.

690
00:33:38,820 --> 00:33:43,740
Speaker 2: Yeah, like we're sitting at a table, a long fold-out table,

691
00:33:44,240 --> 00:33:46,350
Speaker 2: basically where the pitching mound is.

692
00:33:46,430 --> 00:33:49,170
Speaker 3: Yeah. With glasses on.

693
00:33:49,190 --> 00:33:49,490
Speaker 1: Yeah.

694
00:33:49,550 --> 00:33:52,610
Speaker 2: For no reason because, well, you, I mean, you wear glasses,

695
00:33:52,630 --> 00:33:55,469
Speaker 2: but we were wearing like little readers. And we have

696
00:33:55,540 --> 00:33:57,780
Speaker 2: that attitude of like, and you are, like.

697
00:33:59,040 --> 00:34:00,620
Speaker 3: And it does. It makes me laugh.

698
00:34:00,840 --> 00:34:04,910
Speaker 2: And then it's like a real bad news bears, like

699
00:34:05,850 --> 00:34:07,610
Speaker 2: group of, you know, men.

700
00:34:07,690 --> 00:34:10,030
Speaker 3: It's like, there's really no athletes.

701
00:34:10,050 --> 00:34:11,810
Speaker 2: Like in terms of, you're just thinking of like what

702
00:34:11,850 --> 00:34:13,410
Speaker 2: a prototypical athlete looks like.

703
00:34:13,510 --> 00:34:14,350
Speaker 3: It's just like.

704
00:34:14,739 --> 00:34:19,259
Speaker 2: Random Portlanders, you know, trying out. And we're not really

705
00:34:19,320 --> 00:34:22,520
Speaker 2: asking them. First of all, we wouldn't really be. Yeah.

706
00:34:22,700 --> 00:34:25,230
Speaker 2: And the fact that we're asking them anything, but What

707
00:34:25,270 --> 00:34:27,810
Speaker 2: we are asking them is very little about baseball.

708
00:34:27,850 --> 00:34:29,570
Speaker 1: Yes. Just purely an audition.

709
00:34:30,090 --> 00:34:33,030
Speaker 3: You actually at one point challenge a guy.

710
00:34:33,090 --> 00:34:35,669
Speaker 2: You're like, what would you do if someone offered you drugs? Yeah.

711
00:34:35,730 --> 00:34:37,049
Speaker 3: And then you did a role play with them.

712
00:34:37,130 --> 00:34:37,370
Speaker 2: Yes.

713
00:34:37,989 --> 00:34:39,570
Speaker 1: Steroids. Steroids. Yeah.

714
00:34:40,110 --> 00:34:40,490
Speaker 2: Yeah.

715
00:34:40,650 --> 00:34:42,590
Speaker 1: Come on. Don't you want some? Come on.

716
00:34:42,810 --> 00:34:42,989
Speaker 3: Yeah.

717
00:34:43,250 --> 00:34:44,670
Speaker 1: No one's going to know. Yeah.

718
00:34:45,010 --> 00:34:49,430
Speaker 2: It's just, again, all of the wrong things. And then

719
00:34:49,450 --> 00:34:52,569
Speaker 2: there's a couple of people in this who are trying

720
00:34:52,670 --> 00:34:57,859
Speaker 2: out who recur. Mikey Campman, who is also in Adult

721
00:34:57,880 --> 00:35:01,919
Speaker 2: Hide and Seek, a local Portland comedian. Ron Funches, who's

722
00:35:01,940 --> 00:35:06,520
Speaker 2: a great, very well-known comedian now, lives in L.A., is

723
00:35:06,600 --> 00:35:09,600
Speaker 2: on LOOT. He's great stand-up. This is when he still

724
00:35:09,620 --> 00:35:13,319
Speaker 2: lived in Portland. And he shows up here. In fact,

725
00:35:13,360 --> 00:35:15,780
Speaker 2: I worked with Ron recently. I directed him on Loot

726
00:35:15,910 --> 00:35:19,050
Speaker 2: and he's so sweet. He comes up to me, he's like, Carrie,

727
00:35:19,070 --> 00:35:21,070
Speaker 2: do you remember working together?

728
00:35:21,110 --> 00:35:24,509
Speaker 3: And I was like, of course. Like he, you know,

729
00:35:24,650 --> 00:35:26,430
Speaker 3: and yeah, I was like, yeah, of course.

730
00:35:26,510 --> 00:35:29,350
Speaker 2: Because I remember after that, like following his career and

731
00:35:29,370 --> 00:35:33,540
Speaker 2: being really excited that he, you know, was getting bigger

732
00:35:33,580 --> 00:35:35,439
Speaker 2: as a standup and then moving to LA and having

733
00:35:35,520 --> 00:35:41,950
Speaker 2: success down here. But it's interesting because, you know, Like,

734
00:35:41,989 --> 00:35:44,170
Speaker 2: we're colleagues, of course, but at the time, I think

735
00:35:44,530 --> 00:35:48,370
Speaker 2: because of him, he was just so up and coming

736
00:35:48,390 --> 00:35:51,049
Speaker 2: that he thought, like, oh, you're not going to remember me. Like,

737
00:35:51,070 --> 00:35:52,910
Speaker 2: because that was the dynamic, you know, that, like, I

738
00:35:52,950 --> 00:35:55,279
Speaker 2: was on the show, and then he had this, like,

739
00:35:55,320 --> 00:35:55,759
Speaker 2: walk and roll.

740
00:35:55,780 --> 00:35:56,560
Speaker 3: I was like, of course, Ron.

741
00:35:56,620 --> 00:36:00,140
Speaker 2: And, I mean, there's many examples of that with people

742
00:36:00,239 --> 00:36:03,680
Speaker 2: coming on Portlandia. I mean, Kumail is someone, you know, like, he...

743
00:36:04,510 --> 00:36:07,730
Speaker 2: as now like huge movie star, you know, and, um,

744
00:36:07,870 --> 00:36:10,250
Speaker 2: Ian Carmel, who's also in for season. There's just a

745
00:36:10,290 --> 00:36:12,910
Speaker 2: lot of people who we were very lucky to have

746
00:36:12,950 --> 00:36:14,779
Speaker 2: worked with them, you know, early on.

747
00:36:15,530 --> 00:36:18,180
Speaker 3: But, um, anyway, shout out to Ron.

748
00:36:18,219 --> 00:36:21,660
Speaker 2: Hi Ron. And, um, also by the way, really enjoyed

749
00:36:21,700 --> 00:36:23,560
Speaker 2: him on the season of the traders. I don't know

750
00:36:23,580 --> 00:36:24,040
Speaker 2: if you've seen that.

751
00:36:24,060 --> 00:36:24,550
Speaker 1: Oh, I haven't seen it.

752
00:36:24,560 --> 00:36:24,940
Speaker 2: Oh yes.

753
00:36:25,280 --> 00:36:25,480
Speaker 1: Okay.

754
00:36:25,580 --> 00:36:26,860
Speaker 3: I will not spoil anything for you.

755
00:36:26,880 --> 00:36:27,299
Speaker 1: He's great.

756
00:36:27,320 --> 00:36:27,760
Speaker 2: Yeah.

757
00:36:29,040 --> 00:36:30,600
Speaker 3: Um, and then Jedediah.

758
00:36:31,100 --> 00:36:31,279
Speaker 2: Yep.

759
00:36:31,520 --> 00:36:31,820
Speaker 3: Acre.

760
00:36:31,880 --> 00:36:35,230
Speaker 2: He's, uh, in, in, the leather jacket here, the beard,

761
00:36:35,270 --> 00:36:37,470
Speaker 2: and he shows up many times. And Raj Patel, who's

762
00:36:37,650 --> 00:36:40,210
Speaker 2: the actor who you do the series, but with Raj

763
00:36:40,230 --> 00:36:41,160
Speaker 2: shows up a couple of times too.

764
00:36:41,170 --> 00:36:42,089
Speaker 1: That's right.

765
00:36:42,110 --> 00:36:45,029
Speaker 2: Yeah. So, um, and again, this is just a, a

766
00:36:46,120 --> 00:36:48,540
Speaker 2: common thing. These, we tried to bring the same people

767
00:36:48,580 --> 00:36:50,879
Speaker 2: back over and over again. We wanted it to kind

768
00:36:50,900 --> 00:36:53,320
Speaker 2: of feel like, cause I mean, it's Portland is a

769
00:36:53,340 --> 00:36:55,799
Speaker 2: two hander, you know, it was just every, all the

770
00:36:55,840 --> 00:36:58,700
Speaker 2: opening sequence. It's just like Portland is starring Fred and Carrie,

771
00:36:58,719 --> 00:37:02,280
Speaker 2: but we wanted it to feel like we had, this cast,

772
00:37:02,300 --> 00:37:05,390
Speaker 2: you know, these, and that if people watched season after season,

773
00:37:05,430 --> 00:37:08,890
Speaker 2: that they would see the same people. Um, it, yeah,

774
00:37:09,010 --> 00:37:11,649
Speaker 2: we wanted to feel like a community and I think

775
00:37:11,890 --> 00:37:13,610
Speaker 2: it did, you know, for us and for the crew.

776
00:37:13,630 --> 00:37:14,569
Speaker 1: Succeeded in that way.

777
00:37:15,010 --> 00:37:18,799
Speaker 2: Yeah. But yes, this, this definitely, um, oh, at the end, um,

778
00:37:19,000 --> 00:37:21,000
Speaker 2: everyone makes the team. Yes. Yeah.

779
00:37:21,080 --> 00:37:23,680
Speaker 3: Everyone makes the team, including a man who's in his eighties.

780
00:37:23,719 --> 00:37:24,160
Speaker 2: Yep. Yeah.

781
00:37:25,200 --> 00:37:29,590
Speaker 1: And they take a photo together, the Portland thinkers. Um, yeah,

782
00:37:29,680 --> 00:37:34,660
Speaker 1: this is really enjoyable. This might not matter now, but

783
00:37:34,739 --> 00:37:36,920
Speaker 1: I was like, why did we shoot this at night?

784
00:37:37,860 --> 00:37:38,100
Speaker 2: Yeah.

785
00:37:38,360 --> 00:37:43,060
Speaker 1: It kind of works because then the light is better

786
00:37:43,080 --> 00:37:46,120
Speaker 1: that it wasn't like sunlight over us. But I'm like,

787
00:37:46,140 --> 00:37:47,480
Speaker 1: I wonder what, who knows.

788
00:37:47,780 --> 00:37:49,859
Speaker 2: Yeah, I don't know what precipitated the night shoot either.

789
00:37:49,920 --> 00:37:53,980
Speaker 2: Just for people listening, like most, you know, shoots, you

790
00:37:54,000 --> 00:37:56,890
Speaker 2: try to have as much daylight as possible. You know,

791
00:37:56,969 --> 00:37:59,030
Speaker 2: usually on a Monday you start out working a seven

792
00:37:59,070 --> 00:38:01,290
Speaker 2: to seven. Sometimes that starts to shift back later in

793
00:38:01,310 --> 00:38:05,280
Speaker 2: the week. if something necessitates night. So something I imagined

794
00:38:06,180 --> 00:38:08,650
Speaker 2: that came before this necessitated a night shoot. Cause yeah,

795
00:38:08,690 --> 00:38:12,210
Speaker 2: there's no reason why this baseball tryout would be at night.

796
00:38:12,530 --> 00:38:14,110
Speaker 2: I also remember this is one of the first times

797
00:38:14,690 --> 00:38:16,750
Speaker 2: we had three cameras and then we went to five

798
00:38:16,790 --> 00:38:18,730
Speaker 2: for this. And we often did that because this was,

799
00:38:18,790 --> 00:38:20,610
Speaker 2: we shot this at the end of the day and

800
00:38:21,270 --> 00:38:23,910
Speaker 2: we needed to move quickly. We were running out of

801
00:38:23,950 --> 00:38:26,250
Speaker 2: time and we often did that where we just had,

802
00:38:26,489 --> 00:38:30,060
Speaker 2: especially if we we needed, we were shooting like in

803
00:38:30,100 --> 00:38:32,480
Speaker 2: a big space or had a lot of background. This is,

804
00:38:32,780 --> 00:38:34,390
Speaker 2: isn't even a huge cast, but I just remember we

805
00:38:34,410 --> 00:38:36,029
Speaker 2: had as many cameras going as we could.

806
00:38:36,050 --> 00:38:36,910
Speaker 1: I didn't know that. Yeah.

807
00:38:37,290 --> 00:38:38,469
Speaker 3: It was one of the first times we did that.

808
00:38:45,270 --> 00:38:48,569
Speaker 2: Um, all right, next we move on to another sketch

809
00:38:48,590 --> 00:38:52,319
Speaker 2: that just made me laugh, which was the chef, the.

810
00:38:52,239 --> 00:38:53,200
Speaker 1: Chef's photo session.

811
00:38:53,360 --> 00:38:53,580
Speaker 2: Yeah.

812
00:38:53,940 --> 00:38:56,080
Speaker 1: Which is, I think comes from.

813
00:38:57,320 --> 00:38:57,520
Speaker 2: You.

814
00:38:57,719 --> 00:38:59,799
Speaker 1: There was, I think it still happens. When you look

815
00:38:59,820 --> 00:39:03,340
Speaker 1: at pictures of chefs, they're very stylized. Celebrity chefs, or

816
00:39:03,380 --> 00:39:06,900
Speaker 1: just anyone opening a restaurant, there's some presentation to what

817
00:39:06,940 --> 00:39:07,520
Speaker 1: they're doing.

818
00:39:08,040 --> 00:39:08,300
Speaker 2: Right.

819
00:39:08,340 --> 00:39:10,640
Speaker 3: Well, and also there was just this shift.

820
00:39:10,930 --> 00:39:13,250
Speaker 2: And again, you know, we talked about this earlier in

821
00:39:13,270 --> 00:39:15,410
Speaker 2: this episode, just like there is just sort of this

822
00:39:15,450 --> 00:39:18,609
Speaker 2: cultural shift happening during this time. And one thing like

823
00:39:18,810 --> 00:39:22,469
Speaker 2: early on, like in terms of like cuisine and restaurants,

824
00:39:22,650 --> 00:39:24,830
Speaker 2: like a chef, you know, it was like Alice Waters.

825
00:39:24,870 --> 00:39:26,529
Speaker 2: Like it was just, there was sort of this like,

826
00:39:27,050 --> 00:39:30,250
Speaker 2: you know, sort of refined or you know they're sort

827
00:39:30,270 --> 00:39:32,870
Speaker 2: of fine dining. And then it was just like, like

828
00:39:33,050 --> 00:39:35,989
Speaker 2: chefs are like rock stars, you know, they're like all

829
00:39:36,050 --> 00:39:40,069
Speaker 2: tatted up and like the whole aesthetic of chef changed, changed.

830
00:39:40,180 --> 00:39:44,040
Speaker 2: And then also like, as rock stars became kind of

831
00:39:44,060 --> 00:39:46,000
Speaker 2: a thing of the past, it was like chefs were

832
00:39:46,040 --> 00:39:48,640
Speaker 2: sort of the new rock stars. Like, you know, there was,

833
00:39:49,360 --> 00:39:52,280
Speaker 2: there were sort of the new breed of celebrity chef

834
00:39:52,520 --> 00:39:56,300
Speaker 2: that didn't look like, you know, whatever, the version of

835
00:39:56,360 --> 00:40:00,719
Speaker 2: like a button up and sort of, I don't know, genteel.

836
00:40:00,760 --> 00:40:03,660
Speaker 2: It was like, oh, they're like bad boys. And it

837
00:40:03,680 --> 00:40:06,080
Speaker 2: was just, it kind of just changed. You know, it

838
00:40:06,100 --> 00:40:08,120
Speaker 2: was like the open, like the kitchen that's like in

839
00:40:08,140 --> 00:40:09,620
Speaker 2: the middle of the restaurant because you want to see

840
00:40:09,660 --> 00:40:13,640
Speaker 2: them working. And yeah, this is all coming into, this

841
00:40:13,700 --> 00:40:16,360
Speaker 2: is in vogue at this time and sort of still continues.

842
00:40:16,400 --> 00:40:18,529
Speaker 2: But I think we're just, kind of commenting on that

843
00:40:18,550 --> 00:40:20,470
Speaker 2: I mean it's like a it's like a rock photo

844
00:40:20,510 --> 00:40:22,830
Speaker 2: shoot we're like trying to be really sexy there's milk

845
00:40:22,910 --> 00:40:26,009
Speaker 2: being poured yeah and I remember hating that because it

846
00:40:26,050 --> 00:40:28,410
Speaker 2: was cold it was really cold and we realized it

847
00:40:28,710 --> 00:40:31,080
Speaker 2: didn't have to be cold because we're not drinking it

848
00:40:31,820 --> 00:40:33,480
Speaker 2: so it could have been room temperature we would have

849
00:40:33,500 --> 00:40:36,660
Speaker 2: been fine yeah it was it wasn't it was actually

850
00:40:36,680 --> 00:40:38,859
Speaker 2: had been in the freezer like it was lumpy with

851
00:40:39,000 --> 00:40:44,529
Speaker 2: ice and I remember being thinking that it yeah but

852
00:40:44,700 --> 00:40:46,310
Speaker 2: basically I remember wanting to cry.

853
00:40:46,969 --> 00:40:50,689
Speaker 1: Now This is going to sound like an exaggeration, but

854
00:40:51,370 --> 00:40:55,130
Speaker 1: watching this is some of the hardest I've laughed at

855
00:40:55,230 --> 00:40:58,870
Speaker 1: Portlandia in general, because there's this one thing that you do.

856
00:41:00,110 --> 00:41:01,930
Speaker 1: I don't know why. I don't know why you chose

857
00:41:01,969 --> 00:41:05,879
Speaker 1: to do this. And I wrote down LOL because I'm

858
00:41:06,469 --> 00:41:09,759
Speaker 1: watching this. I laugh so hard. We do this thing

859
00:41:09,800 --> 00:41:12,780
Speaker 1: where like in the photo shoot. I'm holding a spoon

860
00:41:12,820 --> 00:41:17,910
Speaker 1: or something. I'm pretending to interview, you know, and then

861
00:41:18,130 --> 00:41:23,189
Speaker 1: you answer in this frantic way, like, and whatever it was,

862
00:41:23,210 --> 00:41:26,649
Speaker 1: I don't know what prompted it. I have no idea

863
00:41:26,670 --> 00:41:29,170
Speaker 1: what it's about. I think you see, I wrote down

864
00:41:29,190 --> 00:41:32,480
Speaker 1: the words. I don't know. I don't, I don't know.

865
00:41:32,500 --> 00:41:36,379
Speaker 1: And it's cause I think we had flour all over

866
00:41:36,440 --> 00:41:36,860
Speaker 1: our faces.

867
00:41:36,920 --> 00:41:37,880
Speaker 3: It was ridiculous.

868
00:41:37,920 --> 00:41:38,120
Speaker 2: Yeah.

869
00:41:38,140 --> 00:41:42,990
Speaker 1: And, um, it was, whatever it is, it really got

870
00:41:43,030 --> 00:41:44,569
Speaker 1: me and it really made me laugh.

871
00:41:45,110 --> 00:41:48,410
Speaker 2: This one made me laugh too. It's also, again, the

872
00:41:48,469 --> 00:41:51,859
Speaker 2: physical comedy I always love. And we just, yeah, there's

873
00:41:51,890 --> 00:41:56,200
Speaker 2: so many props and gags. And the photographer is Keith Cable,

874
00:41:56,239 --> 00:42:01,200
Speaker 2: who is another recurring actor we brought back. And I

875
00:42:01,440 --> 00:42:03,920
Speaker 2: was thinking as I watched this, how good he is

876
00:42:03,980 --> 00:42:06,319
Speaker 2: and how good a lot of people were as the

877
00:42:06,340 --> 00:42:09,790
Speaker 2: straight man or the straight woman, like for how crazy

878
00:42:09,850 --> 00:42:13,290
Speaker 2: we were being, he just absolutely stayed in character, just

879
00:42:13,310 --> 00:42:16,890
Speaker 2: taking it very seriously. Like, Oh, I'm just a local photographer,

880
00:42:17,410 --> 00:42:19,350
Speaker 2: you know, trying to get this shot for this little

881
00:42:19,370 --> 00:42:22,770
Speaker 2: publication and, you know, sure. Whatever you guys want to do,

882
00:42:22,810 --> 00:42:25,739
Speaker 2: you know, like, And that is very hard to do

883
00:42:26,060 --> 00:42:29,380
Speaker 2: because we definitely had examples of that occasionally, very rarely.

884
00:42:29,840 --> 00:42:30,800
Speaker 3: And sometimes not.

885
00:42:31,080 --> 00:42:33,360
Speaker 2: The local actors, sometimes bigger actors who are like, oh,

886
00:42:33,530 --> 00:42:35,810
Speaker 2: it's a sketch show. I'm going to be really funny too.

887
00:42:36,410 --> 00:42:39,830
Speaker 2: And often the requirement was just like, no, you're just

888
00:42:39,890 --> 00:42:42,390
Speaker 2: painting the straight person here. Like we want to keep

889
00:42:42,450 --> 00:42:45,950
Speaker 2: it very real. Like just like, just play it very real.

890
00:42:47,150 --> 00:42:49,310
Speaker 2: And every once in a while, I've just been reminded

891
00:42:49,650 --> 00:42:51,930
Speaker 2: watching like, and this sketch was one of them, just

892
00:42:52,050 --> 00:42:56,020
Speaker 2: how good it was. someone like Keith wasn't that, he

893
00:42:56,080 --> 00:42:59,920
Speaker 2: never tries to be funny. He's just taking it very seriously.

894
00:42:59,940 --> 00:43:02,800
Speaker 2: And you need that. Yeah. You often need that, especially

895
00:43:02,840 --> 00:43:09,480
Speaker 2: when we're like at our just most, you know, ridiculous and,

896
00:43:10,480 --> 00:43:10,960
Speaker 2: and silly.

897
00:43:11,140 --> 00:43:12,859
Speaker 3: And, um, yeah.

898
00:43:13,120 --> 00:43:16,569
Speaker 2: So kudos to, to Keith. And by the way, the

899
00:43:16,610 --> 00:43:18,430
Speaker 2: publication at the end is literally.

900
00:43:18,110 --> 00:43:20,650
Speaker 1: Like, yeah, some little menu thing or something.

901
00:43:20,670 --> 00:43:23,540
Speaker 2: It's like, you think we're doing it for like, you know, um,

902
00:43:23,780 --> 00:43:26,020
Speaker 2: I don't know, Bon Appetit or something.

903
00:43:26,140 --> 00:43:29,360
Speaker 3: It's like, yeah, it's like a flyer.

904
00:43:29,590 --> 00:43:29,820
Speaker 1: Yeah.

905
00:43:30,070 --> 00:43:30,260
Speaker 2: Yeah.

906
00:43:30,320 --> 00:43:32,990
Speaker 1: I liked it. Portland dining guide.

907
00:43:33,270 --> 00:43:33,430
Speaker 2: Yeah.

908
00:43:33,610 --> 00:43:36,230
Speaker 3: But it's, it's, it's just a pamphlet.

909
00:43:36,730 --> 00:43:36,950
Speaker 2: Yeah.

910
00:43:37,130 --> 00:43:38,250
Speaker 3: It's a nothing.

911
00:43:38,290 --> 00:43:38,529
Speaker 1: Yeah.

912
00:43:39,190 --> 00:43:40,240
Speaker 2: It's a pamphlet.

913
00:43:40,280 --> 00:43:42,560
Speaker 1: I really got into it. Yeah.

914
00:43:42,900 --> 00:43:43,540
Speaker 3: Which, yeah.

915
00:43:43,900 --> 00:43:46,759
Speaker 2: I think that's another common, I don't know, something that

916
00:43:47,330 --> 00:43:51,450
Speaker 2: we return to is like people having a disproportionate reaction

917
00:43:51,489 --> 00:43:58,529
Speaker 2: to something or taking something too seriously, like commensurate to

918
00:43:58,570 --> 00:43:59,489
Speaker 2: the reality of it.

919
00:44:00,140 --> 00:44:03,259
Speaker 3: Like guys, it's just, we're like, Oh, photo shoot.

920
00:44:03,520 --> 00:44:04,540
Speaker 1: You know, now we're, yeah.

921
00:44:04,960 --> 00:44:06,560
Speaker 3: I feel like we do.

922
00:44:06,480 --> 00:44:06,819
Speaker 1: That a lot.

923
00:44:06,980 --> 00:44:08,839
Speaker 2: Yeah. Anyway. All right.

924
00:44:09,200 --> 00:44:10,580
Speaker 1: Kevin, Dave outdoor movie.

925
00:44:10,989 --> 00:44:13,210
Speaker 2: First of all, I did not realize this was season one.

926
00:44:13,390 --> 00:44:17,280
Speaker 2: And I was really pleasantly surprised because to me, Kath

927
00:44:17,300 --> 00:44:21,879
Speaker 2: and Dave, you know, become like so part of like

928
00:44:21,920 --> 00:44:25,900
Speaker 2: the stable of characters. And like, I didn't realize that

929
00:44:25,980 --> 00:44:29,160
Speaker 2: we came back to them in season one, but we do.

930
00:44:29,920 --> 00:44:30,440
Speaker 3: And Kath and.

931
00:44:30,380 --> 00:44:35,020
Speaker 2: Dave are the very sort of brusque, loud, rule following,

932
00:44:35,520 --> 00:44:40,259
Speaker 2: like also rule giving, rule delivering couple that this is,

933
00:44:40,360 --> 00:44:44,000
Speaker 2: you know, The tight, the ponytail, the cap.

934
00:44:44,480 --> 00:44:45,200
Speaker 1: Very loud.

935
00:44:45,260 --> 00:44:46,640
Speaker 3: Utility vests.

936
00:44:46,660 --> 00:44:47,280
Speaker 1: A lot of gear.

937
00:44:47,300 --> 00:44:48,260
Speaker 3: A lot of gear.

938
00:44:48,600 --> 00:44:50,340
Speaker 2: And here we're going to a movie in the park,

939
00:44:50,360 --> 00:44:54,219
Speaker 2: which is something that happens, I imagine, everywhere in the summer,

940
00:44:54,260 --> 00:44:57,509
Speaker 2: including Portland. You know, a series of outdoor movies. And

941
00:44:57,550 --> 00:45:02,210
Speaker 2: it's usually just, like, very peaceful and chill. And people bring, like,

942
00:45:02,410 --> 00:45:06,250
Speaker 2: at the most, like, a picnic basket and a blanket.

943
00:45:07,030 --> 00:45:11,200
Speaker 1: And they, Kevin and Dave, bring a fence. Yes. Blender,

944
00:45:11,620 --> 00:45:13,940
Speaker 1: coffee machine, shelves. That's right.

945
00:45:13,960 --> 00:45:18,640
Speaker 3: Like power. Like they, they're using like a, yeah, a blender.

946
00:45:18,840 --> 00:45:20,520
Speaker 1: Yeah.

947
00:45:20,739 --> 00:45:21,540
Speaker 3: And a power tool.

948
00:45:21,800 --> 00:45:21,960
Speaker 1: Yeah.

949
00:45:22,000 --> 00:45:24,000
Speaker 3: Like you're literally building something.

950
00:45:24,020 --> 00:45:24,739
Speaker 1: Yeah. Yeah.

951
00:45:24,860 --> 00:45:27,720
Speaker 3: And we require so much space.

952
00:45:28,030 --> 00:45:28,280
Speaker 2: Yes.

953
00:45:28,320 --> 00:45:29,910
Speaker 3: You know, and yeah.

954
00:45:29,930 --> 00:45:32,589
Speaker 1: And we announce it to everyone. I don't know how

955
00:45:32,630 --> 00:45:35,790
Speaker 1: we got so many background actors in this.

956
00:45:35,870 --> 00:45:36,870
Speaker 3: Oh, I mean, yeah.

957
00:45:36,950 --> 00:45:39,899
Speaker 1: I don't, I will. That's a lot of people. It

958
00:45:39,920 --> 00:45:40,320
Speaker 1: looks packed.

959
00:45:40,580 --> 00:45:42,580
Speaker 3: I was actually trying to remember whether.

960
00:45:42,600 --> 00:45:46,860
Speaker 2: Because this happened with Star Trek in the Park. Oh, sorry.

961
00:45:47,200 --> 00:45:49,980
Speaker 3: That's coming up later. Oh, no.

962
00:45:51,320 --> 00:45:52,120
Speaker 1: Either way.

963
00:45:52,660 --> 00:45:53,580
Speaker 3: This happens in.

964
00:45:53,540 --> 00:45:57,540
Speaker 2: A later episode where we often, because of our budget

965
00:45:57,580 --> 00:45:59,779
Speaker 2: and how quickly we were moving, we would utilize something

966
00:45:59,800 --> 00:46:00,700
Speaker 2: that was already happening.

967
00:46:00,719 --> 00:46:03,410
Speaker 3: Like, oh, there's this event. Maybe we can shoot at it.

968
00:46:03,450 --> 00:46:05,750
Speaker 3: So I was trying to remember... was there actually a

969
00:46:06,230 --> 00:46:07,890
Speaker 3: movie in the park? But I don't think that.

970
00:46:07,910 --> 00:46:09,649
Speaker 1: I don't think there was. I think this was like

971
00:46:09,730 --> 00:46:10,730
Speaker 1: a real shoot.

972
00:46:11,010 --> 00:46:14,350
Speaker 2: Which I will also say, so a lot of shows

973
00:46:14,489 --> 00:46:17,430
Speaker 2: and TV shows and films use what's called tiling, like

974
00:46:17,469 --> 00:46:21,799
Speaker 2: with background, you know, you'll, you can only afford 50

975
00:46:21,800 --> 00:46:24,940
Speaker 2: and in post-production, you just end up kind of repeating

976
00:46:25,400 --> 00:46:28,860
Speaker 2: the same group or, you know, using, you know, special

977
00:46:28,880 --> 00:46:30,780
Speaker 2: effects to make it look like there's a big crowd.

978
00:46:30,900 --> 00:46:34,100
Speaker 2: And we did not do this. This is like one

979
00:46:34,140 --> 00:46:37,520
Speaker 2: of the, great things about shooting in Portland and just,

980
00:46:37,920 --> 00:46:40,640
Speaker 2: you know, being under the auspices of a very generous

981
00:46:40,660 --> 00:46:43,700
Speaker 2: city and people were excited to be involved in the show. And,

982
00:46:44,200 --> 00:46:46,930
Speaker 2: you know, it was Portland really shines in the summer.

983
00:46:47,489 --> 00:46:49,290
Speaker 2: It really, it's the best time to be there. And

984
00:46:49,310 --> 00:46:52,130
Speaker 2: I think, yeah, people just turned out for this and

985
00:46:52,150 --> 00:46:54,009
Speaker 2: it was really fun. And yeah, it is a, it

986
00:46:54,070 --> 00:46:55,310
Speaker 2: is a big crowd of people.

987
00:46:55,430 --> 00:46:59,610
Speaker 1: Huge crowd. And yeah, it, it looks like a fun event.

988
00:46:59,650 --> 00:47:03,049
Speaker 1: Like it looks like, you know, and, um, I will say,

989
00:47:04,130 --> 00:47:07,430
Speaker 1: that this right coming right off of the chef's photo session,

990
00:47:07,870 --> 00:47:11,029
Speaker 1: one of the funniest things you've ever done is as

991
00:47:11,050 --> 00:47:13,030
Speaker 1: we're watching the movie, we're sort of making these announcements.

992
00:47:13,070 --> 00:47:16,130
Speaker 1: And then all of a sudden Kath is getting impatient

993
00:47:16,370 --> 00:47:20,450
Speaker 1: and starts starting. It starts a chant. Come on movie,

994
00:47:20,590 --> 00:47:26,500
Speaker 1: make it start. And no one joins, but Kath thinks

995
00:47:26,560 --> 00:47:29,259
Speaker 1: that everyone's going to join along. No one's impatient.

996
00:47:29,340 --> 00:47:32,540
Speaker 3: By the way, the syntax of that is awful. I mean, it,

997
00:47:32,960 --> 00:47:34,259
Speaker 3: It's like, what does it, yeah.

998
00:47:34,280 --> 00:47:36,620
Speaker 1: Come on movie, make it start.

999
00:47:36,920 --> 00:47:38,220
Speaker 3: Yeah, makes no sense.

1000
00:47:39,560 --> 00:47:42,670
Speaker 1: Oh, it's so funny. So, so good. I see you.

1001
00:47:42,570 --> 00:47:44,130
Speaker 3: Laugh during this. I actually.

1002
00:47:44,890 --> 00:47:46,390
Speaker 1: You came up with it on the spot.

1003
00:47:46,410 --> 00:47:46,990
Speaker 3: See you break.

1004
00:47:47,190 --> 00:47:47,390
Speaker 2: Yeah.

1005
00:47:47,670 --> 00:47:49,770
Speaker 3: You just sort of look to the side.

1006
00:47:49,810 --> 00:47:50,029
Speaker 1: Yeah.

1007
00:47:50,430 --> 00:47:53,330
Speaker 3: Yeah. And then we do something that I know you and.

1008
00:47:53,390 --> 00:47:57,550
Speaker 2: I are, this is real Carrie and Fred. The movie

1009
00:47:57,570 --> 00:48:01,400
Speaker 2: starts and they say to each other like, Hey, I

1010
00:48:01,460 --> 00:48:03,399
Speaker 2: think if we leave now, we can beat traffic. Yep.

1011
00:48:03,700 --> 00:48:06,300
Speaker 2: And this is after them spending, you know, 45 minutes

1012
00:48:07,120 --> 00:48:09,589
Speaker 2: setting up and ensuring a good spot.

1013
00:48:10,230 --> 00:48:12,790
Speaker 3: And then they leave. And I have that feeling all

1014
00:48:12,810 --> 00:48:13,069
Speaker 3: the time.

1015
00:48:13,090 --> 00:48:13,489
Speaker 1: Oh, yeah.

1016
00:48:13,910 --> 00:48:14,069
Speaker 2: Yeah.

1017
00:48:14,550 --> 00:48:16,730
Speaker 1: Oh, yes. Before I get someplace. Yeah.

1018
00:48:17,070 --> 00:48:18,030
Speaker 3: I'm strategizing.

1019
00:48:18,250 --> 00:48:18,469
Speaker 1: Yeah.

1020
00:48:18,489 --> 00:48:19,549
Speaker 3: When is a good time to leave?

1021
00:48:19,870 --> 00:48:20,380
Speaker 2: Yeah. Yeah.

1022
00:48:20,840 --> 00:48:20,990
Speaker 3: Yeah.

1023
00:48:21,560 --> 00:48:24,100
Speaker 2: Later, we'll do a sketch called The Best Part is

1024
00:48:24,140 --> 00:48:26,339
Speaker 2: Going Home. Yep. Yeah. And.

1025
00:48:26,900 --> 00:48:27,060
Speaker 1: Yeah.

1026
00:48:27,120 --> 00:48:29,779
Speaker 2: And that is, I think sometimes when people ask me like, how,

1027
00:48:29,940 --> 00:48:32,620
Speaker 2: how was it last night? You want to say like, yeah,

1028
00:48:32,680 --> 00:48:33,899
Speaker 2: the best part was actually when I left.

1029
00:48:34,580 --> 00:48:37,899
Speaker 1: I found it the perfect spot to start, you know,

1030
00:48:37,940 --> 00:48:39,540
Speaker 1: perfect time to start heading home.

1031
00:48:39,580 --> 00:48:40,140
Speaker 2: Yeah.

1032
00:48:40,160 --> 00:48:40,920
Speaker 1: Got in my car.

1033
00:48:41,020 --> 00:48:41,239
Speaker 2: Yeah.

1034
00:48:41,780 --> 00:48:45,460
Speaker 1: But this is, yeah, I love come on movie, make

1035
00:48:45,500 --> 00:48:46,040
Speaker 1: it start.

1036
00:48:46,340 --> 00:48:49,500
Speaker 2: And, and a classic Kath and Dave sketch. And, you know,

1037
00:48:49,880 --> 00:48:52,520
Speaker 2: this season, you know, it's again, we're now at the

1038
00:48:53,060 --> 00:48:55,620
Speaker 2: last episode of season one. We didn't know which characters

1039
00:48:55,660 --> 00:48:58,830
Speaker 2: would come back, but, You know, definitely Kath and Dave

1040
00:48:59,530 --> 00:49:01,790
Speaker 2: every season. And we start writing for them too. So

1041
00:49:02,350 --> 00:49:06,990
Speaker 2: like in subsequent seasons, we're really writing specifically for these characters.

1042
00:49:07,030 --> 00:49:09,069
Speaker 2: And we would say, oh, this is a Kath and

1043
00:49:09,090 --> 00:49:11,130
Speaker 2: Dave sketch, or this is a Tony and Candace sketch,

1044
00:49:11,150 --> 00:49:12,910
Speaker 2: or this is a Peter and Nan sketch, which was

1045
00:49:13,370 --> 00:49:16,370
Speaker 2: very freeing actually. And also really helped with the writing process.

1046
00:49:16,570 --> 00:49:18,380
Speaker 2: It's just, in fact, we would put cards up on

1047
00:49:18,400 --> 00:49:20,340
Speaker 2: the board like we would put the character cards up

1048
00:49:20,680 --> 00:49:23,900
Speaker 2: and know that we needed to write.

1049
00:49:22,920 --> 00:49:25,239
Speaker 1: A certain amount of sketches for them so they yeah

1050
00:49:25,300 --> 00:49:27,880
Speaker 1: kept going yeah I think it was also a relief

1051
00:49:28,890 --> 00:49:32,069
Speaker 1: for shorthand for costumes so no matter what we knew

1052
00:49:32,110 --> 00:49:34,989
Speaker 1: it was like a vest filled with things that that

1053
00:49:35,210 --> 00:49:38,029
Speaker 1: or props yeah just to keep that that was one

1054
00:49:38,050 --> 00:49:41,680
Speaker 1: that was like immediately you will understand what's happening. Yeah.

1055
00:49:41,760 --> 00:49:43,390
Speaker 2: And, you know, I've talked about this a little bit,

1056
00:49:43,430 --> 00:49:49,049
Speaker 2: but like, especially when something is like, we're working at

1057
00:49:49,110 --> 00:49:51,690
Speaker 2: such a fast pace and we're often doing many sketches

1058
00:49:51,870 --> 00:49:54,509
Speaker 2: in a day. Like I need that costume. Like I

1059
00:49:54,550 --> 00:49:57,879
Speaker 2: put on the Cath ponytail and I am Cath. Like

1060
00:49:58,260 --> 00:50:01,220
Speaker 2: you just, you need to be able to get into

1061
00:50:01,239 --> 00:50:05,520
Speaker 2: these characters quickly and costume and hair and makeup was

1062
00:50:05,540 --> 00:50:08,330
Speaker 2: a real shorthand for that. And, you know, when you're

1063
00:50:08,530 --> 00:50:12,109
Speaker 2: going from a complete, like some other character that has

1064
00:50:12,150 --> 00:50:15,009
Speaker 2: a complete like opposite personality from Kath, like I need

1065
00:50:15,030 --> 00:50:19,270
Speaker 2: to snap into Kath and like that, you know, the

1066
00:50:19,290 --> 00:50:22,370
Speaker 2: wardrobe really helped. All right. And now we are at

1067
00:50:22,410 --> 00:50:25,950
Speaker 2: the end of this episode, the part three of the

1068
00:50:25,989 --> 00:50:31,540
Speaker 2: baseball wraparound, which again, is often where we just take

1069
00:50:31,580 --> 00:50:34,819
Speaker 2: a sharp left turn where you think, oh, part three,

1070
00:50:34,860 --> 00:50:37,110
Speaker 2: it's going to be the first baseball game of the season.

1071
00:50:37,730 --> 00:50:37,910
Speaker 1: Nope.

1072
00:50:39,190 --> 00:50:41,489
Speaker 3: We're back at the coffee shop with the mayor and

1073
00:50:41,570 --> 00:50:42,370
Speaker 3: it devolves.

1074
00:50:42,850 --> 00:50:47,270
Speaker 1: And Carrie and the mayor start getting into the, what

1075
00:50:47,390 --> 00:50:51,620
Speaker 1: are the possibilities to animate characters who aren't even in

1076
00:50:51,660 --> 00:50:54,440
Speaker 1: the photo? The photo is just the baseball players.

1077
00:50:54,500 --> 00:50:56,420
Speaker 3: Yeah, so Carrie and Fred show the mayor.

1078
00:50:56,560 --> 00:50:57,060
Speaker 1: Here's the team.

1079
00:50:57,120 --> 00:50:58,910
Speaker 3: Here's the team. Here's the... the team.

1080
00:50:58,770 --> 00:51:02,569
Speaker 2: Photo and before we talk about, it's like the first

1081
00:51:02,610 --> 00:51:06,089
Speaker 2: thing we start talking about is like, what about, what's

1082
00:51:06,130 --> 00:51:06,969
Speaker 2: the mascot going to be?

1083
00:51:07,010 --> 00:51:09,650
Speaker 3: And then from the mascot, we're creating a cartoon.

1084
00:51:09,730 --> 00:51:11,470
Speaker 1: Yeah. How do we animate that bat?

1085
00:51:12,070 --> 00:51:12,750
Speaker 3: Batty Patterson.

1086
00:51:12,910 --> 00:51:13,569
Speaker 2: Yeah. Yeah.

1087
00:51:13,890 --> 00:51:19,140
Speaker 1: So as you guys keep going, I'm just like, in

1088
00:51:19,239 --> 00:51:23,319
Speaker 1: what arena, how, where will this cartoon exist? This is

1089
00:51:23,360 --> 00:51:28,090
Speaker 1: the baseball team. We haven't pitched a cartoon yet. why

1090
00:51:28,190 --> 00:51:30,569
Speaker 1: are you pitching cartoon characters?

1091
00:51:31,250 --> 00:51:37,870
Speaker 2: Yeah. At some point, I mentioned the show and you're like,

1092
00:51:38,370 --> 00:51:39,850
Speaker 2: what are you talking about? And I'm like, well, no,

1093
00:51:39,890 --> 00:51:43,009
Speaker 2: now it's the show. Now it's, forget the baseball team.

1094
00:51:43,050 --> 00:51:45,590
Speaker 2: And so much of season one was me finding my footing.

1095
00:51:45,850 --> 00:51:50,150
Speaker 2: You know, I often felt like a real imposter, you know,

1096
00:51:50,170 --> 00:51:52,010
Speaker 2: that I had kind of snuck in the side door

1097
00:51:52,030 --> 00:51:56,509
Speaker 2: and suddenly just appeared and on this comedy show, on

1098
00:51:56,530 --> 00:52:00,030
Speaker 2: this sketch show. And I just, it seemed so unlikely.

1099
00:52:00,230 --> 00:52:03,340
Speaker 2: And I was often worried that like, I just wasn't

1100
00:52:03,739 --> 00:52:05,180
Speaker 2: cutting it or that, you know, the guest stars would

1101
00:52:05,219 --> 00:52:07,380
Speaker 2: come on and be like, oh, phew, it's Fred, he's

1102
00:52:07,420 --> 00:52:09,360
Speaker 2: on SNL. He's gonna know what he's doing. And that

1103
00:52:09,460 --> 00:52:11,259
Speaker 2: I would just be sort of playing catch up the

1104
00:52:11,280 --> 00:52:14,219
Speaker 2: whole time. And, you know, obviously as I watched season one,

1105
00:52:14,280 --> 00:52:17,420
Speaker 2: I felt more like I was relieved, like, oh, I'm

1106
00:52:17,480 --> 00:52:20,339
Speaker 2: holding my own here. But I do remember that each time,

1107
00:52:20,400 --> 00:52:23,319
Speaker 2: particularly when we were working with the guest actors and

1108
00:52:23,400 --> 00:52:25,900
Speaker 2: someone like Kyle, who's, you know, been in a million

1109
00:52:25,920 --> 00:52:29,440
Speaker 2: movies and he's a great actor and just thinking like, oh,

1110
00:52:29,540 --> 00:52:32,480
Speaker 2: I hope I am bringing something to the table here.

1111
00:52:32,660 --> 00:52:34,820
Speaker 2: I hope that I'm giving him something to work with

1112
00:52:34,940 --> 00:52:39,040
Speaker 2: and that, yeah, that he feels like I'm being receptive

1113
00:52:39,100 --> 00:52:41,839
Speaker 2: and listening and doing all of the things. And I

1114
00:52:42,160 --> 00:52:48,089
Speaker 2: remember specifically in this part three, where he and I just, we,

1115
00:52:48,190 --> 00:52:51,330
Speaker 2: this dynamic clicked for us and you see it in

1116
00:52:51,350 --> 00:52:54,489
Speaker 2: the scene. where I'm pitching these ridiculous ideas and he

1117
00:52:54,530 --> 00:52:56,610
Speaker 2: is just yes anding me. And we're just like, yeah.

1118
00:52:56,680 --> 00:52:59,330
Speaker 2: And it's just getting sillier and weirder. And we're just

1119
00:53:00,290 --> 00:53:03,610
Speaker 2: on this crazy tangent and you're kind of playing the

1120
00:53:03,630 --> 00:53:06,050
Speaker 2: straight man and just sort of like trying to stay grounded,

1121
00:53:06,090 --> 00:53:08,810
Speaker 2: like trying to stay based in reality in terms of

1122
00:53:09,590 --> 00:53:13,370
Speaker 2: the baseball team. And I just remember as Carrie, as

1123
00:53:13,410 --> 00:53:17,219
Speaker 2: my real, As the real Carrie thinking, oh, Kyle and

1124
00:53:17,239 --> 00:53:19,750
Speaker 2: I have found something like we we get each other

1125
00:53:20,190 --> 00:53:23,549
Speaker 2: and we we are still friends. But I really remember

1126
00:53:24,370 --> 00:53:29,589
Speaker 2: feeling just so validated and relieved that like, OK, now

1127
00:53:29,820 --> 00:53:33,839
Speaker 2: I have a chemistry with someone and like I'm doing OK.

1128
00:53:34,690 --> 00:53:38,970
Speaker 2: And I remember when I rewatched this, I remembered thinking

1129
00:53:38,989 --> 00:53:41,549
Speaker 2: that and just being like, oh my God, it's the

1130
00:53:41,570 --> 00:53:42,089
Speaker 2: end of the season.

1131
00:53:42,130 --> 00:53:42,520
Speaker 3: I did it.

1132
00:53:42,850 --> 00:53:45,370
Speaker 2: You know, like, and I mean, we would have shot

1133
00:53:45,390 --> 00:53:48,070
Speaker 2: this out of order, but I just remember when this happened,

1134
00:53:48,130 --> 00:53:51,290
Speaker 2: just thinking like, okay, I'm here.

1135
00:53:51,310 --> 00:53:56,259
Speaker 3: I belong here. Like, yeah, that's it.

1136
00:53:56,320 --> 00:53:58,460
Speaker 1: And it's great. And I like that, like you said,

1137
00:53:58,580 --> 00:54:00,259
Speaker 1: that's where the season ends.

1138
00:54:00,960 --> 00:54:01,160
Speaker 2: Yeah.

1139
00:54:01,480 --> 00:54:01,839
Speaker 1: With that.

1140
00:54:02,310 --> 00:54:06,370
Speaker 2: Yeah, and that Carrie-Kyle dynamic sort of lives on. I mean,

1141
00:54:06,410 --> 00:54:09,200
Speaker 2: you know, it's a trio, so it's always, the alliances

1142
00:54:09,239 --> 00:54:11,029
Speaker 2: are always kind of shifting between the three of them.

1143
00:54:11,380 --> 00:54:14,780
Speaker 2: But that's one of the alliances is Kyle and Carrie

1144
00:54:15,360 --> 00:54:19,040
Speaker 2: and sort of dreamland. And Fred is the adult in

1145
00:54:19,060 --> 00:54:20,020
Speaker 2: the room. Yeah.

1146
00:54:20,700 --> 00:54:24,620
Speaker 1: And then seeing the animated characters at the end for

1147
00:54:24,700 --> 00:54:25,910
Speaker 1: closing credits. Right.

1148
00:54:26,070 --> 00:54:29,549
Speaker 2: Which, by the way, I have a feeling they were like, oh,

1149
00:54:29,570 --> 00:54:32,580
Speaker 2: my God. Because I don't think, I don't know if

1150
00:54:32,920 --> 00:54:34,460
Speaker 2: all the Batty Batterson stuff, in fact, I know it

1151
00:54:34,480 --> 00:54:35,160
Speaker 2: wasn't in the script.

1152
00:54:35,219 --> 00:54:37,050
Speaker 1: No. That was just made up.

1153
00:54:37,080 --> 00:54:40,180
Speaker 2: We just made all that stuff up. And then in editorial,

1154
00:54:40,219 --> 00:54:42,390
Speaker 2: they were like, I guess we have to animate this now.

1155
00:54:43,250 --> 00:54:43,609
Speaker 3: And they did.

1156
00:54:44,070 --> 00:54:45,859
Speaker 1: And I take it for granted. Like, oh, I guess

1157
00:54:45,890 --> 00:54:47,739
Speaker 1: those are the characters. But they had to work on.

1158
00:54:47,760 --> 00:54:51,080
Speaker 2: Yeah, they made the three characters. Grumpire is a grumpy umpire.

1159
00:54:51,100 --> 00:54:53,300
Speaker 1: Batty Batterson.

1160
00:54:53,320 --> 00:54:55,520
Speaker 2: Batty Batterson and Mitty Mitchell.

1161
00:54:55,719 --> 00:54:57,560
Speaker 3: Was that it? No, Mitchell... Wait.

1162
00:54:57,960 --> 00:54:58,420
Speaker 1: I forgot.

1163
00:54:58,560 --> 00:55:00,480
Speaker 3: Yeah, anyway, something with a baseball mitt.

1164
00:55:01,080 --> 00:55:02,920
Speaker 1: And there's a song.

1165
00:55:03,260 --> 00:55:03,920
Speaker 3: And there's a song.

1166
00:55:05,660 --> 00:55:10,080
Speaker 2: Yep. I mean, but that sort of like that spontaneity,

1167
00:55:10,980 --> 00:55:14,390
Speaker 2: the ability to just... like create something on the spot

1168
00:55:15,370 --> 00:55:18,650
Speaker 2: or like I've said before, for the tangent to become

1169
00:55:18,670 --> 00:55:22,319
Speaker 2: the center, like that to me is one of the

1170
00:55:22,780 --> 00:55:25,800
Speaker 2: true joys of the show and that everyone was game

1171
00:55:25,840 --> 00:55:28,299
Speaker 2: that like the editors and as they were watching this,

1172
00:55:28,320 --> 00:55:32,620
Speaker 2: they're like, well, yeah, we're, we'll keep writing this. And

1173
00:55:32,640 --> 00:55:36,420
Speaker 2: now the end of this episode is, is animated, like

1174
00:55:36,560 --> 00:55:39,870
Speaker 2: just willing to, to go with it, you know, and

1175
00:55:39,910 --> 00:55:44,049
Speaker 2: to just let it, flow creatively and not be, you know,

1176
00:55:44,350 --> 00:55:47,830
Speaker 2: locked or hemmed into something. Like, oh, well, it's supposed

1177
00:55:47,850 --> 00:55:49,950
Speaker 2: to end like this. It's like, oh, well, it ends

1178
00:55:49,969 --> 00:55:50,640
Speaker 2: like this instead.

1179
00:55:51,570 --> 00:55:57,640
Speaker 1: And watching it, it also gives me hope. That's the

1180
00:55:57,660 --> 00:56:00,120
Speaker 1: wrong word. It gives a good feeling going into a

1181
00:56:00,200 --> 00:56:04,300
Speaker 1: second season. As opposed, it doesn't look self-conscious like, well,

1182
00:56:04,719 --> 00:56:07,509
Speaker 1: this might be the end and let's make this, let's,

1183
00:56:07,750 --> 00:56:10,390
Speaker 1: you know, tie it up neatly. I like that it's

1184
00:56:10,410 --> 00:56:11,010
Speaker 1: kind of loose.

1185
00:56:11,270 --> 00:56:11,390
Speaker 2: Yeah.

1186
00:56:12,330 --> 00:56:16,660
Speaker 1: And because it doesn't feel precious, it just feels fun.

1187
00:56:16,989 --> 00:56:17,180
Speaker 2: Yes.

1188
00:56:17,280 --> 00:56:20,560
Speaker 1: It feels like, oh, absolutely. Let's have a second season.

1189
00:56:21,040 --> 00:56:23,840
Speaker 3: Yeah, which we did. And we will get to that next.

1190
00:56:24,160 --> 00:56:26,259
Speaker 3: So thanks so much for tuning in.

1191
00:56:26,280 --> 00:56:26,660
Speaker 1: Thank you.