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

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

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Speaker 3: Watch Hey, hey, hey, watch, watch.

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Speaker 2: You're watching Podlandia. Hi, I'm Fred.

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Speaker 3: And I'm Keri.

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Speaker 2: And this is AO Rewatch.

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Speaker 3: AO Rewatch.

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Speaker 2: It's a Portlandia rewatch podcast.

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Speaker 3: Hi, Fred.

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Speaker 2: Hi, Keri.

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Speaker 3: Today we are talking about Cool Wedding.

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Speaker 2: This is from the second season. That's right. And I remember,

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Speaker 2: first of all, I really enjoyed watching this.

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Speaker 3: Me too.

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Speaker 2: Definitely laughed.

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Speaker 1: Even before I watched it again, I knew I was

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Speaker 1: going to like it because I remember this as being

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Speaker 1: one of my favorite episodes.

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Speaker 2: Yeah. This was like, I mean, the second season is

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Speaker 2: we really were in this really great zone of coming

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Speaker 2: up with sketch ideas.

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Speaker 3: I was going to say the same thing. We were

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Speaker 3: in the zone.

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Speaker 2: Do you remember you and I used to have this

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Speaker 2: tradition of sort of getting together, just you and me.

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Speaker 3: Yes.

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Speaker 2: And just showing each other ideas. I can't remember if

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Speaker 2: I had them written on my phone or like.

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Speaker 1: Yeah, we would get together before the official writer's room

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Speaker 1: resumed and just kind of share any ideas that we'd

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Speaker 1: been thinking about in the intervening months.

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Speaker 3: Yeah.

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Speaker 1: And, I mean, obviously this would have been the first

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Speaker 1: year we did that because we'd only done one season.

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Speaker 1: But we made it a tradition after this. But, yeah,

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Speaker 1: I think it was just because the show started... as

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Speaker 1: an extension of work that we were already doing together.

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Speaker 1: I think we wanted to just kind of reconnect and

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Speaker 1: like remind ourselves, like this is based on, you know,

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Speaker 1: our friendship.

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Speaker 3: It's an extension of that.

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Speaker 1: Like, let's make sure that we are sort of like

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Speaker 1: connecting and like on the same page with things.

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Speaker 3: And it, yeah, I liked that.

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Speaker 1: Even if things didn't come out of it necessarily, it

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Speaker 1: was just a way of like getting your brain back

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Speaker 1: into that, kind of writing mode and back into the

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Speaker 1: Portlandia like ethos, I guess, or like mindset because it's different.

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Speaker 3: It's different than other things that we do.

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Speaker 4: Yeah.

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Speaker 2: And I can't remember if like we had it all

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Speaker 2: written out in a way or was there like a

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Speaker 2: list kind of like a list of ideas?

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Speaker 3: I feel like later for sure it was Notes app.

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Speaker 1: This might still have been like an actual notebook for

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Speaker 1: me even though obviously I had a phone then but

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Speaker 1: now I use my Notes app all the time.

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Speaker 2: Yeah.

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Speaker 1: Although I still actually have I should bring it out

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Speaker 1: for one of these episodes. Like I still have Portlandia

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Speaker 1: notes in my notes app, including a list of sketch ideas.

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Speaker 2: I think I do too. I think I've just left

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Speaker 2: it on there.

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Speaker 3: Yeah, same.

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Speaker 2: Oh, we got to bring those in.

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Speaker 3: Yeah.

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Speaker 2: Was this the season where we sat down at this

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Speaker 2: cafe or whatever, coffee shop, and then out on the street,

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Speaker 2: salt and straw was like a sort of, there was like,

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Speaker 2: they had like a sort of cart thing. Out front.

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Speaker 1: Yes, we were on Alberta, northeast Alberta in Portland. But

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Speaker 1: I thought that was during a break from shooting.

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Speaker 2: Oh, it could have been.

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Speaker 3: It could have been.

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Speaker 2: It could have been like a different season or something.

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Speaker 2: But I just remember like it was just the two

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Speaker 2: of us when we saw that.

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Speaker 1: Yes, we were at a coffee shop and they were cousins.

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Speaker 1: And they said, hey, we're starting an ice cream shop.

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Speaker 1: And it's called Salt and Straw. And we were like,

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Speaker 1: best of luck to you.

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Speaker 4: Yeah.

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Speaker 3: Yeah.

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Speaker 2: And the luck worked.

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Speaker 3: The luck worked.

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Speaker 1: You know, two other companies from Portland, Stumptown, and Voodoo Donuts,

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Speaker 1: both also doing okay.

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Speaker 2: Pretty well. Yeah. This, you know, the premise around like

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Speaker 2: the wraparound, as we call it, I remember this was

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Speaker 2: in discussion a lot. Like the idea of, I think

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Speaker 2: we'd been to some weddings where they were trying to

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Speaker 2: do something different. Yes. And I think it just stemmed

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Speaker 2: from that.

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Speaker 1: I know I was trying to remember because we talked

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Speaker 1: about this a little bit. When we first get back

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Speaker 1: together in the writer's room, it's called the blue sky

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Speaker 1: period where it's just like everyone's just brainstorming. And often

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Speaker 1: in those first couple of days when we haven't seen

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Speaker 1: each other for months, what we do is just share

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Speaker 1: stories from our lives. And that's when we get like

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Speaker 1: a lot of anecdotes. It feels like this would have

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Speaker 1: come from that. Like someone would have been gone to

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Speaker 1: a wedding. You know, something that was like arduous and

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Speaker 1: costly and for sure a destination or just trying to

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Speaker 1: do something like conspicuously different.

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Speaker 2: Yeah.

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Speaker 1: But I don't, I don't remember being, I feel like

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Speaker 1: I missed a lot of weddings because of Fort Landy.

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Speaker 3: I don't think I had gone to any recently.

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Speaker 2: I mean, was it the, were we talking about what

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Speaker 2: we would do at a wedding? Like some things that

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Speaker 2: like we would do differently? Yeah.

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Speaker 3: You know whose wedding we went to? My dad's.

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Speaker 2: That's right.

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Speaker 3: But that was later. That was later.

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Speaker 2: Yeah, yeah, yeah.

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Speaker 3: And you know what? No offense, dad. I wouldn't call

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Speaker 3: that a cool wedding. No. Yeah. This wraparound is not

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Speaker 3: based on my dad's wedding.

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Speaker 2: No.

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Speaker 3: Yeah. A man who wore shorts, yes, at his wedding

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Speaker 3: with a tux and a bow tie. Just putting it

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Speaker 3: out there. Looked like he was in Blink-182. Totally fine.

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Speaker 3: Totally fine, dad. Love those photos. Timeless.

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Speaker 1: Okay.

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Speaker 3: Back to this.

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Speaker 1: So the cold open for this is a technology sketch, which,

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Speaker 1: you know what? We really were grappling with technology and

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Speaker 1: our relationship to technology a lot in Portlandia.

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Speaker 3: It's a recurring theme.

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Speaker 2: And this one still resonates. For sure. And the cold

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Speaker 2: open is Carrie's dropping her phone. And as it's about

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Speaker 2: to hit the ground, she goes through all the trauma

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Speaker 2: that it's going to cause. Right.

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Speaker 1: Well, she's basically like rhapsodizing about her relationship with the phone.

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Speaker 2: Yeah.

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Speaker 1: You know, it's like, oh, all the fond memories I have,

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Speaker 1: you know, kind of like imbuing the phone, you know,

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Speaker 1: sort of like anthropomorphizing the phone, you know, sort of

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Speaker 1: like this phone was my friend, my lover, my confidant,

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Speaker 1: you know, in the ways that our phones are often

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Speaker 1: a substitute version.

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Speaker 3: Human interaction. We might've been a little, a little early

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Speaker 3: on this.

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Speaker 2: Yeah. But it's still resonates.

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Speaker 3: Yeah.

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Speaker 2: And this is like, you know, I don't know if

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Speaker 2: it's like if the editors, you know, made this vision

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Speaker 2: come true. Like there's like a real, this is like

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Speaker 2: a rich cold open. Like there are a lot of shots.

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Speaker 2: There's like a, it's like a full sketch.

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Speaker 3: Yes.

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Speaker 1: Which I often think about when I'm rewatching is just,

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Speaker 1: oh my God, we did not set this in one location.

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Speaker 3: This was shot all over town.

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Speaker 1: And often what we did was we would film a

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Speaker 1: sketch that largely took place in one location and then

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Speaker 1: we would get a piece of this cold open at

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Speaker 1: the end of that. So we were piecing it together

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Speaker 1: throughout the entire shoot.

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Speaker 2: There's so much going on. Background actors, you know, different

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Speaker 2: settings and stuff that, you know, some of it's in

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Speaker 2: black and white.

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Speaker 3: Yes.

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Speaker 2: But what I liked, something that I'd forgotten about, which

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Speaker 2: is I think, you know, the ending where the, you

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Speaker 2: shatter instead of the phone.

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Speaker 1: Yes.

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Speaker 2: Is very Portlandia editors.

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Speaker 3: Yes.

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Speaker 2: Like a very simple ending to it. That's like a

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Speaker 2: little abstract, but.

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Speaker 3: A little absurd.

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Speaker 2: Yeah.

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Speaker 3: Yeah. That you, yes.

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Speaker 1: But I actually was, I, I hate to ascribe this

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Speaker 1: to our own work, but I was like, oh, that's clever.

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Speaker 1: But also I can say that because it wasn't my idea.

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Speaker 1: I was like, oh, that's a clever ending.

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Speaker 3: Yes.

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Speaker 2: That's what I thought also. For real. I was a

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Speaker 2: little bit like, I was like, okay, that's good. It

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Speaker 2: also surprised me. Yeah. Even though we did it, I

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Speaker 2: still was like, oh, yeah, that's right. That's how we

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Speaker 2: ended it. Yeah.

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Speaker 3: I thought it was a good ending.

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Speaker 1: So then we go into part one of the through

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Speaker 1: line slash wraparound, cool wedding part one, who feature recurring characters, Spike,

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Speaker 1: who's Fred's sort of.

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Speaker 2: Bicycle rights guy.

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Speaker 3: Yeah, rassable, gauges in the ear, bike guy.

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Speaker 1: And his wife slash, not wife, sorry, this is his partner,

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Speaker 1: his fiance, I guess, Iris. And is this the first

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Speaker 1: time we see Iris?

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Speaker 2: I think it might be.

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Speaker 3: I think it is.

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Speaker 1: And to me, Iris has a very familiar look. Like

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Speaker 1: I know this look, like the sort of baby bangs.

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Speaker 1: dyed black hair, very severe bob, long bob, lob, as

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Speaker 1: it's called, short bangs, and kind of a slightly retro look,

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Speaker 1: which to me is like one of the choices you

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Speaker 1: have when you're sort of in that like punk, punk

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Speaker 1: adjacent aesthetic is like a little bit of a throwback,

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Speaker 1: you know, like just vintage kind of 60s clothing, like,

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Speaker 1: a nod to that time, and then with an.

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Speaker 3: Edge to it.

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Speaker 2: And it's not Rockabilly.

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Speaker 3: It's not Rockabilly.

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Speaker 2: It's not that version of retro. It's this other thing, yeah,

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Speaker 2: like you said, 60s, 70s maybe even.

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Speaker 3: To me, when I think about it, it slightly.

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Speaker 1: Abuts like Riot Grrrl, where it's a slight reclamation of,

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Speaker 1: it's like this reclamation of like, okay, we're taking a

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Speaker 1: sartorial approach like look from an era where women had

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Speaker 1: a different status, but we're sort of owning it in

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Speaker 1: like a modern context.

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Speaker 3: And like, now it's empowerment. You know what I mean?

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Speaker 1: Like, it's just like re-imagining this clothing you know, that

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Speaker 1: used to be sort of like signifiers of like domesticity.

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Speaker 3: And now it's like, nope. Now it's just like, you know, independence.

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Speaker 3: That is that look for me.

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Speaker 2: And it's pretty serious. Like it's not like goofy.

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Speaker 3: It's not frivolous.

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Speaker 2: No.

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Speaker 3: Yeah.

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Speaker 2: There's no like funny jewelry. You know what I mean?

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Speaker 2: It's not like, it doesn't, it's less like B-52s and

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Speaker 2: it's more, there's a seriousness to it.

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Speaker 3: Yeah. It's severity.

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Speaker 2: Yeah. The black hair, especially. Yeah.

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Speaker 3: Yeah.

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Speaker 1: But I knew a lot of people with this look

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Speaker 1: and I, it a little bit, that color of hair

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Speaker 1: when I would just dye my hair at home, like

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Speaker 1: in college, just blue, black, permanent, like.

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Speaker 3: Totally not good with my skin tone at all.

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Speaker 1: Like just no texture or like, depth in the color

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Speaker 1: just it looked like the interior of a car like

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Speaker 1: just like matte black um it was that look except

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Speaker 1: it was a wig luckily i didn't have to dye it.

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Speaker 2: Uh our friends we had around us like it looked

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Speaker 2: like it was like some sort of alternative looking people

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Speaker 2: and then.

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Speaker 1: Dana dana millican back as she is we've talked about

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Speaker 1: her before she's in the you know the chicken you

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Speaker 1: farm episode, she plays the server in that. And now

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Speaker 1: she's playing the wedding planner. And so in this part one,

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Speaker 1: we're just going and talking to her about what we

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Speaker 1: want from our wedding and that we want it to

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Speaker 1: be a cool wedding.

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Speaker 2: And she's great at that.

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Speaker 3: She's great.

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Speaker 2: She really doesn't, like, she never tries to be funny

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Speaker 2: or have like a comedic reaction. It's very real.

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Speaker 3: Totally.

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Speaker 1: And this, you know what else When I was watching this,

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Speaker 1: I was like, this is something that.

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Speaker 3: We explore a lot too.

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Speaker 1: It's just like people who are about to embark on

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Speaker 1: something traditional or conventional, but who really need you to

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Speaker 1: know that they are against all of that.

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Speaker 4: Yep.

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Speaker 3: It's like we are doing this almost begrudgingly.

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Speaker 1: Yes.

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Speaker 3: It's like a hate wedding for yourself, which is like,

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Speaker 3: why get married?

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Speaker 2: Why do it at all?

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Speaker 3: Yeah.

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Speaker 2: It's like barely dipping a toe in. Like we'll barely

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Speaker 2: do this. Yeah. It's wedding in quotes.

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Speaker 3: Yeah. But to me, it's like the lady doth protest

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Speaker 3: too much.

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Speaker 1: I'm just like, if you're going to do it and

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Speaker 1: invite people, and this isn't what happens in the sketch,

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Speaker 1: but in real life, I'm like, you just have to

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Speaker 1: own it.

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Speaker 3: Just please. It's so tedious to.

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Speaker 1: Hear someone make excuses the entire time. Then I feel

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Speaker 1: sort of manipulated in even attending this.

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Speaker 2: I wonder if wedding planners must have a million stories

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Speaker 2: about people who've tried to do things differently.

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Speaker 3: Oh, yeah.

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Speaker 1: And they have to pretend that they've never heard this

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Speaker 1: idea before.

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Speaker 2: Things that are impossible to accomplish in a wedding.

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Speaker 3: Yeah.

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Speaker 2: I feel like some of it was improvised. It felt

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Speaker 2: improvised to me when we were coming up, like, I

289
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Speaker 2: could just, some of these ideas just seemed.

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Speaker 1: You know.

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Speaker 2: Yeah.

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Speaker 1: This is definitely the seat still early on where we

293
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Speaker 1: were improvising a large portion of the sketch. Yeah. Like

294
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Speaker 1: a very threadbare kind of outline, a couple of lines

295
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Speaker 1: of dialogue that we would not necessarily adhere to.

296
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Speaker 2: Yeah.

297
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Speaker 3: And long, long takes.

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Speaker 2: Long takes.

299
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Speaker 3: Yeah.

300
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Speaker 1: And props as a means of like finding story. Like there's,

301
00:14:00,830 --> 00:14:03,819
Speaker 1: she opens up, that like binder at the end.

302
00:14:03,840 --> 00:14:03,920
Speaker 2: Yeah.

303
00:14:04,559 --> 00:14:08,580
Speaker 1: And there's like this moving mechanical part and that was

304
00:14:08,620 --> 00:14:10,959
Speaker 1: something that she would have just seen for the first

305
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Speaker 1: time that day. We would have seen for the first

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Speaker 1: time that day.

307
00:14:13,280 --> 00:14:13,360
Speaker 2: Yeah.

308
00:14:13,840 --> 00:14:17,780
Speaker 1: Likely was not scripted but we had such a wonderful

309
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Speaker 1: like creative art department.

310
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Speaker 2: Yeah.

311
00:14:21,380 --> 00:14:24,220
Speaker 1: That they would, you know, often provide us with things

312
00:14:24,260 --> 00:14:27,080
Speaker 1: that would become like central.

313
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Speaker 2: Oh yeah.

314
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Speaker 3: To the plot.

315
00:14:29,110 --> 00:14:29,330
Speaker 2: Yeah.

316
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Speaker 3: You know, so.

317
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Speaker 2: And I think there's like screams. Like when she opens

318
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Speaker 2: that book, the sound, there's a sound effect of screaming.

319
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Speaker 1: Don't you mention factories and I mentioned that like it's death.

320
00:14:40,060 --> 00:14:40,780
Speaker 2: Yeah.

321
00:14:41,260 --> 00:14:41,460
Speaker 3: Yeah.

322
00:14:41,980 --> 00:14:46,260
Speaker 2: So anyway, what is it with that age or like

323
00:14:46,740 --> 00:14:49,040
Speaker 2: something in your thirties where like factories is like the

324
00:14:49,200 --> 00:14:53,960
Speaker 2: ultimate cool thing. Just any reference to factories or like

325
00:14:55,020 --> 00:14:57,840
Speaker 2: even graphics for like a lot of bands. I think

326
00:14:57,880 --> 00:15:02,770
Speaker 2: we're like factory based. Yeah. There's like an obsession with it.

327
00:15:02,840 --> 00:15:04,300
Speaker 3: Yeah, like smoke billowing.

328
00:15:04,420 --> 00:15:09,710
Speaker 2: Yeah. I've still got the ear gauges in as those prosthetics.

329
00:15:10,330 --> 00:15:10,570
Speaker 3: Yes.

330
00:15:10,590 --> 00:15:13,430
Speaker 2: We lose it somewhere in the series.

331
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Speaker 1: Oh, because it was so cumbersome. I mean, you were

332
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Speaker 1: there hours before. Which, like, if you're on a more

333
00:15:20,050 --> 00:15:23,300
Speaker 1: traditional TV show or film and you, you know, obviously

334
00:15:23,480 --> 00:15:25,420
Speaker 1: actors wear prosthetics all the time and you have this

335
00:15:25,600 --> 00:15:26,920
Speaker 1: pre-call and you're there for hours.

336
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Speaker 3: But for a sketch show, that was very... inconvenient.

337
00:15:30,580 --> 00:15:32,960
Speaker 1: Like it just, it ate a lot of time and

338
00:15:33,220 --> 00:15:36,620
Speaker 1: we needed to switch between characters and sketches quickly. And

339
00:15:36,640 --> 00:15:39,420
Speaker 1: it was kind of a burden on both you and

340
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Speaker 1: our makeup department.

341
00:15:41,080 --> 00:15:41,260
Speaker 3: Yeah.

342
00:15:41,320 --> 00:15:42,920
Speaker 2: That was a little time consuming.

343
00:15:43,000 --> 00:15:44,080
Speaker 3: Yeah.

344
00:15:44,600 --> 00:15:48,340
Speaker 2: I'm seeing also, I forgot to address this, but for

345
00:15:49,960 --> 00:15:53,840
Speaker 2: the dropping the phone, there's a shot of us in

346
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Speaker 2: front of goats.

347
00:15:55,700 --> 00:15:55,900
Speaker 3: Yes.

348
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Speaker 2: And the only reason I bring it up is just

349
00:15:58,000 --> 00:16:02,100
Speaker 2: because The writer's room that we had was across from

350
00:16:02,140 --> 00:16:04,020
Speaker 2: this like field.

351
00:16:04,740 --> 00:16:05,300
Speaker 3: An empty lot.

352
00:16:05,480 --> 00:16:06,160
Speaker 2: An empty lot.

353
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Speaker 3: In the middle of the city.

354
00:16:07,680 --> 00:16:09,660
Speaker 2: Yeah. That had goats.

355
00:16:09,920 --> 00:16:10,400
Speaker 3: That had goats.

356
00:16:10,580 --> 00:16:13,210
Speaker 2: So, yeah. I just wanted to. It was very. When

357
00:16:13,250 --> 00:16:15,770
Speaker 2: people would visit, they would say like, oh, this is

358
00:16:15,790 --> 00:16:17,730
Speaker 2: so Portland. There are goats there.

359
00:16:17,770 --> 00:16:19,830
Speaker 3: Right. And so the reason the goats were there. Okay.

360
00:16:19,870 --> 00:16:22,110
Speaker 1: So there's this empty lot that was, you know, waiting

361
00:16:22,150 --> 00:16:25,060
Speaker 1: to be purchased and developed and And in order to

362
00:16:25,140 --> 00:16:29,530
Speaker 1: keep the grass from going out of control, this farmer

363
00:16:30,310 --> 00:16:34,290
Speaker 1: brought in his herd of goats and let the goats

364
00:16:34,430 --> 00:16:38,550
Speaker 1: live on the city block where they maintained the grass.

365
00:16:39,300 --> 00:16:40,520
Speaker 2: Why doesn't that happen all the time?

366
00:16:41,020 --> 00:16:44,120
Speaker 3: I mean, it's, I don't know. It was a great idea.

367
00:16:44,200 --> 00:16:49,330
Speaker 1: And they were there until they did eventually develop that

368
00:16:49,410 --> 00:16:52,220
Speaker 1: block and it's still called the goat blocks because of it.

369
00:16:52,450 --> 00:16:53,050
Speaker 1: Oh really? Yeah.

370
00:16:53,070 --> 00:16:56,480
Speaker 3: The, um, there's an apartment building there now and it's

371
00:16:56,540 --> 00:17:00,300
Speaker 3: called goat blocks apartment. Uh, but yeah, we interacted with

372
00:17:00,320 --> 00:17:00,979
Speaker 3: those goats a lot.

373
00:17:01,200 --> 00:17:01,460
Speaker 2: Yes.

374
00:17:01,740 --> 00:17:03,000
Speaker 3: They were very, very cute.

375
00:17:03,420 --> 00:17:05,620
Speaker 1: And we would, we would leave the office and walk

376
00:17:05,660 --> 00:17:07,240
Speaker 1: to get lunch and we would pass the goats and

377
00:17:07,280 --> 00:17:07,700
Speaker 1: say hi.

378
00:17:08,040 --> 00:17:08,300
Speaker 2: Yeah.

379
00:17:08,510 --> 00:17:08,680
Speaker 3: Yeah.

380
00:17:09,010 --> 00:17:11,170
Speaker 2: It was nice. It was nice in the environment to have.

381
00:17:11,770 --> 00:17:13,350
Speaker 3: It was great. It was great.

382
00:17:13,670 --> 00:17:16,810
Speaker 2: That's, that's a good, um, something to point out.

383
00:17:17,130 --> 00:17:19,680
Speaker 3: I agree. Um, No, you go.

384
00:17:20,420 --> 00:17:20,900
Speaker 2: No, you go.

385
00:17:21,200 --> 00:17:21,640
Speaker 3: No, you go.

386
00:17:22,310 --> 00:17:22,790
Speaker 2: No, you go.

387
00:17:23,390 --> 00:17:26,969
Speaker 3: This is, so this is the first time, this is

388
00:17:27,050 --> 00:17:29,510
Speaker 3: a Subaru sketch.

389
00:17:30,869 --> 00:17:31,770
Speaker 2: That's what I was going to ask you.

390
00:17:32,330 --> 00:17:35,600
Speaker 3: Oh, well, I'm answering. It was, yeah, it's the first one.

391
00:17:36,020 --> 00:17:38,399
Speaker 3: So we, Subaru was one of our sponsors.

392
00:17:40,619 --> 00:17:44,160
Speaker 1: And this was kind of, this was new for us.

393
00:17:44,520 --> 00:17:48,270
Speaker 1: I don't think we had any sponsorship season one. We

394
00:17:48,310 --> 00:17:51,690
Speaker 1: were a very low-budget show, so this was helpful to do.

395
00:17:51,780 --> 00:17:54,060
Speaker 1: We had to do, I think, two sketches a year

396
00:17:54,280 --> 00:17:57,300
Speaker 1: that were tie-ins. I don't know what the exact number was,

397
00:17:57,359 --> 00:18:00,840
Speaker 1: but essentially we had to write the car into the sketch.

398
00:18:01,380 --> 00:18:03,820
Speaker 1: To me, this was one of the most organic uses

399
00:18:03,920 --> 00:18:07,369
Speaker 1: of Superoo. Because I remember later it feeling like, oh.

400
00:18:07,630 --> 00:18:10,710
Speaker 3: Goodness, what are we going to do? Because there's rules,

401
00:18:10,750 --> 00:18:13,770
Speaker 3: of course. You can't be doing something illegal.

402
00:18:13,790 --> 00:18:13,950
Speaker 1: Right.

403
00:18:14,440 --> 00:18:17,680
Speaker 3: In the car or like salacious, you can't be doing

404
00:18:17,720 --> 00:18:18,969
Speaker 3: anything dangerous.

405
00:18:19,030 --> 00:18:22,669
Speaker 1: Like, you know, it's just, there's more guidelines and we

406
00:18:22,690 --> 00:18:23,830
Speaker 1: weren't really used to that.

407
00:18:24,810 --> 00:18:27,890
Speaker 3: We had a lot of creative freedom. This, I still

408
00:18:27,910 --> 00:18:29,100
Speaker 3: felt a ton of creative freedom.

409
00:18:29,130 --> 00:18:32,139
Speaker 1: I mean, this was something that we definitely noticed in

410
00:18:32,160 --> 00:18:37,000
Speaker 1: Portland is this politeness that's so polite as to be

411
00:18:37,119 --> 00:18:40,810
Speaker 1: actually impolite that to me, like it's frustrating.

412
00:18:41,550 --> 00:18:43,850
Speaker 2: But I think this was your idea. This might have

413
00:18:43,930 --> 00:18:46,810
Speaker 2: even been before Subaru signed on.

414
00:18:47,150 --> 00:18:48,070
Speaker 3: I think you're right.

415
00:18:48,190 --> 00:18:49,950
Speaker 2: I think you just had an idea. You just brought

416
00:18:49,970 --> 00:18:53,270
Speaker 2: up that like in Portland, you could just be at

417
00:18:53,310 --> 00:18:54,879
Speaker 2: a light or a stop sign forever.

418
00:18:55,240 --> 00:18:56,300
Speaker 3: Cross traffic does not stop.

419
00:18:56,359 --> 00:19:00,560
Speaker 1: So going one direction or going like in one direction,

420
00:19:00,600 --> 00:19:04,340
Speaker 1: there's no stop necessary. Yeah. You know, it's like, but

421
00:19:04,480 --> 00:19:06,300
Speaker 1: people will still stop. So it's like, this is not

422
00:19:06,359 --> 00:19:08,180
Speaker 1: a four-way stop. This is a two-way stop.

423
00:19:08,850 --> 00:19:10,129
Speaker 3: But everyone stops.

424
00:19:10,670 --> 00:19:11,050
Speaker 1: And then.

425
00:19:11,670 --> 00:19:12,210
Speaker 3: It's anarchy.

426
00:19:12,840 --> 00:19:16,040
Speaker 1: It's like there are rules for a reason and it

427
00:19:16,100 --> 00:19:19,580
Speaker 1: creates more problems. I also find, because I still live

428
00:19:19,619 --> 00:19:24,600
Speaker 1: in Portland, I just think let's be efficient. Like things

429
00:19:24,660 --> 00:19:29,910
Speaker 1: need to move. So as a pedestrian, I'm fine to

430
00:19:29,970 --> 00:19:33,889
Speaker 1: just wait. Like if I reach the edge of the

431
00:19:33,930 --> 00:19:37,130
Speaker 1: sidewalk and you're about to go in a car, just go.

432
00:19:38,730 --> 00:19:41,260
Speaker 1: Like what happens is they stop and then there's this

433
00:19:41,320 --> 00:19:43,880
Speaker 1: awkward dance. So that's kind of what we're talking about,

434
00:19:43,900 --> 00:19:44,680
Speaker 1: except it was two cars.

435
00:19:44,840 --> 00:19:48,350
Speaker 2: Yeah. We had a bunch of characters for those. I

436
00:19:48,369 --> 00:19:51,990
Speaker 2: think we were just, you know, Mexican magicians. like, or

437
00:19:52,010 --> 00:19:52,890
Speaker 2: these were new characters.

438
00:19:53,290 --> 00:19:56,930
Speaker 3: Yes. Although definitely this wig comes back for me. I

439
00:19:56,970 --> 00:20:00,810
Speaker 3: don't know. I feel like you're, yeah, I think they're

440
00:20:00,850 --> 00:20:03,939
Speaker 3: one-off characters, but the wig came back.

441
00:20:03,960 --> 00:20:05,400
Speaker 2: Your wig came back, I think.

442
00:20:05,440 --> 00:20:05,580
Speaker 4: Yeah.

443
00:20:05,680 --> 00:20:08,300
Speaker 2: You're right about that. I don't think they had names

444
00:20:08,340 --> 00:20:12,859
Speaker 2: or anything, but. I really like, this was just, the

445
00:20:12,880 --> 00:20:14,290
Speaker 2: sketch really worked. Yeah.

446
00:20:14,460 --> 00:20:16,070
Speaker 3: And I would call this, like we talked about this,

447
00:20:16,330 --> 00:20:17,310
Speaker 3: the energy piece, right?

448
00:20:17,350 --> 00:20:20,170
Speaker 1: Where in terms of the pacing of the show, like

449
00:20:20,369 --> 00:20:23,669
Speaker 1: this has, where it's just a classic escalation, right? It's

450
00:20:23,690 --> 00:20:26,750
Speaker 1: just like, and then a ridiculous ending, you know, where

451
00:20:26,790 --> 00:20:29,970
Speaker 1: the absurdity just increases until it just kind of collapses

452
00:20:30,010 --> 00:20:30,330
Speaker 1: at the end.

453
00:20:30,810 --> 00:20:32,230
Speaker 2: Right. And like washing the car.

454
00:20:32,690 --> 00:20:37,270
Speaker 3: Yeah. Reading, like stopping to read, like writing the newspaper.

455
00:20:37,670 --> 00:20:41,060
Speaker 2: And I think- Did we get a real Yugo for that?

456
00:20:41,340 --> 00:20:41,520
Speaker 3: Yes.

457
00:20:44,680 --> 00:20:46,080
Speaker 2: In Oregon, somewhere. Somewhere.

458
00:20:46,100 --> 00:20:47,220
Speaker 3: Someone found a Yugo. Yeah.

459
00:20:49,290 --> 00:20:51,570
Speaker 1: We should explain what that is for a listener who

460
00:20:51,609 --> 00:20:52,030
Speaker 1: may not know.

461
00:20:52,830 --> 00:20:57,690
Speaker 2: I was going to say a Yugoslavian-made car, but I

462
00:20:57,710 --> 00:21:01,510
Speaker 2: don't think that doesn't exist anymore as its own nation.

463
00:21:01,910 --> 00:21:02,969
Speaker 3: So now you have to explain that.

464
00:21:03,400 --> 00:21:06,140
Speaker 2: I have to do history.

465
00:21:06,160 --> 00:21:09,040
Speaker 3: Yeah. We will be here a long time. Go ahead.

466
00:21:09,720 --> 00:21:10,740
Speaker 2: I wonder if there'll be a day where there's no

467
00:21:10,960 --> 00:21:15,250
Speaker 2: more nations, where it's just corporations. We had these things

468
00:21:15,290 --> 00:21:20,230
Speaker 2: called nations. But yeah, Yugo was made in the country

469
00:21:20,250 --> 00:21:27,320
Speaker 2: of Yugoslavia. And they were weirdly popular. Not popular. They

470
00:21:27,340 --> 00:21:29,359
Speaker 2: were just, Americans had them.

471
00:21:29,380 --> 00:21:30,900
Speaker 3: It was a budget vehicle.

472
00:21:30,980 --> 00:21:34,860
Speaker 1: It was like, now, I mean, that class of vehicle

473
00:21:34,920 --> 00:21:40,570
Speaker 1: just didn't quite exist. a true budget vehicle. And it

474
00:21:41,010 --> 00:21:45,590
Speaker 1: was a total rarity. I mean, and you'd see them

475
00:21:45,630 --> 00:21:46,129
Speaker 1: every once.

476
00:21:46,030 --> 00:21:46,370
Speaker 3: In a while.

477
00:21:46,510 --> 00:21:48,090
Speaker 2: Yeah, there'd be like a couple jokes about it.

478
00:21:48,090 --> 00:21:51,170
Speaker 3: Yeah, there were a lot of jokes. But there hadn't

479
00:21:51,190 --> 00:21:53,750
Speaker 3: been a joke in a while. Yeah. And so it

480
00:21:53,790 --> 00:21:54,010
Speaker 3: was very.

481
00:21:54,030 --> 00:21:55,050
Speaker 2: It was like a double joke.

482
00:21:55,150 --> 00:21:58,090
Speaker 3: It was very weird that we even could find a Yugo.

483
00:21:58,230 --> 00:22:02,169
Speaker 1: Yeah. I'm sure, I mean, even before I was around,

484
00:22:02,230 --> 00:22:04,090
Speaker 1: it was probably the butt of many jokes, like in

485
00:22:05,010 --> 00:22:10,690
Speaker 1: the 70s and early 80s, you know. Remember, here's another

486
00:22:10,730 --> 00:22:12,699
Speaker 1: car that had a joke about it was, remember the

487
00:22:12,740 --> 00:22:14,560
Speaker 1: Azuzu Sidekick and they would roll over?

488
00:22:14,580 --> 00:22:15,540
Speaker 3: Do you remember that?

489
00:22:15,980 --> 00:22:16,760
Speaker 2: Yeah, that's right.

490
00:22:17,260 --> 00:22:17,780
Speaker 3: That was another.

491
00:22:17,800 --> 00:22:20,840
Speaker 1: It's like part of this like line of like cars

492
00:22:20,880 --> 00:22:24,400
Speaker 1: that just like sort of were like little death traps.

493
00:22:26,030 --> 00:22:27,550
Speaker 2: Was there something called La Car?

494
00:22:27,570 --> 00:22:29,570
Speaker 1: I don't know.

495
00:22:30,369 --> 00:22:34,149
Speaker 2: This is 70s. There was something that was like in

496
00:22:34,190 --> 00:22:36,260
Speaker 2: the vein of like, we're going to make things easier

497
00:22:36,300 --> 00:22:36,540
Speaker 2: for you.

498
00:22:36,940 --> 00:22:39,520
Speaker 3: Someone should just do a whole podcast episode of just, like.

499
00:22:39,640 --> 00:22:40,960
Speaker 2: Of those, like, forgotten, like.

500
00:22:41,100 --> 00:22:43,419
Speaker 3: Forgotten cars that became the butt of jokes.

501
00:22:43,760 --> 00:22:46,040
Speaker 2: Yeah. Short-lived. Yeah.

502
00:22:46,240 --> 00:22:49,350
Speaker 1: I remember being with my sister, and we were in, like,

503
00:22:49,369 --> 00:22:51,690
Speaker 1: an ice cream shop when we were kids, and someone

504
00:22:51,930 --> 00:22:56,010
Speaker 1: pulled up in an Isuzu Sidekick, and my sister made

505
00:22:56,050 --> 00:22:58,430
Speaker 1: a joke in front of the guy. And we were

506
00:22:58,470 --> 00:23:01,969
Speaker 1: really young, and I remember thinking, like, that's... We're going

507
00:23:01,990 --> 00:23:02,470
Speaker 1: to get in trouble.

508
00:23:02,950 --> 00:23:05,560
Speaker 3: Like, you can't say that. He's... If she wasn't, like...

509
00:23:06,190 --> 00:23:08,199
Speaker 3: trying to be mean. She just was like, but she

510
00:23:08,220 --> 00:23:10,620
Speaker 3: said something about rolling over in the car.

511
00:23:10,640 --> 00:23:11,940
Speaker 2: And I was like, her owner was like, I don't

512
00:23:11,960 --> 00:23:16,520
Speaker 2: want to hear about this anymore. Um, and then we

513
00:23:16,560 --> 00:23:18,179
Speaker 2: got the, we're towed away, which.

514
00:23:18,060 --> 00:23:19,840
Speaker 3: I think is still saying, there you go.

515
00:23:20,000 --> 00:23:23,869
Speaker 2: Yeah. I, the other thing I like about watching it

516
00:23:23,970 --> 00:23:28,410
Speaker 2: is that nostalgically for that time that we were shooting,

517
00:23:28,430 --> 00:23:30,690
Speaker 2: I just remember there was like a freedom to shooting

518
00:23:30,710 --> 00:23:33,110
Speaker 2: in Portland. I'm sure they got the permits and everything,

519
00:23:33,650 --> 00:23:36,290
Speaker 2: but it's just like this, like, Little corner.

520
00:23:36,630 --> 00:23:36,830
Speaker 3: Yeah.

521
00:23:37,570 --> 00:23:39,909
Speaker 2: That to me really, I don't know, just something, it

522
00:23:40,170 --> 00:23:41,410
Speaker 2: really reminded me of being there.

523
00:23:41,670 --> 00:23:41,890
Speaker 3: Yes.

524
00:23:42,690 --> 00:23:45,050
Speaker 1: That's how I feel often every time I see a

525
00:23:45,590 --> 00:23:46,810
Speaker 1: sketch that takes place outdoors.

526
00:23:47,730 --> 00:23:49,949
Speaker 3: Just how much real estate we took up.

527
00:23:50,109 --> 00:23:50,409
Speaker 2: Yeah.

528
00:23:50,890 --> 00:23:52,570
Speaker 3: And not in a bad way, but like that we just,

529
00:23:52,670 --> 00:23:55,620
Speaker 3: it was, we were so fortunate. Yeah. We shot all

530
00:23:55,710 --> 00:23:56,340
Speaker 3: over that city.

531
00:23:56,730 --> 00:23:58,180
Speaker 2: Huge areas.

532
00:23:58,280 --> 00:23:58,460
Speaker 3: Yeah.

533
00:23:58,660 --> 00:24:01,720
Speaker 1: I remember when we ended the entire show and we

534
00:24:01,740 --> 00:24:08,720
Speaker 1: should get this number for our listeners, but someone counted

535
00:24:08,980 --> 00:24:11,550
Speaker 1: all of the locations and it was for sure in

536
00:24:11,570 --> 00:24:12,070
Speaker 1: the thousands.

537
00:24:12,310 --> 00:24:13,350
Speaker 3: It was a shocking amount.

538
00:24:13,550 --> 00:24:14,010
Speaker 2: So many.

539
00:24:14,090 --> 00:24:14,290
Speaker 3: Yeah.

540
00:24:15,290 --> 00:24:19,070
Speaker 1: And I still run into people in Portland who say, oh,

541
00:24:19,090 --> 00:24:20,530
Speaker 1: you shot at my house or you shot at my store.

542
00:24:20,930 --> 00:24:21,190
Speaker 2: Same.

543
00:24:21,290 --> 00:24:23,470
Speaker 3: Because it was ubiquitous.

544
00:24:23,550 --> 00:24:27,370
Speaker 2: Yeah. Then we've got, what was the title of this

545
00:24:27,869 --> 00:24:31,400
Speaker 2: sketch where Jack McBray didn't have a bag?

546
00:24:40,340 --> 00:24:42,139
Speaker 1: I don't know the name of the sketch, but it's

547
00:24:42,220 --> 00:24:44,740
Speaker 1: basically just someone didn't bring their own bag to the

548
00:24:44,760 --> 00:24:51,110
Speaker 1: grocery store. And you as the checkout cashier really give

549
00:24:51,150 --> 00:24:52,430
Speaker 1: him a hard time.

550
00:24:52,670 --> 00:24:53,810
Speaker 2: Yeah. Just from like.

551
00:24:55,730 --> 00:24:57,790
Speaker 3: By the way, I feel this all the time when

552
00:24:57,810 --> 00:24:58,830
Speaker 3: I forget my bag. Yeah.

553
00:24:59,109 --> 00:25:02,590
Speaker 1: So this is definitely one of those like anecdotes that

554
00:25:02,630 --> 00:25:05,760
Speaker 1: someone relayed in the writer's room and everyone understood it.

555
00:25:05,859 --> 00:25:06,360
Speaker 3: I think that.

556
00:25:06,420 --> 00:25:06,960
Speaker 2: I still do.

557
00:25:07,200 --> 00:25:09,200
Speaker 1: I still feel bad. I just felt bad the other day.

558
00:25:09,890 --> 00:25:11,970
Speaker 1: But I never have the bags in my car.

559
00:25:14,290 --> 00:25:16,560
Speaker 2: Sometimes I do, but it's just not often enough.

560
00:25:16,690 --> 00:25:19,859
Speaker 1: If the plan is to go to the grocery store,

561
00:25:19,920 --> 00:25:22,560
Speaker 1: I bring the bags. But if I'm just out running

562
00:25:22,619 --> 00:25:24,600
Speaker 1: errands or doing other things, and then I realize, oh,

563
00:25:24,619 --> 00:25:26,180
Speaker 1: I should stop at the grocery store, that's when I

564
00:25:26,200 --> 00:25:26,800
Speaker 1: don't have my bags.

565
00:25:27,080 --> 00:25:29,580
Speaker 3: And I still make a pretty big.

566
00:25:29,960 --> 00:25:32,980
Speaker 1: Deal about not bringing it for myself.

567
00:25:33,440 --> 00:25:40,500
Speaker 3: I self-flagellate over it. For no reason. No one has

568
00:25:40,540 --> 00:25:41,980
Speaker 3: ever come at me.

569
00:25:42,400 --> 00:25:44,899
Speaker 2: No, but I feel like I'm wasting paper when I

570
00:25:44,940 --> 00:25:45,560
Speaker 2: don't bring it.

571
00:25:45,660 --> 00:25:49,060
Speaker 3: Well, now you actually pay for the bags. There's a fee.

572
00:25:49,340 --> 00:25:50,580
Speaker 3: That's the same here, right?

573
00:25:50,640 --> 00:25:55,020
Speaker 2: There's a fee, but if I bring a reusable bag,

574
00:25:55,460 --> 00:25:59,530
Speaker 2: the problem is I get groceries, bring it into the house,

575
00:26:01,290 --> 00:26:03,630
Speaker 2: and then when do I bring it back again? That's

576
00:26:03,650 --> 00:26:05,670
Speaker 2: the problem. It makes its way into my house and then...

577
00:26:06,460 --> 00:26:07,560
Speaker 2: It's like a one-time thing.

578
00:26:07,619 --> 00:26:09,920
Speaker 1: I think people, you have to keep it in the car. That's,

579
00:26:10,420 --> 00:26:15,400
Speaker 1: I think, what people who are, I guess, better at pre-planning.

580
00:26:16,060 --> 00:26:16,859
Speaker 2: Yeah.

581
00:26:17,380 --> 00:26:19,060
Speaker 3: I'm not a great planner in that way.

582
00:26:19,920 --> 00:26:25,160
Speaker 2: Well, this came from a real feeling, this sketch. And

583
00:26:25,180 --> 00:26:28,060
Speaker 2: I think I was playing like kind of like a,

584
00:26:28,050 --> 00:26:31,609
Speaker 2: I think I've dealt with people like that too, who

585
00:26:31,650 --> 00:26:35,830
Speaker 2: are not, they're just a little distant and a little dim.

586
00:26:36,530 --> 00:26:41,250
Speaker 2: But pleasant. You know, because he's smiling the whole time. Yeah.

587
00:26:41,910 --> 00:26:43,889
Speaker 2: And then did we do the same characters for the

588
00:26:45,190 --> 00:26:48,210
Speaker 2: nature products, the deodorant and stuff? Oh, yeah.

589
00:26:48,510 --> 00:26:50,389
Speaker 3: I think we did. That's later.

590
00:26:50,410 --> 00:26:50,930
Speaker 1: Yeah.

591
00:26:51,330 --> 00:26:51,689
Speaker 3: Yeah.

592
00:26:52,590 --> 00:26:56,780
Speaker 2: But Jack McBrayer is great in this and he's just

593
00:26:56,820 --> 00:26:57,900
Speaker 2: good at, you know.

594
00:26:58,160 --> 00:26:58,380
Speaker 3: Yes.

595
00:27:00,020 --> 00:27:01,180
Speaker 2: Making something like that funny.

596
00:27:01,420 --> 00:27:05,380
Speaker 3: Yeah. He's just guileless. So it's really hard to come

597
00:27:05,560 --> 00:27:06,100
Speaker 3: at him.

598
00:27:06,430 --> 00:27:06,650
Speaker 1: Yeah.

599
00:27:06,710 --> 00:27:09,879
Speaker 3: You know, when he's playing someone with such a sweet nature.

600
00:27:10,260 --> 00:27:10,440
Speaker 2: Yeah.

601
00:27:10,640 --> 00:27:10,840
Speaker 3: Yeah.

602
00:27:11,160 --> 00:27:14,500
Speaker 2: Yeah. Put a little wig on him. I don't think

603
00:27:14,520 --> 00:27:16,880
Speaker 2: we barely had an ending. We might not have even

604
00:27:17,280 --> 00:27:21,140
Speaker 2: written one. Because all he does is he falls. Yeah. Yeah.

605
00:27:21,460 --> 00:27:23,030
Speaker 2: And it just looks like we just were like, we'll

606
00:27:23,070 --> 00:27:23,750
Speaker 2: figure something out.

607
00:27:23,850 --> 00:27:26,090
Speaker 3: Yeah. And sometimes we did and sometimes we didn't.

608
00:27:26,109 --> 00:27:28,110
Speaker 2: Sometimes we didn't. Like that was enough. Yeah.

609
00:27:28,530 --> 00:27:29,690
Speaker 3: To be fair, sometimes we did not.

610
00:27:29,990 --> 00:27:32,310
Speaker 2: But that was shot at Zupan's?

611
00:27:32,410 --> 00:27:34,590
Speaker 3: Zupan's. I believe not there anymore. On Belmont. Belmont.

612
00:27:35,430 --> 00:27:37,189
Speaker 2: But is there another one on another street?

613
00:27:38,270 --> 00:27:40,570
Speaker 3: There might be one. I think there's one Zupan's left

614
00:27:40,609 --> 00:27:41,190
Speaker 3: and it's downtown.

615
00:27:41,590 --> 00:27:41,770
Speaker 1: Wow.

616
00:27:42,310 --> 00:27:43,750
Speaker 3: Yeah.

617
00:27:43,970 --> 00:27:49,040
Speaker 2: But that was kind of like the alternative to Whole Foods.

618
00:27:49,490 --> 00:27:50,740
Speaker 2: Or would that be New Market?

619
00:27:51,720 --> 00:27:52,280
Speaker 3: Oh, New Seasons.

620
00:27:52,320 --> 00:27:52,820
Speaker 2: New Seasons.

621
00:27:52,859 --> 00:27:58,300
Speaker 1: Yeah, Zupan's predates both Whole Foods and New Seasons in Portland.

622
00:27:59,220 --> 00:28:02,720
Speaker 3: And I think Whole Foods used to be called Wild,

623
00:28:03,619 --> 00:28:04,760
Speaker 3: not Wild Oats, Nature's.

624
00:28:05,609 --> 00:28:05,810
Speaker 2: Yeah.

625
00:28:05,930 --> 00:28:08,190
Speaker 1: I mean, every city has that, like, you know, just

626
00:28:08,250 --> 00:28:09,970
Speaker 1: this like progression.

627
00:28:09,990 --> 00:28:10,650
Speaker 2: Yeah.

628
00:28:10,890 --> 00:28:12,290
Speaker 3: Evolution of grocery stores.

629
00:28:12,670 --> 00:28:12,870
Speaker 1: Yeah.

630
00:28:12,950 --> 00:28:13,710
Speaker 3: Yeah. That's.

631
00:28:14,410 --> 00:28:16,450
Speaker 2: See, if we still had the show, that's what we

632
00:28:16,490 --> 00:28:17,020
Speaker 2: would do.

633
00:28:17,220 --> 00:28:18,560
Speaker 3: The evolution of grocery stores. Yeah.

634
00:28:18,680 --> 00:28:21,040
Speaker 2: Evolution of a city, like a city dealing with the

635
00:28:21,060 --> 00:28:22,260
Speaker 2: evolution of grocery stores.

636
00:28:22,400 --> 00:28:23,720
Speaker 3: Yeah. Anyway, Zupans.

637
00:28:26,160 --> 00:28:29,800
Speaker 2: Okay. Then we've got. from in his bookstore.

638
00:28:30,060 --> 00:28:30,620
Speaker 3: Oh my God.

639
00:28:31,100 --> 00:28:35,420
Speaker 1: This one has one of my favorite improvised lines that

640
00:28:35,480 --> 00:28:36,380
Speaker 1: one of our guest stars did.

641
00:28:36,700 --> 00:28:39,360
Speaker 3: Like to me, the perfect kind of improv.

642
00:28:39,580 --> 00:28:39,840
Speaker 2: Yeah.

643
00:28:39,940 --> 00:28:41,219
Speaker 3: Do you want to guess what it is?

644
00:28:41,740 --> 00:28:43,160
Speaker 2: That he killed himself?

645
00:28:44,560 --> 00:28:49,160
Speaker 1: Holy shit. I, even when I was rewatching it, I

646
00:28:49,640 --> 00:28:51,870
Speaker 1: forgot what a brilliant response that is.

647
00:28:51,960 --> 00:28:52,180
Speaker 3: Yeah.

648
00:28:52,450 --> 00:28:53,010
Speaker 2: It's so good.

649
00:28:53,110 --> 00:28:53,350
Speaker 3: Yeah.

650
00:28:55,650 --> 00:28:59,020
Speaker 2: And the premise around this one, And this is, I think,

651
00:28:59,560 --> 00:29:01,160
Speaker 2: it was a pretty quick idea.

652
00:29:01,180 --> 00:29:01,600
Speaker 1: Yeah.

653
00:29:02,060 --> 00:29:03,000
Speaker 2: That we have a guest.

654
00:29:03,620 --> 00:29:07,940
Speaker 1: This sketch guest star is Shoray Agashloo, who plays an

655
00:29:07,980 --> 00:29:10,510
Speaker 1: author that we're coming, that we are inviting in to

656
00:29:10,530 --> 00:29:11,350
Speaker 1: do a guest reading.

657
00:29:12,370 --> 00:29:13,110
Speaker 2: A Persian author.

658
00:29:13,230 --> 00:29:13,450
Speaker 3: Mm-hmm.

659
00:29:13,870 --> 00:29:16,430
Speaker 2: Who, and she's a Persian actor.

660
00:29:16,450 --> 00:29:16,890
Speaker 3: Mm-hmm.

661
00:29:17,570 --> 00:29:18,710
Speaker 2: Really great. It's been.

662
00:29:19,670 --> 00:29:20,770
Speaker 3: Mostly in dramas.

663
00:29:20,870 --> 00:29:24,170
Speaker 1: I was, we were very excited, as we often are,

664
00:29:24,250 --> 00:29:25,710
Speaker 1: like struck by people's.

665
00:29:25,730 --> 00:29:26,850
Speaker 2: Yeah.

666
00:29:27,150 --> 00:29:27,330
Speaker 3: Just.

667
00:29:27,960 --> 00:29:31,050
Speaker 1: Interest in coming on the show and being silly. This

668
00:29:31,110 --> 00:29:33,390
Speaker 1: is one of those situations where we were like, really?

669
00:29:33,410 --> 00:29:38,480
Speaker 3: Okay, great. And then gave her a very ridiculous... Yeah.

670
00:29:38,620 --> 00:29:43,500
Speaker 1: Well, the premise wasn't ridiculous, but Tony and Candace's response

671
00:29:43,540 --> 00:29:45,160
Speaker 1: to anything is pretty ridiculous.

672
00:29:45,660 --> 00:29:48,050
Speaker 2: That's a pretty... We get through it pretty quickly. Like,

673
00:29:48,310 --> 00:29:51,110
Speaker 2: it doesn't go through different levels of annoying her. It's

674
00:29:51,130 --> 00:29:52,850
Speaker 2: just that we can't get our printer working.

675
00:29:53,390 --> 00:29:53,590
Speaker 1: Right.

676
00:29:53,810 --> 00:29:54,450
Speaker 3: Well, yes.

677
00:29:54,790 --> 00:29:54,930
Speaker 4: But.

678
00:29:56,610 --> 00:29:57,890
Speaker 3: Yeah. Tony.

679
00:29:58,640 --> 00:30:02,580
Speaker 1: This is also, by the way, we deal with printers

680
00:30:02,600 --> 00:30:04,640
Speaker 1: a lot on this show because there's one later on

681
00:30:04,680 --> 00:30:05,660
Speaker 1: with Kyle.

682
00:30:05,900 --> 00:30:06,660
Speaker 2: Oh, yeah, that's right.

683
00:30:07,360 --> 00:30:07,720
Speaker 3: But yeah.

684
00:30:08,440 --> 00:30:12,180
Speaker 1: Anyway, Tony thinks that in order to basically publish her book,

685
00:30:12,290 --> 00:30:14,470
Speaker 1: the problem is that she hasn't printed it out and

686
00:30:14,490 --> 00:30:17,010
Speaker 1: that we need to print out a thousand copies. But

687
00:30:17,870 --> 00:30:21,470
Speaker 1: there is a moment where when we're talking about printing

688
00:30:21,510 --> 00:30:26,530
Speaker 1: and process of writing and Tony says, what did Hemingway do? Yeah.

689
00:30:27,450 --> 00:30:31,520
Speaker 3: And she says, he killed himself. Yeah. And it's such

690
00:30:31,540 --> 00:30:31,980
Speaker 3: a great line.

691
00:30:32,120 --> 00:30:32,660
Speaker 2: It's great.

692
00:30:34,080 --> 00:30:36,160
Speaker 3: Because I'm, of course, asking what he did about printing.

693
00:30:36,200 --> 00:30:36,600
Speaker 1: Yeah, yeah.

694
00:30:37,220 --> 00:30:40,320
Speaker 2: Which, in some ways, also, that joke worked in that, like, also,

695
00:30:40,480 --> 00:30:42,459
Speaker 2: he killed himself over trying to get something printed.

696
00:30:42,660 --> 00:30:45,120
Speaker 3: Yeah. But I love.

697
00:30:45,140 --> 00:30:47,620
Speaker 2: I don't mean to be explaining jokes. I'm just saying them. No, yeah.

698
00:30:48,060 --> 00:30:48,860
Speaker 3: Worked on many levels.

699
00:30:48,940 --> 00:30:50,700
Speaker 2: Yeah.

700
00:30:51,000 --> 00:30:52,320
Speaker 3: But, yeah, that was a fun one.

701
00:30:52,600 --> 00:30:58,970
Speaker 2: I also, like, there's something about Iran that is appealing

702
00:30:59,010 --> 00:31:03,110
Speaker 2: to me. And I just liked having just that, you know,

703
00:31:03,130 --> 00:31:06,050
Speaker 2: the flag up there and everything. It's just something about, like,

704
00:31:06,150 --> 00:31:07,230
Speaker 2: it's such a mystery to me.

705
00:31:07,580 --> 00:31:07,760
Speaker 3: Yeah.

706
00:31:07,970 --> 00:31:11,320
Speaker 2: That I liked that, having that aspect of it in

707
00:31:12,320 --> 00:31:12,860
Speaker 2: the episode.

708
00:31:13,100 --> 00:31:13,380
Speaker 3: Agreed.

709
00:31:13,900 --> 00:31:25,740
Speaker 4: Co-Wedding Part 2.

710
00:31:25,740 --> 00:31:29,680
Speaker 3: Co-Wedding Part 2 is the... The rehearsal, wedding rehearsal.

711
00:31:31,680 --> 00:31:34,240
Speaker 2: You could see that the guy who plays your dad

712
00:31:34,380 --> 00:31:37,760
Speaker 2: is not speaking because we couldn't pay. It's just too

713
00:31:37,800 --> 00:31:39,920
Speaker 2: expensive to pay background actors.

714
00:31:40,280 --> 00:31:45,200
Speaker 1: Little inside industry tip, which is often if you see

715
00:31:45,500 --> 00:31:48,380
Speaker 1: a background actor who's not speaking, it's usually because they can't.

716
00:31:48,560 --> 00:31:53,180
Speaker 3: Literally, the production cannot afford to have them speak.

717
00:31:54,550 --> 00:31:59,870
Speaker 2: And the money that we saved. We have now.

718
00:31:59,990 --> 00:32:03,930
Speaker 3: Sometimes it works. And sometimes I find it obvious. I

719
00:32:03,950 --> 00:32:07,170
Speaker 3: can see it. Like sometimes I'll see it in a

720
00:32:07,210 --> 00:32:09,410
Speaker 3: show where it's.

721
00:32:09,310 --> 00:32:13,810
Speaker 1: Like one of the speaking roles, you know, or like

722
00:32:14,230 --> 00:32:19,510
Speaker 1: actual like cast members has two friends. And one is

723
00:32:19,550 --> 00:32:22,030
Speaker 1: like a five and under or like at least another

724
00:32:22,050 --> 00:32:24,600
Speaker 1: speaking part. And then the other is a non-speaking role.

725
00:32:24,730 --> 00:32:25,560
Speaker 3: And I can tell.

726
00:32:26,130 --> 00:32:29,270
Speaker 1: That they are not allowed to speak. And I can

727
00:32:29,370 --> 00:32:31,510
Speaker 1: see it, and it bothers me a little bit. But

728
00:32:31,550 --> 00:32:36,010
Speaker 1: I understand it from a practical level, of course. But

729
00:32:36,590 --> 00:32:38,719
Speaker 1: sometimes it doesn't work because the dynamic is off.

730
00:32:39,180 --> 00:32:39,920
Speaker 2: Yeah. Yeah.

731
00:32:40,420 --> 00:32:42,120
Speaker 3: You're like, this person would have vocalized here.

732
00:32:42,160 --> 00:32:42,860
Speaker 2: Absolutely.

733
00:32:43,180 --> 00:32:44,520
Speaker 3: They wouldn't just be nodding.

734
00:32:44,900 --> 00:32:49,300
Speaker 2: No. Especially at a rehearsal for a wedding, it's like,

735
00:32:49,950 --> 00:32:51,290
Speaker 2: people would be chiming in.

736
00:32:51,310 --> 00:32:54,370
Speaker 1: Yeah. It's just that like sort of general like din

737
00:32:54,470 --> 00:32:56,680
Speaker 1: or just, yeah, it can feel artificial.

738
00:32:56,800 --> 00:32:57,000
Speaker 2: Yeah.

739
00:32:57,040 --> 00:32:58,100
Speaker 3: But, but whatever.

740
00:32:58,360 --> 00:33:01,140
Speaker 2: It didn't bother me, but it was noticeable that, but yeah,

741
00:33:01,680 --> 00:33:03,040
Speaker 2: this is when we're trying to set up like what

742
00:33:03,060 --> 00:33:03,840
Speaker 2: the wedding is going to be like.

743
00:33:03,860 --> 00:33:06,240
Speaker 3: It's the seating arrangement. Basically we're going over all the plans.

744
00:33:06,600 --> 00:33:09,200
Speaker 2: It looked like it was freezing that day. Oh. When

745
00:33:09,240 --> 00:33:11,000
Speaker 2: I watch it, I wrote down that like, it seemed

746
00:33:11,020 --> 00:33:11,900
Speaker 2: like it was a chilly day.

747
00:33:12,060 --> 00:33:12,260
Speaker 4: Yeah.

748
00:33:13,610 --> 00:33:14,310
Speaker 3: We had a few of those.

749
00:33:14,530 --> 00:33:14,750
Speaker 2: Yeah.

750
00:33:15,490 --> 00:33:17,570
Speaker 1: We did shoot all summer, but of course, as everyone knows,

751
00:33:18,030 --> 00:33:21,350
Speaker 1: mornings can be cool. Or they used to be in

752
00:33:21,370 --> 00:33:21,730
Speaker 1: the summer.

753
00:33:22,270 --> 00:33:26,210
Speaker 3: Yeah. Yeah. You are very funny in this scene.

754
00:33:26,910 --> 00:33:29,050
Speaker 2: Oh, thank you.

755
00:33:30,390 --> 00:33:32,080
Speaker 1: But I have a line in it that I think

756
00:33:32,100 --> 00:33:36,740
Speaker 1: about a lot where I am talking to the wedding officiant.

757
00:33:36,760 --> 00:33:37,040
Speaker 2: That's right.

758
00:33:37,460 --> 00:33:38,580
Speaker 3: The priestess, I guess.

759
00:33:39,420 --> 00:33:42,920
Speaker 1: And she goes to comfort me because this scene culminates

760
00:33:43,020 --> 00:33:45,660
Speaker 1: basically in us like breaking up or fighting. Yeah, yeah.

761
00:33:45,880 --> 00:33:47,880
Speaker 1: She goes to comfort me and I say like, keep

762
00:33:47,900 --> 00:33:50,400
Speaker 1: your hands off me. you're a dirty hippie and you

763
00:33:50,440 --> 00:33:51,640
Speaker 1: don't understand punk at all.

764
00:33:51,980 --> 00:33:52,460
Speaker 3: Yep.

765
00:33:52,680 --> 00:33:55,120
Speaker 2: I've seen that as a meme. You have? Oh yeah.

766
00:33:55,340 --> 00:33:55,580
Speaker 3: Okay.

767
00:33:56,500 --> 00:34:00,770
Speaker 1: Well, it's weirdly, like there is something about Iris and

768
00:34:00,790 --> 00:34:03,050
Speaker 1: we talked to, you know, I was saying earlier, like

769
00:34:03,310 --> 00:34:05,890
Speaker 1: I know this character and there are so many of

770
00:34:05,930 --> 00:34:08,290
Speaker 1: the characters, there are parts.

771
00:34:08,190 --> 00:34:09,430
Speaker 3: Of us in these characters.

772
00:34:09,980 --> 00:34:13,380
Speaker 1: And to me, Iris like taps into that part of

773
00:34:13,420 --> 00:34:17,300
Speaker 1: me that still has that very like strident, like, pedantic

774
00:34:17,340 --> 00:34:22,740
Speaker 1: like mindset about certain things and like I there's something

775
00:34:22,820 --> 00:34:25,460
Speaker 1: about like coming of age at a time where like

776
00:34:25,480 --> 00:34:29,040
Speaker 1: there was a real differentiation between like hippies and punks

777
00:34:29,380 --> 00:34:32,040
Speaker 1: and this was like a leftover like from like the

778
00:34:32,200 --> 00:34:34,500
Speaker 1: 60s and 70s right where there was just this.

779
00:34:34,489 --> 00:34:36,890
Speaker 3: Split and.

780
00:34:38,350 --> 00:34:41,620
Speaker 1: Now I mean I could care less, you know, couldn't

781
00:34:41,640 --> 00:34:44,399
Speaker 1: care less about any of that stuff. But like, I,

782
00:34:44,500 --> 00:34:46,239
Speaker 1: there was a time where it was just like the

783
00:34:46,280 --> 00:34:50,960
Speaker 1: hippie mindset was just like this, it was like too lax, right?

784
00:34:51,060 --> 00:34:54,219
Speaker 1: Like just that kind of like, oh my God, like

785
00:34:54,239 --> 00:34:57,120
Speaker 1: we need to like care, like get a backbone.

786
00:34:57,140 --> 00:34:59,960
Speaker 3: Like it just felt too, too free.

787
00:35:00,260 --> 00:35:03,860
Speaker 1: And it, I definitely was channeling that in that moment.

788
00:35:05,530 --> 00:35:08,649
Speaker 2: That was exactly what that was. And that was really funny.

789
00:35:09,370 --> 00:35:12,710
Speaker 2: Because it is everything that that couple is about.

790
00:35:13,090 --> 00:35:13,290
Speaker 4: Yeah.

791
00:35:13,910 --> 00:35:16,290
Speaker 2: And I remember at the, I guess in the 90s

792
00:35:16,330 --> 00:35:19,750
Speaker 2: or whatever it was, like, I just remember that really

793
00:35:19,790 --> 00:35:23,969
Speaker 2: was like, that was like a main point of an

794
00:35:24,050 --> 00:35:26,379
Speaker 2: argument is if something was punk or not.

795
00:35:26,719 --> 00:35:26,980
Speaker 4: Yeah.

796
00:35:27,760 --> 00:35:31,120
Speaker 2: And I remember in those arguments, I'd hear myself saying

797
00:35:31,160 --> 00:35:34,780
Speaker 2: something ridiculous just to prove my point.

798
00:35:36,020 --> 00:35:40,640
Speaker 1: Well, like bands like Phish or Grateful Dead and you know, Phish,

799
00:35:40,820 --> 00:35:44,279
Speaker 1: I definitely appreciate and Grateful Dead, I am a fan of,

800
00:35:44,880 --> 00:35:47,580
Speaker 1: but it was like never the 20 until me.

801
00:35:47,620 --> 00:35:49,620
Speaker 3: Like it just, you could, like, there.

802
00:35:49,400 --> 00:35:54,400
Speaker 1: Was something that felt too indulgent and like desultory about

803
00:35:55,000 --> 00:36:00,549
Speaker 1: like hippie music and the style and the like labyrinthine,

804
00:36:00,610 --> 00:36:02,430
Speaker 1: like guitar lines.

805
00:36:02,570 --> 00:36:05,770
Speaker 3: And just like, it, it just went, it just didn't

806
00:36:06,530 --> 00:36:07,490
Speaker 3: have enough structure.

807
00:36:08,180 --> 00:36:10,400
Speaker 1: You know, and like punk was so much about like

808
00:36:10,920 --> 00:36:14,640
Speaker 1: rules and things just like, I don't know, just having,

809
00:36:14,660 --> 00:36:17,490
Speaker 1: it was a life, a code that you lived by.

810
00:36:17,510 --> 00:36:20,790
Speaker 1: And like, even though ostensibly, of course, so it was

811
00:36:20,830 --> 00:36:23,350
Speaker 1: just like the counterculture and hippies for some reason, we

812
00:36:24,170 --> 00:36:27,590
Speaker 1: just didn't see the overlap there. It felt diametrically opposed.

813
00:36:27,610 --> 00:36:30,980
Speaker 1: And that seems so ridiculous now, but it really, again,

814
00:36:31,100 --> 00:36:33,739
Speaker 1: we've talked about it on this podcast. Like there were

815
00:36:33,760 --> 00:36:37,660
Speaker 1: just these hard and fast rules to punk. Yeah. That,

816
00:36:38,450 --> 00:36:42,270
Speaker 1: you know, like it to deviate from that was a

817
00:36:42,550 --> 00:36:45,549
Speaker 1: sort of going against like everything you believed in, like

818
00:36:45,570 --> 00:36:46,350
Speaker 1: the ethos of it.

819
00:36:46,870 --> 00:36:47,129
Speaker 3: You know?

820
00:36:47,410 --> 00:36:49,790
Speaker 2: And Iris saying that, that would have been a real

821
00:36:50,710 --> 00:36:53,609
Speaker 2: point that Iris would have made. Like that was a real, like,

822
00:36:53,730 --> 00:36:56,270
Speaker 2: this is the end of this discussion. You are not punk.

823
00:36:57,130 --> 00:37:00,630
Speaker 3: Yes. Yeah. That's it. You, yeah, that was an insult.

824
00:37:00,650 --> 00:37:04,070
Speaker 1: Like it was just like to, to say that someone

825
00:37:04,130 --> 00:37:06,350
Speaker 1: wasn't that, you know, you were just like excluding them

826
00:37:06,469 --> 00:37:07,710
Speaker 1: from this ideology.

827
00:37:08,510 --> 00:37:10,190
Speaker 3: You know, that you lived by.

828
00:37:10,489 --> 00:37:15,410
Speaker 2: I remember, like, getting in these arguments so deeply that

829
00:37:15,489 --> 00:37:18,600
Speaker 2: I would say things like, well, then, Duke Ellington is punk.

830
00:37:21,020 --> 00:37:21,620
Speaker 2: You know?

831
00:37:21,840 --> 00:37:25,900
Speaker 3: Right, like, if you're going to open it even a little. Right. Yeah. Yeah.

832
00:37:26,560 --> 00:37:28,299
Speaker 3: I know. The amount of.

833
00:37:29,120 --> 00:37:33,670
Speaker 2: You know, just endless, endless, like, discussions. It's funny. Even

834
00:37:33,710 --> 00:37:36,330
Speaker 2: as I say, even as we talk about it, I

835
00:37:36,370 --> 00:37:40,759
Speaker 2: can feel my own skin... getting tingly with like, you know.

836
00:37:41,219 --> 00:37:44,540
Speaker 3: Yeah, who was or wasn't punk? Like that was just.

837
00:37:44,600 --> 00:37:49,779
Speaker 2: It was such a fight. Yeah. The Beatles came up

838
00:37:49,820 --> 00:37:52,219
Speaker 2: all the time where people would be like, they're not punk.

839
00:37:52,360 --> 00:37:54,080
Speaker 2: Like actually they are if you think about it.

840
00:37:55,219 --> 00:37:58,339
Speaker 3: Even you, just the word actually, that's.

841
00:37:58,719 --> 00:38:02,379
Speaker 2: According to your rules, well, the Sex Pistols did that.

842
00:38:02,440 --> 00:38:03,080
Speaker 2: What's the difference?

843
00:38:03,120 --> 00:38:08,780
Speaker 3: Yeah, yeah. It was, anyway. Love Spike and Iris. They

844
00:38:08,840 --> 00:38:09,660
Speaker 3: just fly in the flag.

845
00:38:09,680 --> 00:38:14,720
Speaker 2: Yeah. And the whole, that was a good, you know,

846
00:38:14,739 --> 00:38:16,670
Speaker 2: I like it was like sort of cliffhanger.

847
00:38:17,070 --> 00:38:17,650
Speaker 3: It was a cliffhanger.

848
00:38:17,670 --> 00:38:19,090
Speaker 2: Oh my God.

849
00:38:19,110 --> 00:38:21,750
Speaker 3: I'm so cold. Okay.

850
00:38:21,969 --> 00:38:22,650
Speaker 2: Netflix DVD.

851
00:38:22,690 --> 00:38:24,290
Speaker 3: Netflix DVD. This one, love.

852
00:38:25,330 --> 00:38:25,650
Speaker 2: Love it.

853
00:38:26,270 --> 00:38:26,489
Speaker 3: Yeah.

854
00:38:27,150 --> 00:38:28,969
Speaker 2: Whose idea was it?

855
00:38:29,130 --> 00:38:31,650
Speaker 1: To me, this is a Fred Armisen sketch.

856
00:38:31,870 --> 00:38:32,069
Speaker 4: No?

857
00:38:33,790 --> 00:38:34,750
Speaker 2: The part that.

858
00:38:35,810 --> 00:38:35,910
Speaker 3: The.

859
00:38:36,239 --> 00:38:42,799
Speaker 2: I don't remember who thought of was that then you

860
00:38:42,900 --> 00:38:44,580
Speaker 2: become the mail carrier.

861
00:38:44,880 --> 00:38:45,100
Speaker 3: Right.

862
00:38:45,940 --> 00:38:46,700
Speaker 2: I don't know who came up.

863
00:38:46,640 --> 00:38:46,980
Speaker 3: With such a good.

864
00:38:47,000 --> 00:38:48,719
Speaker 1: I mean, that would have been a collective effort, but

865
00:38:49,930 --> 00:38:52,629
Speaker 1: the other thing that I wanted to point out was just,

866
00:38:53,170 --> 00:38:57,730
Speaker 1: and we've, you know, this is the problem, not the problem,

867
00:38:57,750 --> 00:39:02,609
Speaker 1: but it just happens inadvertently with anything that it just, it.

868
00:39:02,650 --> 00:39:05,690
Speaker 3: Becomes of its time. And some things... We're ahead of

869
00:39:05,750 --> 00:39:06,509
Speaker 3: their time and.

870
00:39:06,469 --> 00:39:11,719
Speaker 1: Some things transcend and are timeless. But this, when Netflix,

871
00:39:11,800 --> 00:39:17,259
Speaker 1: when they actually delivered a DVD to your house in

872
00:39:17,300 --> 00:39:20,200
Speaker 1: a little package, that time is long gone.

873
00:39:20,660 --> 00:39:22,000
Speaker 2: Yeah.

874
00:39:22,440 --> 00:39:25,509
Speaker 3: And every once in a while, we will come up

875
00:39:25,550 --> 00:39:26,029
Speaker 3: against that.

876
00:39:26,870 --> 00:39:27,790
Speaker 2: How do you feel about that?

877
00:39:28,530 --> 00:39:28,900
Speaker 3: It's like I.

878
00:39:30,190 --> 00:39:32,879
Speaker 1: I don't want it to be that, but I'm also like,

879
00:39:33,390 --> 00:39:37,680
Speaker 1: I'm glad those things exist. If I'm watching someone else's show, like,

880
00:39:37,780 --> 00:39:40,480
Speaker 1: or something from like, you know, the eighties or nineties

881
00:39:41,000 --> 00:39:42,739
Speaker 1: and you see like a landlady or do you see,

882
00:39:42,820 --> 00:39:45,960
Speaker 1: I remember watching the exorcist like in the last couple

883
00:39:45,980 --> 00:39:48,000
Speaker 1: of years. And like when they go to the doctor,

884
00:39:48,040 --> 00:39:52,380
Speaker 1: he's smoking in the office. I'm like, okay, well, I

885
00:39:52,400 --> 00:39:55,580
Speaker 1: haven't seen that in a second. I sort of like

886
00:39:55,620 --> 00:39:59,060
Speaker 1: that because I mean, I think as a writer, it's

887
00:39:59,100 --> 00:40:00,620
Speaker 1: like you want everything to.

888
00:40:00,580 --> 00:40:04,589
Speaker 3: Just like to exist like sort of outside of time

889
00:40:04,630 --> 00:40:04,950
Speaker 3: and place.

890
00:40:04,989 --> 00:40:07,529
Speaker 1: But actually that's why things are good is because they

891
00:40:08,110 --> 00:40:10,790
Speaker 1: actually are situated in time and place and they are

892
00:40:10,810 --> 00:40:14,510
Speaker 1: a way of marking time and place for better or worse.

893
00:40:15,120 --> 00:40:18,730
Speaker 1: And I like to, you know, a through line to

894
00:40:18,770 --> 00:40:24,110
Speaker 1: something or to like understand like sort of, you know, anthropologically,

895
00:40:24,190 --> 00:40:29,310
Speaker 1: like why something happened or why something was or the

896
00:40:29,330 --> 00:40:36,140
Speaker 1: way technology, you know, places us somewhere specific. So I

897
00:40:36,520 --> 00:40:40,160
Speaker 1: actually don't mind it, but I think, you know, of

898
00:40:40,239 --> 00:40:43,960
Speaker 1: course I'd rather be ahead of something or outside of something,

899
00:40:43,980 --> 00:40:45,380
Speaker 1: but that's just not the reality of it.

900
00:40:45,380 --> 00:40:46,660
Speaker 2: That's impossible.

901
00:40:46,760 --> 00:40:46,940
Speaker 1: Right.

902
00:40:47,060 --> 00:40:47,860
Speaker 3: How do you feel about it?

903
00:40:48,540 --> 00:40:56,050
Speaker 2: Um, I really like it because, uh, the relationship between

904
00:40:56,790 --> 00:41:02,410
Speaker 2: the two, the mailman and Sandra is intact. Like that's

905
00:41:02,450 --> 00:41:05,640
Speaker 2: the main part of it. Like someone trying to school

906
00:41:05,700 --> 00:41:10,140
Speaker 2: someone on what films to watch. So that's, um, that

907
00:41:10,200 --> 00:41:11,980
Speaker 2: seems a little more timeless.

908
00:41:12,120 --> 00:41:12,339
Speaker 3: Yeah.

909
00:41:12,820 --> 00:41:15,609
Speaker 2: And then the other stuff around it, like you said,

910
00:41:15,620 --> 00:41:19,650
Speaker 2: I never mind seeing it on some other show. Yeah,

911
00:41:19,710 --> 00:41:23,130
Speaker 2: of course. It still works for whatever reason.

912
00:41:23,170 --> 00:41:28,130
Speaker 1: Yeah, and that's true of all technology or clothing or haircut.

913
00:41:28,150 --> 00:41:33,420
Speaker 1: I mean, that is just literally the nature of art.

914
00:41:33,540 --> 00:41:37,700
Speaker 1: It's just music, all of it. It can't be divorced

915
00:41:37,739 --> 00:41:41,200
Speaker 1: from that. so yeah I don't mind it but also

916
00:41:41,219 --> 00:41:46,300
Speaker 1: to your point like what makes it last and relatable

917
00:41:46,520 --> 00:41:49,799
Speaker 1: is the relationship between these two people yeah you know

918
00:41:50,080 --> 00:41:53,219
Speaker 1: like that to me and that's I think what I

919
00:41:53,300 --> 00:41:54,200
Speaker 1: just try to focus on.

920
00:41:55,160 --> 00:41:58,430
Speaker 2: I think we tried to we had a hard time

921
00:41:59,489 --> 00:42:02,009
Speaker 2: finding what that film was going to be and then

922
00:42:02,030 --> 00:42:02,529
Speaker 2: we had to get.

923
00:42:02,489 --> 00:42:04,930
Speaker 3: Oh right it was a permission I wondered why it

924
00:42:04,969 --> 00:42:07,130
Speaker 3: was so specific.

925
00:42:07,210 --> 00:42:10,100
Speaker 2: And I think we've found something that was public and

926
00:42:10,160 --> 00:42:11,480
Speaker 2: it just turned into public domain.

927
00:42:11,540 --> 00:42:13,280
Speaker 3: That's right. It was such an old movie.

928
00:42:13,860 --> 00:42:16,480
Speaker 2: I wonder what the original idea was, what the original

929
00:42:16,520 --> 00:42:17,040
Speaker 2: film was.

930
00:42:17,140 --> 00:42:17,460
Speaker 3: I know.

931
00:42:17,520 --> 00:42:20,480
Speaker 1: I would be curious like what is in the earlier

932
00:42:20,580 --> 00:42:23,340
Speaker 1: scripts because I think it was something, I know what

933
00:42:23,360 --> 00:42:25,569
Speaker 1: it was. It was one of the, it was a

934
00:42:26,090 --> 00:42:28,350
Speaker 1: Dracula or some kind of horror film that you would have,

935
00:42:28,650 --> 00:42:29,350
Speaker 1: that's what I think.

936
00:42:29,770 --> 00:42:30,130
Speaker 2: Okay.

937
00:42:30,290 --> 00:42:32,669
Speaker 3: Right? Like, and then we couldn't do that.

938
00:42:32,950 --> 00:42:33,189
Speaker 2: Okay.

939
00:42:33,230 --> 00:42:34,850
Speaker 1: I thought it was something that was a little more

940
00:42:34,870 --> 00:42:39,360
Speaker 1: like in your wheelhouse, like a Boris Karloff film or Right?

941
00:42:39,820 --> 00:42:41,960
Speaker 1: That's where my mind's going, but maybe that's not true.

942
00:42:43,160 --> 00:42:45,160
Speaker 2: Yeah, it was something old, but I can't remember. Something old,

943
00:42:45,180 --> 00:42:46,719
Speaker 2: for sure. But we had to, like, it took us

944
00:42:46,760 --> 00:42:50,759
Speaker 2: a while. Yeah. I think it's because, didn't we, because

945
00:42:50,780 --> 00:42:51,830
Speaker 2: we showed a clip of it.

946
00:42:52,340 --> 00:42:52,540
Speaker 1: Yes.

947
00:42:52,880 --> 00:42:54,460
Speaker 2: And you made me laugh so much in this. I

948
00:42:54,500 --> 00:42:57,800
Speaker 2: wrote this down, that there's a part where you're pointing

949
00:42:58,460 --> 00:43:01,560
Speaker 2: to the screen at one of the characters and you're

950
00:43:01,600 --> 00:43:04,779
Speaker 2: laughing because you're, like, you're losing your mind. Losing my mind, yeah.

951
00:43:04,800 --> 00:43:06,020
Speaker 2: So that really made me laugh.

952
00:43:06,480 --> 00:43:06,640
Speaker 3: Yeah.

953
00:43:06,780 --> 00:43:07,520
Speaker 2: That was really good.

954
00:43:07,780 --> 00:43:08,100
Speaker 1: That's nice.

955
00:43:09,210 --> 00:43:09,450
Speaker 3: All right.

956
00:43:09,469 --> 00:43:11,650
Speaker 1: This gets us to the end of the episode. We

957
00:43:11,710 --> 00:43:13,890
Speaker 1: are on part three of the wraparound.

958
00:43:13,969 --> 00:43:17,430
Speaker 3: Yeah. Cool wedding. And we are now in a gym

959
00:43:17,489 --> 00:43:19,050
Speaker 3: and we are splitting up friends.

960
00:43:19,250 --> 00:43:19,489
Speaker 1: Yeah.

961
00:43:19,870 --> 00:43:24,460
Speaker 3: Which is such a real thing. Yeah. Um, and it's

962
00:43:24,480 --> 00:43:26,239
Speaker 3: sadly a real thing, but we sort of.

963
00:43:26,219 --> 00:43:28,739
Speaker 1: Made it into like when you're in school and you're

964
00:43:28,780 --> 00:43:33,390
Speaker 1: picking teams, you're like team captain, you know? Um, And

965
00:43:33,410 --> 00:43:35,130
Speaker 1: that's how we split up. And the thing that makes

966
00:43:35,170 --> 00:43:37,130
Speaker 1: me laugh is when you pick my dad. I'm like,

967
00:43:37,150 --> 00:43:37,810
Speaker 1: you can't pick my dad.

968
00:43:37,830 --> 00:43:38,870
Speaker 3: And you're like, yes, I can.

969
00:43:39,450 --> 00:43:41,750
Speaker 2: Technically, we're picking people. Yeah.

970
00:43:41,770 --> 00:43:42,730
Speaker 3: Yeah.

971
00:43:43,270 --> 00:43:45,730
Speaker 2: Yeah. And we had some of our friends in there,

972
00:43:45,790 --> 00:43:50,590
Speaker 2: Rebecca Cole, keyboard player, who's gone on to tour manage

973
00:43:50,630 --> 00:43:54,930
Speaker 2: some stand-up stuff that I've done. And then she also

974
00:43:54,969 --> 00:43:58,319
Speaker 2: plays with Pavement. Yeah. And played in a band with you.

975
00:43:58,340 --> 00:43:59,320
Speaker 3: Yeah.

976
00:44:00,260 --> 00:44:01,220
Speaker 2: And then Lance Bangs.

977
00:44:01,400 --> 00:44:03,260
Speaker 3: Yep, who we just called Bangs for some reason.

978
00:44:03,280 --> 00:44:03,500
Speaker 2: Yeah.

979
00:44:03,520 --> 00:44:06,529
Speaker 3: I don't know why. Yeah.

980
00:44:07,200 --> 00:44:10,250
Speaker 2: So, nice clean ending. You know, we get the ear gauge.

981
00:44:10,290 --> 00:44:11,109
Speaker 3: Yeah, Jedediah.

982
00:44:11,310 --> 00:44:11,750
Speaker 2: Jedediah.

983
00:44:11,770 --> 00:44:15,209
Speaker 3: Who's been in a couple things, including sketches we've already

984
00:44:15,250 --> 00:44:17,149
Speaker 3: talked about. And I do like that.

985
00:44:17,250 --> 00:44:19,650
Speaker 1: I like, first of all, I love seeing our friends

986
00:44:20,510 --> 00:44:27,469
Speaker 1: populate the screen. And the recurring background actors and, you know.

987
00:44:28,330 --> 00:44:30,150
Speaker 3: Yeah. Characters. It's been great.

988
00:44:30,450 --> 00:44:32,149
Speaker 2: Yeah, it's good to see our old friends there.

989
00:44:32,250 --> 00:44:33,290
Speaker 3: Yeah.

990
00:44:34,710 --> 00:44:36,670
Speaker 1: This is a satisfying ending to me because they come

991
00:44:36,690 --> 00:44:40,750
Speaker 1: back together, but it's not in a wedding venue.

992
00:44:40,810 --> 00:44:42,310
Speaker 3: You know what I mean? Like we somehow get to

993
00:44:42,350 --> 00:44:43,230
Speaker 3: the wedding.

994
00:44:43,270 --> 00:44:47,120
Speaker 1: We end up having a non-traditional wedding.

995
00:44:47,360 --> 00:44:48,560
Speaker 2: Yeah, yeah.

996
00:44:48,620 --> 00:44:50,640
Speaker 3: But not the way we planned, which to me is

997
00:44:52,020 --> 00:44:52,660
Speaker 3: how life is.

998
00:44:54,420 --> 00:44:56,719
Speaker 2: And it's a great idea that like the sort of

999
00:44:56,940 --> 00:44:59,920
Speaker 2: basketball in the air, that should happen at more weddings.

1000
00:45:01,980 --> 00:45:05,439
Speaker 3: Yeah, and for my ring, it's your gauge earring.

1001
00:45:05,500 --> 00:45:09,060
Speaker 2: Yeah. Yeah. Do you still have it?

1002
00:45:09,080 --> 00:45:09,140
Speaker 3: No.

1003
00:45:12,460 --> 00:45:14,680
Speaker 2: So we should also, you know, in the tradition, even

1004
00:45:14,700 --> 00:45:17,930
Speaker 2: though we're not getting paid for this, give it up

1005
00:45:17,950 --> 00:45:23,049
Speaker 2: for Subaru. If you are a true listener, go out

1006
00:45:23,070 --> 00:45:26,850
Speaker 2: and get yourself a Subaru. Try it out. Keep it.

1007
00:45:28,450 --> 00:45:31,560
Speaker 2: We're asking you. That was a financial transaction back then,

1008
00:45:31,580 --> 00:45:31,959
Speaker 2: but now.

1009
00:45:32,360 --> 00:45:33,280
Speaker 3: We're still obligated.

1010
00:45:33,440 --> 00:45:34,200
Speaker 2: Still obligated.

1011
00:45:34,500 --> 00:45:35,600
Speaker 3: It's a lifelong contract.

1012
00:45:35,719 --> 00:45:36,080
Speaker 1: Oh, yeah.

1013
00:45:36,200 --> 00:45:38,520
Speaker 3: Yes. I have to bring it up three times a year.

1014
00:45:40,440 --> 00:45:41,359
Speaker 2: Get it out there. Yeah.

1015
00:45:42,340 --> 00:45:44,520
Speaker 1: And what sucks is if I forget, and so it's

1016
00:45:44,540 --> 00:45:48,029
Speaker 1: like December 31st, I spend all of New Year's Eve

1017
00:45:48,969 --> 00:45:50,190
Speaker 1: trying to sell those Subarus.

1018
00:45:50,230 --> 00:45:52,770
Speaker 2: Get those Subarus out there. So thank you for listening

1019
00:45:52,850 --> 00:45:54,230
Speaker 2: to Ayo Subaru.

1020
00:45:57,930 --> 00:45:58,370
Speaker 3: Bye, guys.

1021
00:46:08,370 --> 00:46:09,299
Speaker 1: Rewind.