Latest / Podlandia: A-O Rewatch with Fred Armisen and Carrie Brownstein / 204: Grover

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204: Grover · Podlandia: A-O Rewatch with Fred Armisen and Carrie Brownstein

• 0:00
  Speaker 1: Hey, hey, hey, watch, watch Hey, hey, hey, watch, watch Hey, hey, hey, watch,
• 0:06
  Speaker 1: watch Hey, hey, hey, watch, watch Hey, hey, hey, watch,
• 0:10
  Speaker 1: watch You're watching Podlandia.
• 0:32
  Speaker 2: I'm Carrie Brownstein.
• 0:34
  Speaker 1: I'm Fred Armisen.
• 0:35
  Speaker 2: And this is AO Rewatch.
• 0:37
  Speaker 1: This is the Portlandia podcast where we look back at
• 0:40
  Speaker 1: all our episodes. Yes.
• 0:43
  Speaker 2: Finally.
• 0:44
  Speaker 1: I hope you were taping. Yep. So today we're going
• 0:48
  Speaker 1: to talk about the episode called Grover, which is from
• 0:52
  Speaker 1: our second season. And we... watch these episodes the night
• 0:59
  Speaker 1: before we do this. And it's a weird thing because
• 1:03
  Speaker 1: I really, you know, we're in it and then it
• 1:07
  Speaker 1: feels weird to laugh at it. But I have to say,
• 1:09
  Speaker 1: I really laughed watching this.
• 1:12
  Speaker 2: See, this one, I actually cringed during most of it.
• 1:15
  Speaker 1: Oh, really?
• 1:16
  Speaker 2: Yeah. I laughed, but I also cringed. I think watching Grover, well,
• 1:24
  Speaker 2: let's explain what and who Grover is.
• 1:26
  Speaker 1: Yeah.
• 1:27
  Speaker 2: Not that cringing is bad. I feel like a lot
• 1:30
  Speaker 2: of comedy that I watch, but I was like, oh
• 1:32
  Speaker 2: my God.
• 1:33
  Speaker 1: Yeah.
• 1:33
  Speaker 2: These parents are terrible. Anyway, let's explain Grover.
• 1:36
  Speaker 1: So Grover is the name. So we have these characters.
• 1:40
  Speaker 1: I think that's Brendan and Michelle, right?
• 1:42
  Speaker 2: Yes.
• 1:42
  Speaker 1: So these characters, Brendan and Michelle, who the look was
• 1:46
  Speaker 1: based on people we know.
• 1:48
  Speaker 2: Yes.
• 1:49
  Speaker 1: Named Brendan and Michelle.
• 1:50
  Speaker 2: Named Brendan and Michelle.
• 1:51
  Speaker 1: Yeah.
• 1:51
  Speaker 2: And this is not the first time they would be
• 1:53
  Speaker 2: hearing of that either. Hi, Brendan and Michelle. Hi. Doubt
• 1:55
  Speaker 2: you're listening or watching.
• 1:56
  Speaker 1: Yeah.
• 1:57
  Speaker 2: But we told them this. Yes. We said, hey, we've
• 2:00
  Speaker 2: modeled characters after you.
• 2:02
  Speaker 1: Just some friends of ours from Washington, D.C. Yeah. Who
• 2:04
  Speaker 1: I believe in the writer's room we had a picture
• 2:06
  Speaker 1: of them up.
• 2:07
  Speaker 2: Yes.
• 2:08
  Speaker 1: Just to sort of reference.
• 2:09
  Speaker 2: Yes.
• 2:09
  Speaker 1: Anyway, so they're this Portland couple and they've got this
• 2:14
  Speaker 1: kid who's about to start school.
• 2:17
  Speaker 2: Preschool.
• 2:17
  Speaker 1: Preschool. Start preschool. So I don't know who this idea
• 2:22
  Speaker 1: came from or maybe John.
• 2:24
  Speaker 2: I bet Jonathan– Jonathan Kreisel, our co-creator and the director
• 2:31
  Speaker 2: for really the first two seasons, which is fairly rare.
• 2:34
  Speaker 2: He directed every single episode for the first couple of seasons.
• 2:37
  Speaker 2: He had a young kid, a kid who was born
• 2:40
  Speaker 2: the first season of the show. And so he was,
• 2:42
  Speaker 2: parenthood was at the forefront of his mind. And even
• 2:46
  Speaker 2: though his child was probably only, you know, a year
• 2:49
  Speaker 2: and a half, I'm sure as a guy, like, With
• 2:54
  Speaker 2: a kid in LA, especially, he was already thinking like,
• 2:57
  Speaker 2: where is my child going to go to preschool and
• 2:58
  Speaker 2: how is that going to affect the rest of his life? Yeah.
• 3:01
  Speaker 1: And he's probably told also like, this is the right
• 3:04
  Speaker 1: school to go to or if you want to get into.
• 3:06
  Speaker 2: You have to start now.
• 3:07
  Speaker 1: Yeah. So this couple is just really, they've got a
• 3:13
  Speaker 1: real agenda. They've got a, they really make it, it's
• 3:17
  Speaker 1: almost like a campaign campaign.
• 3:19
  Speaker 2: It's a campaign. There's graphics. They have an easel up.
• 3:26
  Speaker 2: They've basically printed out these charts. This is what your
• 3:30
  Speaker 2: life will look like if you go to Shooting Star.
• 3:33
  Speaker 2: Is it Shooting Star? I think Shooting Star Preschool. And
• 3:36
  Speaker 2: this is what your life will look like if you
• 3:38
  Speaker 2: don't get into this school. And the young actor playing
• 3:43
  Speaker 2: Grover could not care less.
• 3:46
  Speaker 1: He's just sitting there.
• 3:48
  Speaker 2: Grover's like, why?
• 3:49
  Speaker 1: In another world. But they're really, they're speaking to him
• 3:51
  Speaker 1: as an adult.
• 3:52
  Speaker 2: Yes.
• 3:53
  Speaker 1: In that way also, that's probably not appropriate.
• 3:56
  Speaker 2: Yes.
• 3:56
  Speaker 1: That they think, oh, we're just talking to him like
• 3:58
  Speaker 1: an adult, but this is a case where.
• 4:00
  Speaker 2: This is like the beginning of the inappropriate things they do. Yeah.
• 4:03
  Speaker 2: They're also so disparaging. And I will say like, this
• 4:06
  Speaker 2: is like, I know people like this, like people who just,
• 4:11
  Speaker 2: what they say outwardly about not caring.
• 4:14
  Speaker 1: Yeah.
• 4:15
  Speaker 2: In terms of what they're actually thinking or how they're
• 4:17
  Speaker 2: judging other people and where their kids go to school.
• 4:19
  Speaker 2: I mean, this is very real. Definitely. It's pretty gross,
• 4:25
  Speaker 2: but these people are absolutely right in there.
• 4:28
  Speaker 1: Yeah, they've got graphics and an easel and everything, and
• 4:33
  Speaker 1: they're going through it. Eventually what happens is they make
• 4:38
  Speaker 1: a short film.
• 4:40
  Speaker 2: So part one is basically... Brendan and Michelle are introducing
• 4:44
  Speaker 2: the idea of this preschool to Grover.
• 4:47
  Speaker 1: Yes.
• 4:48
  Speaker 2: Showing what the two paths his life could take.
• 4:52
  Speaker 1: And the exterior is this house that we, it's got
• 4:56
  Speaker 1: an interesting design that's in Portland that we've shot at
• 5:00
  Speaker 1: a lot. I think we might've even shot the interior
• 5:03
  Speaker 1: of it at some points. I think we've been in
• 5:07
  Speaker 1: that house.
• 5:08
  Speaker 2: And this to me is maybe the first sketch we
• 5:11
  Speaker 2: did We worked with a lot of really great child actors,
• 5:15
  Speaker 2: but this might be the first wraparound sketch, you know,
• 5:19
  Speaker 2: which is the three-part sketch that we did with a
• 5:22
  Speaker 2: young child actor. Yes. Yeah. Which can be challenging because it's,
• 5:26
  Speaker 2: you know, like it's hard to sort of contextualize. Of course.
• 5:30
  Speaker 2: And it's improvised. So, you know, even for a young
• 5:35
  Speaker 2: actor who's used to scripts and preparation, there's not much
• 5:39
  Speaker 2: prep to do and you're confronted with too. who probably
• 5:43
  Speaker 2: we must have seemed pretty intense. The characters are intense.
• 5:50
  Speaker 1: And to him, he's not like, oh, they're just acting.
• 5:53
  Speaker 2: No.
• 5:54
  Speaker 1: You know, it's like these two people. Really, he's talking
• 5:57
  Speaker 1: at him.
• 5:57
  Speaker 2: Yes.
• 6:00
  Speaker 1: Aggressively.
• 6:01
  Speaker 2: He actually doesn't say anything in this first part. Yeah.
• 6:06
  Speaker 1: The episode starts with this cold open where everyone's a DJ. Yes. And...
• 6:12
  Speaker 1: I think this came from experience that everyone was a DJ.
• 6:16
  Speaker 2: It's shot like a horror film.
• 6:17
  Speaker 1: Yeah.
• 6:18
  Speaker 2: Yeah. Where Fred and Carrie, so Fred and Carrie, like
• 6:22
  Speaker 2: the analog, the avatars of Fred and Carrie on the
• 6:26
  Speaker 2: show are sort of a much more, I would say guileless,
• 6:30
  Speaker 2: clueless version of us.
• 6:31
  Speaker 1: Yes. Somewhat.
• 6:33
  Speaker 2: Somewhat. I would definitely say a little more naive, I think,
• 6:36
  Speaker 2: which just gave us more allowance to be, yeah, to
• 6:40
  Speaker 2: just be a little more stupid. You know, you don't like, yeah,
• 6:44
  Speaker 2: to suspend the disbelief of the characters and to sort
• 6:47
  Speaker 2: of buy into the, like the tone of the show,
• 6:50
  Speaker 2: which can get absurd and, you know, you don't want
• 6:55
  Speaker 2: to be married to like, nope, this is me and
• 6:58
  Speaker 2: I'm representing me. Like it just allowed for a little
• 7:00
  Speaker 2: more leeway and creativity.
• 7:03
  Speaker 1: Yeah. And I mean, like a version of ourselves, but
• 7:07
  Speaker 1: also like really like, of every season naturally. Yes. We
• 7:12
  Speaker 1: did those characters. Yeah. You know, it was like the framework.
• 7:16
  Speaker 2: That's true. And I, I, I guess to your point,
• 7:18
  Speaker 2: like they did sort of vacillate, but some versions of
• 7:20
  Speaker 2: Fred and Carrie were a little more akin to who
• 7:22
  Speaker 2: we are. And I would say actually in this sketch
• 7:24
  Speaker 2: closer to who we are in real life. Yeah. And
• 7:26
  Speaker 2: then some versions of us were hopefully a slightly stupider version.
• 7:31
  Speaker 2: I hope. Yeah.
• 7:31
  Speaker 1: Yeah.
• 7:33
  Speaker 2: Um, but in, in, I guess I'm only saying that
• 7:36
  Speaker 2: because I realize you're, there's in the intro, you're talking about,
• 7:40
  Speaker 2: we're talking about buying greatest hits albums. And I know
• 7:43
  Speaker 2: that neither of us would buy a greatest hits album.
• 7:46
  Speaker 1: True. But we talk about sympathy, feeling bad for a record. Yes.
• 7:51
  Speaker 2: Which is something that I think we do. Yeah.
• 7:53
  Speaker 1: Sometimes I do buy a record. I'm like, oh, I
• 7:55
  Speaker 1: feel bad for this artist that they don't get enough
• 7:57
  Speaker 1: credit or whatever.
• 7:58
  Speaker 2: Yeah.
• 7:59
  Speaker 1: And it's a weird reason to buy an album. Yeah.
• 8:03
  Speaker 1: I wonder if there are any artists out there who
• 8:07
  Speaker 1: have made their career from sympathy or like, or people thinking,
• 8:13
  Speaker 1: or people thinking I should buy this record. So, I mean,
• 8:19
  Speaker 1: I don't want to, no one comes to mind except
• 8:22
  Speaker 1: for classical artists. So thinking that like, I wonder if
• 8:27
  Speaker 1: there are a number of records, whatever, Haydn or something,
• 8:31
  Speaker 1: The people were like, I guess I should know about
• 8:33
  Speaker 1: classical music, so I'll get this.
• 8:34
  Speaker 2: Oh, okay.
• 8:35
  Speaker 1: Yeah. Sort of just to make themselves feel a little
• 8:40
  Speaker 1: more educated on music. I'm also thinking of just artists
• 8:44
  Speaker 1: from the 50s and 40s.
• 8:47
  Speaker 2: Okay.
• 8:48
  Speaker 1: Where, okay, Glenn Miller is great, but I'm saying if
• 8:54
  Speaker 1: I have a Glenn Miller album, I'm not listening to
• 8:57
  Speaker 1: it actively. Right.
• 8:59
  Speaker 2: Right.
• 9:00
  Speaker 1: Where, wow, this is really moving me right now. I
• 9:03
  Speaker 1: appreciate it, but it's more in the record collection. Just like,
• 9:06
  Speaker 1: I should have Glenn Miller.
• 9:07
  Speaker 2: But are there bands for you that you thought, like,
• 9:09
  Speaker 2: this is a band that people really love that I
• 9:11
  Speaker 2: don't get, like a more contemporary band?
• 9:13
  Speaker 1: Oh, I must have a lot of those in my collection,
• 9:17
  Speaker 1: just from over the years.
• 9:18
  Speaker 2: Yes.
• 9:20
  Speaker 1: That's just.
• 9:21
  Speaker 2: It's not quite a sympathy buy, but it's definitely, to me,
• 9:23
  Speaker 2: like it feels... Like there's an imperative, like, oh, I
• 9:28
  Speaker 2: should have this in my collection, but then I don't
• 9:30
  Speaker 2: quite get it.
• 9:31
  Speaker 1: Yeah.
• 9:32
  Speaker 2: Like I actually like Captain Beefheart, but I think that's
• 9:34
  Speaker 2: another example of a band that people are like, oh,
• 9:37
  Speaker 2: you should check out Captain Beefheart.
• 9:39
  Speaker 1: Perfect example. Like you should have this album. Yeah.
• 9:42
  Speaker 2: And I think it's a pretty challenging listen for most people.
• 9:45
  Speaker 1: Yeah.
• 9:46
  Speaker 2: Including myself. And it's not something I would just put
• 9:48
  Speaker 2: on all the time. I do appreciate a lot of
• 9:51
  Speaker 2: their music, but it's not an easy listen. No. And
• 9:53
  Speaker 2: there's other, like, I think it is a sort of challenge,
• 9:56
  Speaker 2: like Can is another band, like anything that has a
• 9:59
  Speaker 2: little bit of that, or Frank Zappa, like just music
• 10:02
  Speaker 2: that's a little more challenging, but you know, like, oh,
• 10:04
  Speaker 2: this artist influenced these other artists.
• 10:07
  Speaker 1: Yes.
• 10:08
  Speaker 2: And so I should have them in my collection.
• 10:11
  Speaker 1: Sometimes they're a good listen, a song, like, oh, I
• 10:14
  Speaker 1: get what this is. Oh, I see.
• 10:16
  Speaker 2: Yes.
• 10:17
  Speaker 1: Yeah.
• 10:17
  Speaker 2: Like a whole album is a lot. Yeah. But yeah. Okay. Great. Yes.
• 10:23
  Speaker 1: Oh, everyone's a DJ. So that felt– also when we
• 10:29
  Speaker 1: went to the bank. Yes, yes. That's the first guy
• 10:33
  Speaker 1: who's got like a flyer for– but that felt a
• 10:37
  Speaker 1: little bit like a real version of us, maybe a
• 10:41
  Speaker 1: little jerkier. A little like impatient.
• 10:46
  Speaker 2: Yes.
• 10:46
  Speaker 1: With– Being at a bank.
• 10:50
  Speaker 2: Yeah.
• 10:53
  Speaker 1: But yeah, so it escalates and more and more people
• 10:57
  Speaker 1: are DJs. We meet your mother.
• 10:59
  Speaker 2: Yes, and she turns out to be a DJ.
• 11:01
  Speaker 1: Yes.
• 11:02
  Speaker 2: She's working on her... She's actually doing needlepoint of her
• 11:08
  Speaker 2: DJ name.
• 11:09
  Speaker 1: And it goes... And she goes... I think we've had
• 11:12
  Speaker 1: her in other episodes too as your mom.
• 11:14
  Speaker 2: Yes.
• 11:17
  Speaker 1: And then it ends with.
• 11:21
  Speaker 1: God.
• 11:22
  Speaker 2: That Earth is just a record that's being spun by
• 11:26
  Speaker 2: DJ God. Yeah. Yeah. So it has this sort of
• 11:29
  Speaker 2: heightening horror movie vibe.
• 11:32
  Speaker 1: I just really liked it as a sketch. And not
• 11:33
  Speaker 1: that this is all about critiquing these sketches, but I
• 11:37
  Speaker 1: felt very, I felt like, oh, that's a really good,
• 11:40
  Speaker 1: that felt in its own way, timeless to me. Yes. Yes.
• 11:46
  Speaker 1: even though someday maybe there will be no DJs, but
• 11:48
  Speaker 1: I'm saying for, but like.
• 11:50
  Speaker 2: Oh, a day we can only dream of. When we're
• 11:53
  Speaker 2: in a post DJ landscape. Yeah. I mean, we almost
• 11:57
  Speaker 2: are kind of. Yeah.
• 11:57
  Speaker 1: Yeah. That's true.
• 11:58
  Speaker 2: It is. I mean, literally everyone kind of is a
• 12:02
  Speaker 2: DJ now because everyone just makes a playlist. So this
• 12:05
  Speaker 2: was like the precursor to that when everyone just had
• 12:07
  Speaker 2: a DJ night. But I, I, I think we did
• 12:11
  Speaker 2: in the writer's room, we were speaking to a phenomenon
• 12:14
  Speaker 2: that of, you know, Some kind of hobby that everyone
• 12:18
  Speaker 2: was starting to, you.
• 12:19
  Speaker 1: Know, sort of have. I'm a this.
• 12:22
  Speaker 2: I'm a this. I'm doing this now.
• 12:23
  Speaker 1: Yeah.
• 12:25
  Speaker 2: This is a repeated trope for us. Like there's another
• 12:28
  Speaker 2: sketch that we'll talk about from another episode. She's making
• 12:30
  Speaker 2: jewelry now.
• 12:31
  Speaker 1: Yes.
• 12:32
  Speaker 2: Where these sort of trends and it feels like, oh
• 12:34
  Speaker 2: my gosh, this is so ubiquitous. Everyone's knitting now. Everyone,
• 12:37
  Speaker 2: you know, is making this kind of coffee now. Everyone
• 12:40
  Speaker 2: is doing mood boards now, you know, like.
• 12:43
  Speaker 1: Yeah.
• 12:44
  Speaker 2: Yeah, this is.
• 12:44
  Speaker 1: It went on to that for sure. Yeah.
• 12:46
  Speaker 2: And also the use of genre in like the filmmaking,
• 12:52
  Speaker 2: you know, where we sort of borrowed from a genre
• 12:55
  Speaker 2: and applied it to this show. You know, it really
• 12:58
  Speaker 2: was filmed like a horror film. There's that whole slow
• 13:00
  Speaker 2: motion sequence when we're running through the alley.
• 13:03
  Speaker 1: Yeah, it's like almost a strobe.
• 13:05
  Speaker 2: Yeah, yeah.
• 13:06
  Speaker 1: And then, yeah, that was a really... I guess it's
• 13:09
  Speaker 1: the editors or whatever, whoever put... Because the music is.
• 13:14
  Speaker 2: Yes.
• 13:15
  Speaker 1: Really, really good. And I think it ends with or
• 13:17
  Speaker 1: I know it ends with the guy who runs Voodoo Donuts.
• 13:21
  Speaker 2: Yeah, Tracy. Yeah. So Voodoo Donuts, which I think now
• 13:25
  Speaker 2: is all over the US or at least in a
• 13:27
  Speaker 2: handful of cities. Another. Place company that started in Portland.
• 13:32
  Speaker 2: And that's something I think we'll talk about a lot
• 13:34
  Speaker 2: in this podcast. We've talked about Stumptown. We'll probably end
• 13:37
  Speaker 2: up talking about Salt and Straw, Ace Hotel.
• 13:39
  Speaker 1: Yeah.
• 13:40
  Speaker 2: And Voodoo Donuts is the guy that started in Portland.
• 13:44
  Speaker 2: And that guy actually, Trace used to run one of
• 13:46
  Speaker 2: the best music venues in Portland called the X-Ray Cafe,
• 13:50
  Speaker 2: which had.
• 13:50
  Speaker 1: So- Oh, I remember that place.
• 13:52
  Speaker 2: Yeah, on Burnside. It's such a great- I didn't know
• 13:54
  Speaker 2: that he ran it. Music venue.
• 13:56
  Speaker 1: Yeah. I asked him to- cause it's such a success
• 14:00
  Speaker 1: even back then. And he was sort of local celebrity. Yeah.
• 14:04
  Speaker 1: I asked him, I don't know how, you know, I
• 14:07
  Speaker 1: was like, how, what is it about these donuts that
• 14:09
  Speaker 1: makes him so good? And he had a very simple
• 14:10
  Speaker 1: answer is that he changes out the oil frequently as
• 14:16
  Speaker 1: opposed to just letting it sit there.
• 14:19
  Speaker 2: That's a good answer. Yeah.
• 14:20
  Speaker 1: Yeah.
• 14:21
  Speaker 2: I hope you're not giving away like his secret.
• 14:23
  Speaker 1: You know, as, as we were talking, I was thinking
• 14:25
  Speaker 1: about that. And then I thought, I'm sure he said
• 14:28
  Speaker 1: it to a million people.
• 14:29
  Speaker 2: I'm sure. It's not like you gave away the KFC.
• 14:31
  Speaker 1: But if you're listening, no, no. Which I wouldn't.
• 14:35
  Speaker 2: You're one of the only people who knows that.
• 14:36
  Speaker 1: Yeah. And it's more simple than you think. But if
• 14:42
  Speaker 1: you're listening to this and you repeat this information, please
• 14:45
  Speaker 1: don't say you got it from this podcast. That's all
• 14:47
  Speaker 1: that we're asking.
• 14:49
  Speaker 2: We don't want to get sued.
• 14:49
  Speaker 1: No. That's something you heard.
• 14:52
  Speaker 2: A-L-L Then we go into the dog park sketch with
• 15:03
  Speaker 2: Kath and Dave, who are characters that have already been introduced.
• 15:09
  Speaker 2: And Kath and Dave are, I mean, we see Kath
• 15:13
  Speaker 2: and Dave's, Kath's and Dave's everywhere.
• 15:16
  Speaker 1: Yeah.
• 15:16
  Speaker 2: You know, they are the people who get really angry
• 15:23
  Speaker 2: over small infractions. I feel like Kath, like, In modern parlance,
• 15:29
  Speaker 2: a little bit, she would be a Karen, except that
• 15:31
  Speaker 2: her anger is ambient. It's directed at everything. And to me, Kath,
• 15:40
  Speaker 2: it's like the version of myself if I never had
• 15:48
  Speaker 2: music to sort of help mitigate some of my just
• 15:53
  Speaker 2: general angst. I feel like I would go through the
• 15:56
  Speaker 2: world a little more like Kath in the sense that
• 16:00
  Speaker 2: like just aggrieved and unable to sort of just like
• 16:06
  Speaker 2: tone things. Like everything, there's just a disproportionate amount of
• 16:12
  Speaker 2: like anger and vitriol. Like she's, and she has this pwn.
• 16:18
  Speaker 2: Like Kath's like hair was always this ponytail. I mean,
• 16:22
  Speaker 2: I just called it the pwn.
• 16:24
  Speaker 1: Yeah. Yeah. How was it applied? I think they just
• 16:29
  Speaker 1: tied it to.
• 16:29
  Speaker 2: The back of your hair. Yeah. Jen Serio, our hair person,
• 16:37
  Speaker 2: and potentially Jodi Mancuso before her, would just put my
• 16:40
  Speaker 2: hair back in a very small ponytail because my hair
• 16:43
  Speaker 2: is pretty short. And then they would attach this long
• 16:48
  Speaker 2: hair ponytail to it.
• 16:50
  Speaker 1: It did make you seem angrier for some reason.
• 16:52
  Speaker 2: And I was angry because my hair was being yanked back.
• 16:56
  Speaker 2: And I just see, you know, there's, I mean, Kath
• 16:59
  Speaker 2: and Dave are some of my favorite characters because they're
• 17:02
  Speaker 2: so unchecked. And they are very clueless. In this way,
• 17:07
  Speaker 2: that's very fun to play.
• 17:10
  Speaker 1: They're also righteous. Their anger is about, we are trying to,
• 17:16
  Speaker 1: by the way, the characters just, you know, if you
• 17:18
  Speaker 1: need more description of them, they have like, sort of
• 17:21
  Speaker 1: camping gear on most of the time. They're very prepared.
• 17:25
  Speaker 1: They're very sort of outdoorsy prepared.
• 17:28
  Speaker 2: Ready to hike.
• 17:29
  Speaker 1: Yeah. And their whole goal is like, or their whole
• 17:35
  Speaker 1: theme is we are doing the right thing. Why isn't
• 17:37
  Speaker 1: everybody else?
• 17:38
  Speaker 2: Yes.
• 17:39
  Speaker 1: And the part of Dave that is like myself is
• 17:43
  Speaker 1: that I do sometimes feel that way at the airport
• 17:46
  Speaker 1: where I'm very like, my thoughts, carry on is small. Oh,
• 17:51
  Speaker 1: why isn't everyone else's?
• 17:54
  Speaker 2: Yes.
• 17:54
  Speaker 1: And there, there is anger in that.
• 17:56
  Speaker 2: Yes.
• 17:56
  Speaker 1: When I see someone trying to force, you know, or
• 17:59
  Speaker 1: anything like that, just moving through the airport, I could
• 18:02
  Speaker 1: feel the Dave of like, I packed light for you
• 18:05
  Speaker 1: guys for the whole world. Yeah.
• 18:08
  Speaker 2: Like why didn't you pack light for me?
• 18:10
  Speaker 1: Yeah.
• 18:11
  Speaker 2: Yeah. I, I feel cast. Like if I'm at, a
• 18:13
  Speaker 2: grocery store. I really noticed this. Like I've, if I've
• 18:15
  Speaker 2: traveled outside of the Pacific Northwest, the Pacific Northwest, if
• 18:18
  Speaker 2: you don't live there, it has a specific pace to it. Um, it's,
• 18:22
  Speaker 2: it's a little slower than New York for instance, for sure. Um, it's,
• 18:28
  Speaker 2: and people are very friendly there and really like to
• 18:33
  Speaker 2: have conversations. And there's no sense that anyone else is waiting.
• 18:38
  Speaker 2: People love to wait. People are happy to wait. So
• 18:41
  Speaker 2: if I've been out East and then I come back,
• 18:44
  Speaker 2: to Portland and I'm in line at a grocery store
• 18:46
  Speaker 2: and I'm third or fourth in line and everyone is
• 18:49
  Speaker 2: having a private, not private, sorry. It's a public, but conversation,
• 18:54
  Speaker 2: but it's personal, a doctor's appointment, a child with an illness,
• 19:00
  Speaker 2: you know, like a recent trip they took, like something
• 19:03
  Speaker 2: happening with a toe, you know, like that's a conversation
• 19:06
  Speaker 2: that's happening. And I want people to be more efficient
• 19:10
  Speaker 2: in that moment, just to move forward quick, more quickly.
• 19:15
  Speaker 2: And I feel the cath in me like, Hey, let's,
• 19:18
  Speaker 2: let's move along.
• 19:19
  Speaker 1: Yeah.
• 19:19
  Speaker 2: You know, let's sidebar this combo. Um, and I don't,
• 19:23
  Speaker 2: I'm not, I'm not proud of myself for that impatience,
• 19:26
  Speaker 2: but that impatience is, is cath.
• 19:30
  Speaker 1: It happened to me in Portland at a sports, uh,
• 19:33
  Speaker 1: like an outdoor, one of those camping shops.
• 19:36
  Speaker 2: Yeah.
• 19:37
  Speaker 1: Um, and When someone at the register or at the
• 19:42
  Speaker 1: counter says, do you want to join our rewards program?
• 19:45
  Speaker 1: We all know the answer is no. We just want
• 19:48
  Speaker 1: to buy whatever it is. And I remember someone saying
• 19:50
  Speaker 1: yes in front of me.
• 19:54
  Speaker 2: It's a how dare you.
• 19:56
  Speaker 1: So they had to take out a little whatever, however
• 19:58
  Speaker 1: they did it, a little form or something. As we
• 20:01
  Speaker 1: were speaking, I could feel the tingle in my body
• 20:04
  Speaker 1: of like, oh, that really is slowing everybody down.
• 20:08
  Speaker 2: Yes.
• 20:09
  Speaker 1: This whole store. Now we're all waiting for your meeting,
• 20:15
  Speaker 1: an appointment. Yeah. They turned it into an appointment.
• 20:18
  Speaker 2: Yeah.
• 20:19
  Speaker 1: Um, so, so that's where Captain Dave are at and
• 20:22
  Speaker 1: they're at a dog park.
• 20:24
  Speaker 2: They're at a dog park with their dog Quicksilver played
• 20:27
  Speaker 2: by my, uh, my first dog as an adult, Toby, RIP, um,
• 20:32
  Speaker 2: a German wire haired pointer mix that I got at
• 20:35
  Speaker 2: the Oregon Humane Society, um, And Toby at this point
• 20:40
  Speaker 2: actually in real life was a little bit older. I
• 20:42
  Speaker 2: can see the gray in his whiskers. And also my
• 20:45
  Speaker 2: other dog is in this too, Cricket, who at the
• 20:48
  Speaker 2: time I think was pretty young. But Cricket, we are
• 20:51
  Speaker 2: not the owners of Cricket in this. Our dog is Quicksilver.
• 20:56
  Speaker 2: And we walk in. Another thing Kath and Dave like
• 20:59
  Speaker 2: to do is announce their presence and also let everyone
• 21:03
  Speaker 2: know what's going on with them.
• 21:05
  Speaker 1: Yeah.
• 21:07
  Speaker 2: They, you know, it's like, this is Quicksilver and he
• 21:11
  Speaker 2: was rescued from a tsunami. Yeah.
• 21:15
  Speaker 1: Why did we think of a tsunami?
• 21:16
  Speaker 2: I don't know.
• 21:19
  Speaker 1: Because that equals that it was at a distance. Yes.
• 21:23
  Speaker 2: It doesn't, I mean, though the Oregon coast, there are
• 21:26
  Speaker 2: tsunamis at the Oregon coast. Again, you have to, it's
• 21:30
  Speaker 2: a reach. I mean, we can't go back and change it, but,
• 21:34
  Speaker 2: or anyway. Anyway. So we're asking everyone to be careful
• 21:38
  Speaker 2: with him and yeah. And then it just escalates from there.
• 21:44
  Speaker 1: I guess the announcing when you go into a part,
• 21:46
  Speaker 1: it just helps the sketch so that at least we're,
• 21:50
  Speaker 1: we've got some volume to what we're saying.
• 21:52
  Speaker 2: They are loud people, Kath and Dave. It is. Yeah.
• 21:57
  Speaker 1: And I think by then, as, as I watched it,
• 21:59
  Speaker 1: I realized that this is very different than the first
• 22:02
  Speaker 1: season and that we, got the characters. We kind of
• 22:06
  Speaker 1: knew what they were. We had a shorthand for how
• 22:09
  Speaker 1: Captain Dave were.
• 22:10
  Speaker 2: Although in the first season, it's them out at a
• 22:13
  Speaker 2: cafe complaining about a dog being tied up.
• 22:15
  Speaker 1: It's all dog stuff.
• 22:17
  Speaker 2: At least at the beginning.
• 22:17
  Speaker 1: That's right.
• 22:18
  Speaker 2: And actually, they were pretty bombastic and hectoring then, too.
• 22:22
  Speaker 1: Yeah. Yeah. My friend Kristen Rivers is in the sketch.
• 22:30
  Speaker 2: I have two friends in the sketch.
• 22:31
  Speaker 1: Yeah.
• 22:32
  Speaker 2: A woman that I volunteered with at the Humane Society, Jennifer.
• 22:35
  Speaker 2: And then my dog sitter at the time, Sam, is
• 22:38
  Speaker 2: in it. This is very common. One thing about rewatching
• 22:42
  Speaker 2: is just like, oh, this is who I was hanging
• 22:46
  Speaker 2: out with at the time. Because often it was like, oh,
• 22:49
  Speaker 2: let's call friends and text friends and see if they
• 22:52
  Speaker 2: can pin it.
• 22:54
  Speaker 1: When we did the DJ sketch, this is like, I mean,
• 22:58
  Speaker 1: it's not exactly about all our friends who are in it.
• 23:00
  Speaker 1: I also remember, you know, we ended on this top
• 23:04
  Speaker 1: of the hill.
• 23:04
  Speaker 2: Mount Tabor.
• 23:05
  Speaker 1: Yeah. And it's just a special thing about shooting in
• 23:09
  Speaker 1: Portland where all of these locations, my memory of it now,
• 23:14
  Speaker 1: it's like, it is like a postcard or something that
• 23:18
  Speaker 1: we were up on this hill. What a great.
• 23:20
  Speaker 2: And I could tell it was the end of the day.
• 23:22
  Speaker 2: It was like, it was starting to get dark. But yeah,
• 23:26
  Speaker 2: so the dog park sketch, we shot it at Normandale Park,
• 23:28
  Speaker 2: which is a real dog park. And yeah, it looks it. Yeah.
• 23:34
  Speaker 2: There's a photo shoot in the middle of it. We
• 23:35
  Speaker 2: decided to.
• 23:36
  Speaker 1: Take photoshoots of the dogs and.
• 23:37
  Speaker 2: Then we leave with the wrong dog. We leave with
• 23:39
  Speaker 2: a different dog.
• 23:40
  Speaker 1: Yeah. Nice tidy sketch.
• 23:43
  Speaker 2: Yeah. It made me miss both those dogs who are
• 23:45
  Speaker 2: both gone. I, that was the hardest part about watching
• 23:47
  Speaker 2: this for me. Both cricket and Toby are now deceased
• 23:52
  Speaker 2: and they made it to 15, both of them. So
• 23:54
  Speaker 2: I didn't lose them early, but it's really. Yeah, I
• 23:58
  Speaker 2: think that's the hard thing about watching, going back and
• 24:00
  Speaker 2: watching any of this stuff. I see people who are
• 24:03
  Speaker 2: no longer with us and animals and just, yeah, that's,
• 24:07
  Speaker 2: I think just on a personal note, that's a tricky
• 24:09
  Speaker 2: part as much as it's really enjoyable. There's some moments
• 24:12
  Speaker 2: that are a little bit heartbreaking for me too.
• 24:16
  Speaker 1: Yeah, those, both Cricket and Toby were a big part
• 24:20
  Speaker 1: of the show, including the writer's room. They were there
• 24:23
  Speaker 1: all the time or, you know, I have many pictures,
• 24:29
  Speaker 1: photos of them.
• 24:30
  Speaker 2: I was just going to say you and, yeah, both
• 24:32
  Speaker 2: of them. They were in the little Airstream that we
• 24:35
  Speaker 2: used for our dressing room. They were always around.
• 24:39
  Speaker 1: Yeah. Yeah. Oh, right. You're right.
• 24:42
  Speaker 2: You're right.
• 24:43
  Speaker 1: You're right. Okay.
• 24:43
  Speaker 2: Good point.
• 24:44
  Speaker 1: We were just corrected that we leave with no dogs.
• 24:48
  Speaker 2: Yeah. It's worse than we thought.
• 24:50
  Speaker 1: Yeah.
• 24:50
  Speaker 2: Yeah.
• 24:51
  Speaker 1: We abandoned them both.
• 24:52
  Speaker 2: First, we leave with the incorrect dog.
• 24:54
  Speaker 1: Yeah.
• 24:55
  Speaker 2: And then we ditched that dog too.
• 24:57
  Speaker 1: Yeah, there's some line like, will you take care of me? Yeah.
• 25:01
  Speaker 2: And then that second dog that we first leave with
• 25:05
  Speaker 2: is Cricket.
• 25:06
  Speaker 1: Yeah.
• 25:06
  Speaker 2: And then we ditch her too.
• 25:08
  Speaker 1: What were we going to rush for?
• 25:10
  Speaker 2: We're always, yeah. A classic way for us to end
• 25:12
  Speaker 2: a sketch. Someone just leaving.
• 25:15
  Speaker 1: Yep.
• 25:16
  Speaker 2: Okay. Now we get to DMV hold music. With another
• 25:24
  Speaker 2: recurring actor, Rick, who plays our coworker, who puts the
• 25:27
  Speaker 2: guy on hold.
• 25:28
  Speaker 1: Yeah.
• 25:29
  Speaker 2: And this, like the music for... The Massage. The Massage,
• 25:36
  Speaker 2: which was in an earlier episode. Again, you and I
• 25:38
  Speaker 2: just having an excuse to sit around and improvise some
• 25:41
  Speaker 2: music for a long time.
• 25:44
  Speaker 1: But I like this. The music we did, I liked
• 25:46
  Speaker 1: it a little better in this one in that it
• 25:49
  Speaker 1: actually did seem almost like it could be hold music,
• 25:52
  Speaker 1: at least in the beginning.
• 25:53
  Speaker 2: Yeah, and these are one-off characters. These never recur. And yeah,
• 26:00
  Speaker 2: so basically this guy's on hold. Instead of, you know,
• 26:04
  Speaker 2: pre-recorded music, it's two people, two struggling musicians making a
• 26:09
  Speaker 2: go of it for an unwitting listener.
• 26:14
  Speaker 1: And yeah, an excuse for us to play it live.
• 26:18
  Speaker 2: Yeah. My memory.
• 26:21
  Speaker 1: of shooting the whole show is I didn't realize that
• 26:24
  Speaker 1: we did so much of that. I'm glad we did,
• 26:27
  Speaker 1: but I always think, oh, I wish we had done
• 26:29
  Speaker 1: more music, but we did plenty.
• 26:30
  Speaker 2: We did so much music, especially this. And, and one
• 26:33
  Speaker 2: thing to note is, you know, even though our schedule was,
• 26:38
  Speaker 2: you know, felt pretty rushed and we crammed a lot
• 26:40
  Speaker 2: of stuff in, you know, these take, our takes were
• 26:44
  Speaker 2: very long.
• 26:44
  Speaker 1: Yes.
• 26:45
  Speaker 2: And so I imagine the main like coverage of us
• 26:49
  Speaker 2: sitting around, like a keyboard and, you know, musical keyboard, drums, whatever, guitar.
• 26:55
  Speaker 2: I mean, this, this could have been a 45 minute take.
• 26:59
  Speaker 1: Definitely.
• 26:59
  Speaker 2: Yeah.
• 27:01
  Speaker 1: And we probably, or I probably, you know, played into
• 27:04
  Speaker 1: that too. I'm sure I was like, I want the
• 27:06
  Speaker 1: crew not to get bored by this. So I'll just
• 27:08
  Speaker 1: keep it.
• 27:10
  Speaker 2: So instead of stopping, we'll just keep going.
• 27:12
  Speaker 1: We'll make the music better.
• 27:13
  Speaker 2: Do you guys like this song?
• 27:15
  Speaker 1: Yeah.
• 27:16
  Speaker 2: Yeah.
• 27:17
  Speaker 1: I did. I really liked the ending.
• 27:19
  Speaker 2: Yes, sending the CD.
• 27:21
  Speaker 1: It's like he, yeah.
• 27:23
  Speaker 2: He gets a letter in the mail.
• 27:24
  Speaker 1: Saying that he wasn't approved or whatever.
• 27:26
  Speaker 2: Yeah, or that we're still processing your request. In the meantime,
• 27:30
  Speaker 2: please enjoy the CD of music. Also, again, sort of
• 27:34
  Speaker 2: the timestamp of CDs still being a thing. Like there's
• 27:37
  Speaker 2: certain moments in the show, you know, of course you
• 27:40
  Speaker 2: can't avoid that. But yeah, although you know what? CDs
• 27:43
  Speaker 2: are back, so.
• 27:44
  Speaker 1: They are.
• 27:45
  Speaker 2: Yeah.
• 27:46
  Speaker 1: Is there something, am I trendy in that Over the
• 27:51
  Speaker 1: last couple of years, I've been saying to people, I
• 27:53
  Speaker 1: actually like CDs because for traveling, if I go overseas,
• 27:58
  Speaker 1: I buy CDs because they're easier to travel with. Or
• 28:01
  Speaker 1: am I just because everyone is enjoying CDs again, I
• 28:06
  Speaker 1: worry that I'm actually like.
• 28:10
  Speaker 1: What are you saying? Like that I'm just a follower
• 28:13
  Speaker 1: of whatever's popular.
• 28:15
  Speaker 2: But you were around when CDs... True. I feel like... True.
• 28:19
  Speaker 1: Yeah.
• 28:19
  Speaker 2: Okay, good. Okay. You're an early adopter of CDs. I
• 28:25
  Speaker 2: don't know what kind of validation you're seeking right now,
• 28:26
  Speaker 2: but I will continue to reassure you.
• 28:30
  Speaker 1: It's the self-doubt.
• 28:31
  Speaker 2: You're the CD guy, Fred.
• 28:37
  Speaker 1: Fred Armisen? Oh, he was.
• 28:39
  Speaker 2: Early on the CDs.
• 28:40
  Speaker 1: It's his birthday. You know what to get him.
• 28:42
  Speaker 2: A CD.
• 28:43
  Speaker 1: Here we go. Any CD will do.
• 28:45
  Speaker 2: Yeah. And you even know that it stands for compact disc.
• 28:48
  Speaker 1: That's right. Yes.
• 28:52
  Speaker 2: For people, some people might not know.
• 28:54
  Speaker 1: They might not know.
• 28:54
  Speaker 2: Compact disc.
• 28:56
  Speaker 1: Because they're.
• 28:57
  Speaker 2: Compact.
• 28:58
  Speaker 1: As opposed to.
• 29:00
  Speaker 2: Big.
• 29:00
  Speaker 1: Gigantic.
• 29:01
  Speaker 2: Broad.
• 29:01
  Speaker 1: I went to.
• 29:03
  Speaker 2: Broad discs. As opposed to a laser disc, which were really.
• 29:06
  Speaker 1: Those are.
• 29:07
  Speaker 2: Those are big. Yeah.
• 29:08
  Speaker 1: That would be trendy. That would be like. Oh, yes.
• 29:10
  Speaker 1: You don't like laser discs.
• 29:11
  Speaker 2: Yeah.
• 29:12
  Speaker 1: You know what?
• 29:12
  Speaker 2: Sometimes I'll be reading like an interview with like a
• 29:16
  Speaker 2: director or someone in film and they'll talk about their
• 29:18
  Speaker 2: laser disc collection and it. It feels... A little forced.
• 29:22
  Speaker 2: A little forced. Yeah. You don't want to be the
• 29:25
  Speaker 2: LD guy. No. Yeah.
• 29:29
  Speaker 1: I went to this record store in Wyoming somewhere.
• 29:32
  Speaker 2: Okay.
• 29:33
  Speaker 1: And looking through the CDs, you know, they have a
• 29:35
  Speaker 1: section for box sets. Now, you know box sets when
• 29:39
  Speaker 1: they're new. There's like a... sheen to them. Old box
• 29:42
  Speaker 1: sets are the saddest thing you've ever seen.
• 29:45
  Speaker 2: Oh, they're really frayed at the edges, right? Really worn down.
• 29:47
  Speaker 1: Yeah. They don't age well. They don't age well. And
• 29:50
  Speaker 1: you could see the hope in the design because it'll
• 29:53
  Speaker 1: be shaped like a guitar case.
• 29:55
  Speaker 2: Oh, yeah.
• 29:55
  Speaker 1: Yeah. And oh, this is the ultimate collection. It'll say
• 29:58
  Speaker 1: things like ultimate collection and And it just looks so
• 30:02
  Speaker 1: too big and really sad. Yeah.
• 30:04
  Speaker 2: You have to have a display case for that. Like, yeah,
• 30:07
  Speaker 2: those are in history's dustbin for sure. And no resale
• 30:10
  Speaker 2: value either.
• 30:11
  Speaker 1: And I had no nostalgia. I wasn't like, oh, I
• 30:14
  Speaker 1: should get it for old time's sake. I was like,
• 30:15
  Speaker 1: this is, this is garbage now.
• 30:20
  Speaker 2: Yeah. Yeah.
• 30:22
  Speaker 1: Or like a jukebox, whatever it is.
• 30:24
  Speaker 2: Oh, yes, yes. A novelty case.
• 30:26
  Speaker 1: Yeah. Yes. There was a theme for a while. Yeah.
• 30:29
  Speaker 2: Or it was like a coffin. Yeah, a coffin. Yeah.
• 30:32
  Speaker 1: An anvil tour case.
• 30:34
  Speaker 2: Yeah.
• 30:35
  Speaker 1: And the cardboard really showed, like it shines through. Like
• 30:39
  Speaker 1: this is just cardboard. Yeah. Where at the time you're like, ooh,
• 30:41
  Speaker 1: could this be made out of? Yeah.
• 30:44
  Speaker 2: Whatever.
• 30:45
  Speaker 1: Steel.
• 30:46
  Speaker 2: Anyway, that's the DMV hold music.
• 30:48
  Speaker 1: That's the DMV hold music.
• 30:49
  Speaker 2: Yeah. By the way, this is now the second music.
• 30:52
  Speaker 2: sketch in this episode. So yeah, yes, we are. We can,
• 30:58
  Speaker 2: we can confirm there's a lot of music in this show.
• 31:09
  Speaker 2: Now we're on to Grover part two.
• 31:12
  Speaker 1: Yes.
• 31:13
  Speaker 2: Where we head to shooting star preschool.
• 31:16
  Speaker 1: Yeah.
• 31:17
  Speaker 2: To have our meeting with, with the head of the school,
• 31:20
  Speaker 2: played by Jana, another recurring... Frequent. Frequent local actor on
• 31:26
  Speaker 2: the show.
• 31:26
  Speaker 1: Yeah.
• 31:29
  Speaker 2: And instead of the traditional, she's assuming, Jana is assuming
• 31:34
  Speaker 2: that there will be an interview, but instead, Brendan and
• 31:38
  Speaker 2: Michelle have produced a video. But we claim that Grover
• 31:43
  Speaker 2: self-produced this video. I.
• 31:47
  Speaker 1: I don't know whose idea this was. I love the
• 31:49
  Speaker 1: idea of it. It was such, also because there's a quote,
• 31:52
  Speaker 1: Barack Obama quote in it.
• 31:54
  Speaker 2: It's egregious. It is like a shocking, like it is
• 31:58
  Speaker 2: just the worst version of these parents. Like just like
• 32:03
  Speaker 2: a disproportionate, like a sense of, yeah, self-importance, drawing influence
• 32:11
  Speaker 2: from like, again, like why? You know, like it's just.
• 32:16
  Speaker 1: Dishonesty?
• 32:17
  Speaker 2: Dishonesty. The interviews that were like a Ken Burns kind of.
• 32:20
  Speaker 1: Yeah. So they filmed themselves doing these interviews.
• 32:23
  Speaker 2: And then claimed like speciously that their child, a four-year-old,
• 32:28
  Speaker 2: had like produced. I actually, you can see on the
• 32:30
  Speaker 2: screen that they, we've listed credits and it says that
• 32:33
  Speaker 2: like Grover like.
• 32:34
  Speaker 1: Did it all.
• 32:35
  Speaker 2: Yeah. And it's a, yeah. Again, though. Like probably not
• 32:40
  Speaker 2: too far off. This predates, predates the college admission scandals.
• 32:46
  Speaker 2: I mean, this is, yeah, this is, these are some
• 32:49
  Speaker 2: really craven parents.
• 32:51
  Speaker 1: Yeah.
• 32:52
  Speaker 2: And just no, no regrets. They'll do whatever.
• 32:56
  Speaker 1: And too much money probably.
• 32:58
  Speaker 2: Yeah.
• 32:58
  Speaker 1: They produced this film. Yeah. It's nothing to them. Yeah.
• 33:04
  Speaker 1: And there's a really good, just a quick edit where
• 33:09
  Speaker 1: they're talking about AV equipment and they roll in. I
• 33:12
  Speaker 1: just like how quick, quickly that happened. Yeah. Um, so yeah,
• 33:16
  Speaker 1: that's the show, this film, there's music in it. It's
• 33:18
  Speaker 1: like very produced.
• 33:20
  Speaker 2: Highly produced.
• 33:21
  Speaker 1: Yeah.
• 33:21
  Speaker 2: Yeah. And that's basically it. Then the, you know, Deanna.
• 33:26
  Speaker 1: Has a good, like a good reaction.
• 33:28
  Speaker 2: Yeah.
• 33:28
  Speaker 1: We'll, we'll let you know.
• 33:29
  Speaker 2: Yeah. A lot of eye rolls from her. Um, gutter punks,
• 33:35
  Speaker 2: gutter punks. I feel like gutter, so gutter punks, I think,
• 33:40
  Speaker 2: if you maybe didn't grow up on the West Coast
• 33:43
  Speaker 2: or in a certain era, you may not be familiar with,
• 33:48
  Speaker 2: I feel like it was kind of a 90s phenomenon. Yeah.
• 33:53
  Speaker 1: Sort of dreadlocked.
• 33:57
  Speaker 2: White person with dreadlock.
• 33:58
  Speaker 1: Yeah. Kind of.
• 34:02
  Speaker 2: Usually someone actually that had money.
• 34:05
  Speaker 1: Oh, yeah. Yeah. Kind of.
• 34:07
  Speaker 2: Like a sort of trust fund punk. They were called
• 34:13
  Speaker 2: crusty punks.
• 34:13
  Speaker 1: Crusty punks.
• 34:14
  Speaker 2: Gutter punks. Shit punks.
• 34:16
  Speaker 1: In New York in the 80s we called them peace punks.
• 34:22
  Speaker 1: Little backpacks and usually a dog with them. Asking for
• 34:27
  Speaker 1: spare change. Patches. So not like punk like flashy with like.
• 34:34
  Speaker 2: No.
• 34:35
  Speaker 1: Spikes more sort of.
• 34:38
  Speaker 2: Crusty. Yeah.
• 34:39
  Speaker 1: Yeah.
• 34:40
  Speaker 2: Kind of like a nomadic lifestyle, like a choice.
• 34:47
  Speaker 1: Yeah.
• 34:47
  Speaker 2: A choice. I think that's what really differentiates it, you know,
• 34:51
  Speaker 2: from other forms of panhandling, like a choice to sort
• 34:53
  Speaker 2: of be living, you know.
• 34:56
  Speaker 1: In the streets and walking.
• 34:57
  Speaker 2: Uh-huh.
• 35:00
  Speaker 1: Boots, kind of old boots.
• 35:01
  Speaker 2: Yeah.
• 35:03
  Speaker 1: Army navy surplus clothes lots of big pockets yeah um
• 35:09
  Speaker 1: definitely dirty nothing wrong with being dirty i'm not saying
• 35:13
  Speaker 1: like ew i'm just saying but there was.
• 35:15
  Speaker 2: A sort of yes there was there was an aesthetic
• 35:17
  Speaker 2: it was yeah an aesthetic lifestyle choice.
• 35:20
  Speaker 1: Yeah yeah so we had this couple your wig was
• 35:24
  Speaker 1: great yes mine was just a little cap with wisps
• 35:29
  Speaker 1: of hair coming.
• 35:30
  Speaker 2: Down yes and a And in this sketch, we're asking
• 35:34
  Speaker 2: for change a dollar for some reason that I was
• 35:37
  Speaker 2: doing a slight, we both are doing a slight kind
• 35:39
  Speaker 2: of Canadian.
• 35:40
  Speaker 1: Yeah. Yeah. It's a little Northern. I don't know why
• 35:44
  Speaker 1: it felt like Vancouver.
• 35:45
  Speaker 2: I mean, Vancouver for sure. Yeah.
• 35:46
  Speaker 1: Yeah. So I just imagine they were from Canada. Yeah.
• 35:49
  Speaker 2: From Canada. Yeah. Um, so recently left their parents' fancy
• 35:53
  Speaker 2: home on Vancouver Island and now we're, yeah. Um, train
• 35:58
  Speaker 2: hop down to.
• 35:59
  Speaker 1: Yes.
• 36:00
  Speaker 2: Um, so.
• 36:02
  Speaker 1: This wasn't, I can't remember if this was our first
• 36:04
  Speaker 1: one though. Might have been.
• 36:06
  Speaker 2: Might have been, yeah.
• 36:09
  Speaker 1: And this is them with animals.
• 36:11
  Speaker 2: Yeah, well they realize that an animal garners more sympathy
• 36:16
  Speaker 2: and more money. Yeah.
• 36:17
  Speaker 1: Yeah. So I feel like typical Portlandia sketch and that
• 36:24
  Speaker 1: like it was just us, the build of it all.
• 36:27
  Speaker 2: Yeah, and I think another thing is again, you and
• 36:30
  Speaker 2: I coming from like independent music and punk, like these,
• 36:39
  Speaker 2: this might feel esoteric, but for us, this was like
• 36:42
  Speaker 2: definitely part of that sort of vernacular. Like if you
• 36:45
  Speaker 2: were sort of, you know, doing a taxonomy of like
• 36:49
  Speaker 2: the different iterations of like punk and, you know, in
• 36:54
  Speaker 2: like the nineties, like this was definitely part of the
• 36:57
  Speaker 2: ecosystem that these were you know, like, or if you
• 37:01
  Speaker 2: went down and played a show at like Gilman street
• 37:03
  Speaker 2: in Oakland or something, you know, like this, this was,
• 37:08
  Speaker 2: these people were part of that ecosystem.
• 37:10
  Speaker 1: They were around. Yeah. Yeah. But also kind of not around.
• 37:13
  Speaker 1: They were definitely not t-shirt buyers or no, no, or
• 37:17
  Speaker 1: even fans really. They were just like, we're here. We're around.
• 37:21
  Speaker 2: Yeah.
• 37:21
  Speaker 1: Yeah. So I'm glad we, we got to do those. Yeah.
• 37:26
  Speaker 2: Um, go over part three.
• 37:29
  Speaker 1: Well, there's also the scavenger hunt.
• 37:30
  Speaker 2: Oh, I'm sorry.
• 37:32
  Speaker 1: What's the name of that sketch? Is it scavenger hunt?
• 37:35
  Speaker 1: It's the, I'm a little guy.
• 37:37
  Speaker 2: I'm a little guy, which is something you, this was
• 37:39
  Speaker 2: an observation you had.
• 37:41
  Speaker 1: No, this, well, yes. Or, well, no, it was, uh,
• 37:46
  Speaker 1: the singer of my band trench mouth in the nineties.
• 37:51
  Speaker 1: He did this as just a morning bit for no reason.
• 37:55
  Speaker 1: Just walked. We were just talking to each other. And
• 37:59
  Speaker 1: he just said, I'm just a little guy. My hands
• 38:01
  Speaker 1: are small. He did that whole description. So that's Damon Locks.
• 38:08
  Speaker 1: And it just always stuck with me as like, oh, yeah,
• 38:10
  Speaker 1: there is that is a description of a type of person.
• 38:13
  Speaker 2: Now I think they're called short kings. It's like a
• 38:15
  Speaker 2: it's like a popular thing. Like just like a shorter guy.
• 38:19
  Speaker 1: Yeah, just. Yeah, it's as simple as that.
• 38:23
  Speaker 2: Yeah.
• 38:23
  Speaker 1: But Damon is, you know. Isn't that he just did
• 38:29
  Speaker 1: it as a bit and it just made sense to me.
• 38:32
  Speaker 1: And then as we did it, it worked out as,
• 38:35
  Speaker 1: as the sketch where we're on a scavenger hunt throughout Portland.
• 38:39
  Speaker 2: Yeah.
• 38:40
  Speaker 1: And our team is like dressed like Sergeant Pepper. And
• 38:45
  Speaker 1: the other ones are like pilgrims. The other team.
• 38:50
  Speaker 2: Yes.
• 38:50
  Speaker 1: We're in competition with. And the scavenger hunt is like,
• 38:53
  Speaker 1: we opened it. We get to see a lot of
• 38:55
  Speaker 1: Portland in it.
• 38:56
  Speaker 2: Yeah. Yeah. And both those actors, I think Ryan and Megan,
• 39:00
  Speaker 2: are also recurring.
• 39:02
  Speaker 1: Yeah. Yeah. So the thing I noticed about it, which
• 39:07
  Speaker 1: I don't know if we talk about it enough in
• 39:09
  Speaker 1: that it's so easy to take for granted, the sound effects.
• 39:12
  Speaker 2: Yes.
• 39:13
  Speaker 1: There's a lot of like cartoony sound effects throughout. And
• 39:18
  Speaker 1: then through many sketches that even watching it, it goes
• 39:25
  Speaker 1: through me until I'm wait a minute, there's something highlighting.
• 39:29
  Speaker 2: It's definitely something we've talked about a bit but just
• 39:32
  Speaker 2: that kind of like musicality in the editing yeah you
• 39:36
  Speaker 2: know whether it's the cadence of the editing or the
• 39:42
  Speaker 2: pacing or the timing of the cuts or actual sound
• 39:45
  Speaker 2: effects I feel like It helped with the pacing and
• 39:49
  Speaker 2: the texture of the show, I think, because I always
• 39:51
  Speaker 2: thought of these sketches, like these sort of fast paced
• 39:56
  Speaker 2: sketches to kind of be the counterbalance to things that
• 40:00
  Speaker 2: were a little more contemplative. I mean, nothing was, I mean,
• 40:03
  Speaker 2: it's sketch, nothing's too contemplative, but there were obviously other
• 40:06
  Speaker 2: sketches that didn't have that kind of like fast paced.
• 40:09
  Speaker 2: like percussive vibe. And I felt like we often use
• 40:13
  Speaker 2: this and gutter punks was one too, where, you know,
• 40:16
  Speaker 2: you just, it has like the snappiness to it. Cause
• 40:20
  Speaker 2: I think you need things that sort of move along,
• 40:23
  Speaker 2: especially with the, the wraparound sketches, like, cause those were,
• 40:28
  Speaker 2: had a little more storytelling and these needed to kind
• 40:30
  Speaker 2: of like, you know, fit into this one part of
• 40:32
  Speaker 2: the show where it was like, we only have a
• 40:34
  Speaker 2: minute and a half. So how can we kind of
• 40:36
  Speaker 2: keep this like paced up and exciting.
• 40:37
  Speaker 1: And, Yeah, holding your attention.
• 40:40
  Speaker 2: Yeah.
• 40:41
  Speaker 1: But I sometimes think about those, the editors, because those choices,
• 40:47
  Speaker 1: sometimes I think where do they find these sounds? I
• 40:50
  Speaker 1: wonder if, I guess we could just ask them, they
• 40:53
  Speaker 1: just did something as a joke for themselves just to
• 40:57
  Speaker 1: make themselves laugh and then it stuck.
• 40:59
  Speaker 2: I feel like we should have one or two of
• 41:01
  Speaker 2: the editors on the podcast. To me, they so very
• 41:05
  Speaker 2: much shaped the language of the show. You know, and they,
• 41:09
  Speaker 2: from the beginning, you know, they really, yeah, I guess
• 41:14
  Speaker 2: I shouldn't say we should have them on the show
• 41:16
  Speaker 2: because maybe we'll have them on in an earlier episode.
• 41:18
  Speaker 2: But anyway, we should get the editors on.
• 41:21
  Speaker 1: I just enjoy watching the sketch because there's so much
• 41:24
  Speaker 1: of Portland in it. Yeah.
• 41:26
  Speaker 2: Yeah.
• 41:27
  Speaker 1: And it's sweet and it's not even making fun of
• 41:31
  Speaker 1: anybody or any, even the scavenger hunt seems like a
• 41:34
  Speaker 1: fun scavenger hunt. Yeah.
• 41:37
  Speaker 2: Yeah. Again, I'm always, I'm always surprised at sketches where
• 41:40
  Speaker 2: we cover a lot of real estate. Cause I just,
• 41:43
  Speaker 2: I think now more than I did at the time,
• 41:46
  Speaker 2: I'm just so much more cognizant of how hard that
• 41:51
  Speaker 2: is to just be moving through space like that, you know,
• 41:55
  Speaker 2: especially on location, you know?
• 41:57
  Speaker 1: Yeah.
• 41:58
  Speaker 2: And there are so many moments that we just were
• 42:03
  Speaker 2: happy accidents that because we were, uh, a fair, very
• 42:07
  Speaker 2: nimble crew, very, um, like fast moving. We kept things light.
• 42:12
  Speaker 2: We didn't have a huge crew. Like we were able
• 42:14
  Speaker 2: to just like add a quick shot or see something
• 42:16
  Speaker 2: that was inspiring or funny or additive and actually shoot that,
• 42:22
  Speaker 2: you know, last minute unplanned. Um, and that's, I think
• 42:27
  Speaker 2: was very much part of the show. And I, I
• 42:29
  Speaker 2: sense that every time I watch something like this with
• 42:32
  Speaker 2: a lot of like movement in it.
• 42:34
  Speaker 1: That one, especially. Yeah. And it ends with the Portland sign,
• 42:39
  Speaker 1: which I think represents the city of Portland. Then on
• 42:44
  Speaker 1: to part three of Grover's Parents.
• 42:46
  Speaker 2: Oh, God. This part. This is where, okay, I said
• 42:48
  Speaker 2: at the beginning, you were like, I really laughed. And
• 42:51
  Speaker 2: I was like, I really cringed. I think this is
• 42:52
  Speaker 2: the part where I really was like, oh, my God.
• 42:54
  Speaker 1: I know. It feels a little unlike the show, a
• 42:59
  Speaker 1: little bit.
• 43:00
  Speaker 2: Yeah.
• 43:01
  Speaker 1: It's not what we usually, I mean, once in a while,
• 43:03
  Speaker 1: Nina and Lance, but. Yeah. Yeah. It was silly.
• 43:07
  Speaker 2: It was silly. It's definitely silly. We should say what
• 43:09
  Speaker 2: it is. So we're back at home. Brennan and Michelle
• 43:13
  Speaker 2: are back at home. Michelle walks into the kitchen. The
• 43:16
  Speaker 2: mail has arrived. Grover's gotten into shooting star preschool. And
• 43:20
  Speaker 2: we're so ecstatic that we just are immediately like the
• 43:24
  Speaker 2: only thing we can think to do is just basically
• 43:27
  Speaker 2: have sex.
• 43:27
  Speaker 1: Yeah. And we start making out.
• 43:30
  Speaker 2: In front of our kid.
• 43:31
  Speaker 1: Yeah.
• 43:32
  Speaker 2: In front of Grover. Grover. This whole thing, I was like,
• 43:36
  Speaker 2: I was like, what?
• 43:38
  Speaker 1: And then we go to another room and it gets, luckily,
• 43:41
  Speaker 1: it does get silly enough.
• 43:42
  Speaker 2: It gets silly. Yeah. But there's like fake nudity, you know,
• 43:46
  Speaker 2: like we, yeah, it was just, it goes on for
• 43:48
  Speaker 2: so long in the way that I guess is the
• 43:51
  Speaker 2: comedic comedy sex part of it. But I just was like,
• 43:55
  Speaker 2: I had completely blocked this out.
• 43:57
  Speaker 1: I'd forgotten about it. Yeah.
• 43:59
  Speaker 2: Yeah. Which is telling that we both blocked this out. Yeah.
• 44:03
  Speaker 1: I mean, like if someone had asked me, do you
• 44:06
  Speaker 1: know how that sketch ends?
• 44:07
  Speaker 2: I would say I actually was predicting how the sketch,
• 44:10
  Speaker 2: I was, I actually had a whole other ending in mind.
• 44:13
  Speaker 1: What was that?
• 44:15
  Speaker 2: Not this. It was anything this, like I was, I.
• 44:20
  Speaker 1: Was imagining that he didn't get in or something. Yeah.
• 44:24
  Speaker 2: I don't know what it would have been, but I
• 44:26
  Speaker 2: just thought I was, it really took me by surprise
• 44:30
  Speaker 2: and it, I will say there's not a lot of... Okay,
• 44:33
  Speaker 2: Lance and Nina, who we've talked about before, when we're
• 44:36
  Speaker 2: both in drag, those characters... They have a very physical relationship.
• 44:41
  Speaker 1: Yeah.
• 44:42
  Speaker 2: And, you know, I think their physical intimacy was always
• 44:46
  Speaker 2: part of that, those characters. It very much defines how
• 44:50
  Speaker 2: they connect.
• 44:51
  Speaker 1: Yeah.
• 44:51
  Speaker 2: Peter and Nance, you know, we've talked about, they have
• 44:54
  Speaker 2: that very syrupy, you know, lovey-dovey. They are, it's not sexual,
• 44:58
  Speaker 2: but it's very, it's intimate and sweet.
• 45:00
  Speaker 1: It's physical, but not sexual.
• 45:02
  Speaker 2: Exactly.
• 45:02
  Speaker 1: Or their version of sexual.
• 45:04
  Speaker 2: Exactly.
• 45:05
  Speaker 1: And.
• 45:06
  Speaker 2: you know, we'll get to them later. There's a few,
• 45:09
  Speaker 2: you know, sex scenes that are again played for laughs,
• 45:13
  Speaker 2: but this, I just did not remember. And because they
• 45:15
  Speaker 2: were fairly rare. Yeah.
• 45:18
  Speaker 1: I mean, I wonder if it's like, in a way
• 45:21
  Speaker 1: it's still early in the, our existence as a show.
• 45:24
  Speaker 2: Yeah.
• 45:25
  Speaker 1: There were still, I don't know.
• 45:29
  Speaker 2: Yeah. We both, we both seem like I'm looking at
• 45:32
  Speaker 2: you right now. I feel like we both seem like
• 45:34
  Speaker 2: not traumatized by it, but. Yeah.
• 45:37
  Speaker 1: What's the, yeah.
• 45:39
  Speaker 2: Like we're like, I'm like stuck. I'm like, you know
• 45:41
  Speaker 2: what it was like, there's a moment, this is this
• 45:44
  Speaker 2: moment where I, so we each leave the room. We're like,
• 45:46
  Speaker 2: we leave the room. We're like making out. And then
• 45:48
  Speaker 2: we leave. And it's like, the camera stays on Grover
• 45:52
  Speaker 2: and you hear Michelle and Brendan copulating.
• 45:57
  Speaker 1: And sometimes on our own.
• 45:58
  Speaker 2: Sometimes on our own. So, so I walk back in
• 46:02
  Speaker 2: as Michelle and I'm, I mean, it's blurred out, but like,
• 46:06
  Speaker 2: and I know I was wearing like a little, you know,
• 46:09
  Speaker 2: modesty cover, but I look nude. And I was like,
• 46:13
  Speaker 2: oh my God. I felt scandalized by myself. Who is
• 46:18
  Speaker 2: this naked woman on screen? No one wants to see this,
• 46:21
  Speaker 2: including me. I'm watching it. And obviously this, and I
• 46:26
  Speaker 2: think the kid wasn't in the room when we shot
• 46:28
  Speaker 2: this because it would have been his. on me i
• 46:30
  Speaker 2: would yes you know and also by the way of
• 46:33
  Speaker 2: course i am actually irl wearing.
• 46:36
  Speaker 1: Something yes i don't think yeah no.
• 46:38
  Speaker 2: For 100 100 but i i was like oh goodness
• 46:41
  Speaker 2: yes yeah.
• 46:43
  Speaker 1: It made me happy to hear the comedic sounds you
• 46:46
  Speaker 1: were like please make this yeah because you know there's
• 46:49
  Speaker 1: those times where we're on our own.
• 46:50
  Speaker 2: In that room yes that's when it's funny and yes.
• 46:52
  Speaker 1: And i'm like okay good something's happening yeah that equals
• 46:56
  Speaker 1: a version of comedy and i'll take it Yeah.
• 46:59
  Speaker 2: We're just, we're crawling towards the end of this episode
• 47:03
  Speaker 2: as I feel like there's so much to talk about
• 47:06
  Speaker 2: in therapy, which is a different podcast.
• 47:08
  Speaker 1: That's a different podcast. That's on its way. Yeah. There's
• 47:11
  Speaker 1: a good sound effect I wrote down here of a
• 47:15
  Speaker 1: hand clap.
• 47:19
  Speaker 2: During the sex? Yeah.
• 47:21
  Speaker 1: Or one of us does like a clap and for
• 47:22
  Speaker 1: some reason they amplify it.
• 47:24
  Speaker 2: So it's like.
• 47:24
  Speaker 1: Yuck.
• 47:27
  Speaker 2: Yeah. Okay, great.
• 47:31
  Speaker 1: The writers on this one was us and Carrie Dornetto.
• 47:36
  Speaker 2: Yes, who joins in season two and who we never
• 47:39
  Speaker 2: let go.
• 47:39
  Speaker 1: And we really love Carrie Dornetto. So funny.
• 47:43
  Speaker 2: Still do. Very, very funny. Very silly. This is the
• 47:47
  Speaker 2: season that we wrote in Gus Van Zandt's office downtown.
• 47:52
  Speaker 1: Yes.
• 47:54
  Speaker 2: Portland.
• 47:55
  Speaker 1: That's right.
• 47:56
  Speaker 2: Yeah.
• 47:57
  Speaker 1: And I've got Alison Silverman and Bill Oakley as consultants.
• 48:02
  Speaker 1: Bill Oakley wrote on The Simpsons and Alison Silverman, we've
• 48:05
  Speaker 1: already talked about, who's great.
• 48:06
  Speaker 2: Yep, she was with us in season one. She came
• 48:08
  Speaker 2: from the Colbert Report. And yeah, Bill came on for
• 48:12
  Speaker 2: this season and it was super helpful and also interesting
• 48:18
  Speaker 2: just to see how his mind works coming from The Simpsons.
• 48:21
  Speaker 2: And yeah, very clever guy.
• 48:24
  Speaker 1: So that's the Grover episode.
• 48:27
  Speaker 2: That's the Grover episode. And I hope to never see
• 48:31
  Speaker 2: myself fake nude on screen again.
• 48:33
  Speaker 1: I have to watch my reaction because when you said that,
• 48:36
  Speaker 1: I couldn't go like.
• 48:37
  Speaker 2: I would.
• 48:40
  Speaker 1: You know what I mean?
• 48:41
  Speaker 2: We are on camera right now.
• 48:42
  Speaker 1: That's what I'm saying.
• 48:47
  Speaker 2: Yeah, I'm glad someone liked it.
• 48:50
  Speaker 1: But I just want to reiterate to everyone, go out
• 48:53
  Speaker 1: to your local thrift store and get those box sets
• 48:55
  Speaker 1: of CDs.
• 48:57
  Speaker 2: Yeah, and take photos and send them to us.
• 48:59
  Speaker 1: Yeah.
• 48:59
  Speaker 2: Let us know what box sets you've purchased recently. And
• 49:02
  Speaker 2: also congratulations to Fred Armisen on your CDs. That's right.
• 49:06
  Speaker 1: Yes. The CD king.
• 49:08
  Speaker 2: Yep. All right.
• 49:11
  Speaker 1: So thank you.
• 49:12
  Speaker 2: And with what's left of me, goodbye.
• 49:14
  Speaker 1: Goodbye.