Latest / Podlandia: A-O Rewatch with Fred Armisen and Carrie Brownstein / 203: Cool Wedding

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203: Cool Wedding · 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.
• 0:05
  Speaker 2: Watch, watch Hey, hey, hey, watch.
• 0:08
  Speaker 3: Watch Hey, hey, hey, watch, watch.
• 0:29
  Speaker 2: You're watching Podlandia. Hi, I'm Fred.
• 0:34
  Speaker 3: And I'm Keri.
• 0:35
  Speaker 2: And this is AO Rewatch.
• 0:37
  Speaker 3: AO Rewatch.
• 0:38
  Speaker 2: It's a Portlandia rewatch podcast.
• 0:42
  Speaker 3: Hi, Fred.
• 0:42
  Speaker 2: Hi, Keri.
• 0:43
  Speaker 3: Today we are talking about Cool Wedding.
• 0:45
  Speaker 2: This is from the second season. That's right. And I remember,
• 0:52
  Speaker 2: first of all, I really enjoyed watching this.
• 0:55
  Speaker 3: Me too.
• 0:56
  Speaker 2: Definitely laughed.
• 0:57
  Speaker 1: Even before I watched it again, I knew I was
• 1:00
  Speaker 1: going to like it because I remember this as being
• 1:02
  Speaker 1: one of my favorite episodes.
• 1:04
  Speaker 2: Yeah. This was like, I mean, the second season is
• 1:07
  Speaker 2: we really were in this really great zone of coming
• 1:13
  Speaker 2: up with sketch ideas.
• 1:14
  Speaker 3: I was going to say the same thing. We were
• 1:16
  Speaker 3: in the zone.
• 1:17
  Speaker 2: Do you remember you and I used to have this
• 1:20
  Speaker 2: tradition of sort of getting together, just you and me.
• 1:24
  Speaker 3: Yes.
• 1:24
  Speaker 2: And just showing each other ideas. I can't remember if
• 1:27
  Speaker 2: I had them written on my phone or like.
• 1:28
  Speaker 1: Yeah, we would get together before the official writer's room
• 1:33
  Speaker 1: resumed and just kind of share any ideas that we'd
• 1:37
  Speaker 1: been thinking about in the intervening months.
• 1:39
  Speaker 3: Yeah.
• 1:40
  Speaker 1: And, I mean, obviously this would have been the first
• 1:42
  Speaker 1: year we did that because we'd only done one season.
• 1:44
  Speaker 1: But we made it a tradition after this. But, yeah,
• 1:47
  Speaker 1: I think it was just because the show started... as
• 1:50
  Speaker 1: an extension of work that we were already doing together.
• 1:53
  Speaker 1: I think we wanted to just kind of reconnect and
• 1:56
  Speaker 1: like remind ourselves, like this is based on, you know,
• 2:00
  Speaker 1: our friendship.
• 2:02
  Speaker 3: It's an extension of that.
• 2:04
  Speaker 1: Like, let's make sure that we are sort of like
• 2:07
  Speaker 1: connecting and like on the same page with things.
• 2:09
  Speaker 3: And it, yeah, I liked that.
• 2:12
  Speaker 1: Even if things didn't come out of it necessarily, it
• 2:16
  Speaker 1: was just a way of like getting your brain back
• 2:18
  Speaker 1: into that, kind of writing mode and back into the
• 2:21
  Speaker 1: Portlandia like ethos, I guess, or like mindset because it's different.
• 2:26
  Speaker 3: It's different than other things that we do.
• 2:28
  Speaker 4: Yeah.
• 2:29
  Speaker 2: And I can't remember if like we had it all
• 2:31
  Speaker 2: written out in a way or was there like a
• 2:33
  Speaker 2: list kind of like a list of ideas?
• 2:36
  Speaker 3: I feel like later for sure it was Notes app.
• 2:39
  Speaker 1: This might still have been like an actual notebook for
• 2:41
  Speaker 1: me even though obviously I had a phone then but
• 2:44
  Speaker 1: now I use my Notes app all the time.
• 2:46
  Speaker 2: Yeah.
• 2:47
  Speaker 1: Although I still actually have I should bring it out
• 2:50
  Speaker 1: for one of these episodes. Like I still have Portlandia
• 2:54
  Speaker 1: notes in my notes app, including a list of sketch ideas.
• 2:57
  Speaker 2: I think I do too. I think I've just left
• 2:58
  Speaker 2: it on there.
• 2:59
  Speaker 3: Yeah, same.
• 3:00
  Speaker 2: Oh, we got to bring those in.
• 3:00
  Speaker 3: Yeah.
• 3:02
  Speaker 2: Was this the season where we sat down at this
• 3:06
  Speaker 2: cafe or whatever, coffee shop, and then out on the street,
• 3:13
  Speaker 2: salt and straw was like a sort of, there was like,
• 3:16
  Speaker 2: they had like a sort of cart thing. Out front.
• 3:19
  Speaker 1: Yes, we were on Alberta, northeast Alberta in Portland. But
• 3:23
  Speaker 1: I thought that was during a break from shooting.
• 3:26
  Speaker 2: Oh, it could have been.
• 3:27
  Speaker 3: It could have been.
• 3:27
  Speaker 2: It could have been like a different season or something.
• 3:29
  Speaker 2: But I just remember like it was just the two
• 3:33
  Speaker 2: of us when we saw that.
• 3:35
  Speaker 1: Yes, we were at a coffee shop and they were cousins.
• 3:39
  Speaker 1: And they said, hey, we're starting an ice cream shop.
• 3:43
  Speaker 1: And it's called Salt and Straw. And we were like,
• 3:45
  Speaker 1: best of luck to you.
• 3:46
  Speaker 4: Yeah.
• 3:47
  Speaker 3: Yeah.
• 3:47
  Speaker 2: And the luck worked.
• 3:49
  Speaker 3: The luck worked.
• 3:50
  Speaker 1: You know, two other companies from Portland, Stumptown, and Voodoo Donuts,
• 3:55
  Speaker 1: both also doing okay.
• 3:57
  Speaker 2: Pretty well. Yeah. This, you know, the premise around like
• 4:03
  Speaker 2: the wraparound, as we call it, I remember this was
• 4:07
  Speaker 2: in discussion a lot. Like the idea of, I think
• 4:09
  Speaker 2: we'd been to some weddings where they were trying to
• 4:12
  Speaker 2: do something different. Yes. And I think it just stemmed
• 4:17
  Speaker 2: from that.
• 4:18
  Speaker 1: I know I was trying to remember because we talked
• 4:21
  Speaker 1: about this a little bit. When we first get back
• 4:23
  Speaker 1: together in the writer's room, it's called the blue sky
• 4:25
  Speaker 1: period where it's just like everyone's just brainstorming. And often
• 4:29
  Speaker 1: in those first couple of days when we haven't seen
• 4:31
  Speaker 1: each other for months, what we do is just share
• 4:34
  Speaker 1: stories from our lives. And that's when we get like
• 4:36
  Speaker 1: a lot of anecdotes. It feels like this would have
• 4:40
  Speaker 1: come from that. Like someone would have been gone to
• 4:43
  Speaker 1: a wedding. You know, something that was like arduous and
• 4:46
  Speaker 1: costly and for sure a destination or just trying to
• 4:51
  Speaker 1: do something like conspicuously different.
• 4:55
  Speaker 2: Yeah.
• 4:56
  Speaker 1: But I don't, I don't remember being, I feel like
• 5:00
  Speaker 1: I missed a lot of weddings because of Fort Landy.
• 5:01
  Speaker 3: I don't think I had gone to any recently.
• 5:05
  Speaker 2: I mean, was it the, were we talking about what
• 5:09
  Speaker 2: we would do at a wedding? Like some things that
• 5:12
  Speaker 2: like we would do differently? Yeah.
• 5:14
  Speaker 3: You know whose wedding we went to? My dad's.
• 5:16
  Speaker 2: That's right.
• 5:16
  Speaker 3: But that was later. That was later.
• 5:18
  Speaker 2: Yeah, yeah, yeah.
• 5:18
  Speaker 3: And you know what? No offense, dad. I wouldn't call
• 5:21
  Speaker 3: that a cool wedding. No. Yeah. This wraparound is not
• 5:28
  Speaker 3: based on my dad's wedding.
• 5:29
  Speaker 2: No.
• 5:29
  Speaker 3: Yeah. A man who wore shorts, yes, at his wedding
• 5:33
  Speaker 3: with a tux and a bow tie. Just putting it
• 5:36
  Speaker 3: out there. Looked like he was in Blink-182. Totally fine.
• 5:40
  Speaker 3: Totally fine, dad. Love those photos. Timeless.
• 5:45
  Speaker 1: Okay.
• 5:46
  Speaker 3: Back to this.
• 5:47
  Speaker 1: So the cold open for this is a technology sketch, which,
• 5:52
  Speaker 1: you know what? We really were grappling with technology and
• 5:56
  Speaker 1: our relationship to technology a lot in Portlandia.
• 5:58
  Speaker 3: It's a recurring theme.
• 6:01
  Speaker 2: And this one still resonates. For sure. And the cold
• 6:05
  Speaker 2: open is Carrie's dropping her phone. And as it's about
• 6:08
  Speaker 2: to hit the ground, she goes through all the trauma
• 6:11
  Speaker 2: that it's going to cause. Right.
• 6:13
  Speaker 1: Well, she's basically like rhapsodizing about her relationship with the phone.
• 6:18
  Speaker 2: Yeah.
• 6:19
  Speaker 1: You know, it's like, oh, all the fond memories I have,
• 6:22
  Speaker 1: you know, kind of like imbuing the phone, you know,
• 6:26
  Speaker 1: sort of like anthropomorphizing the phone, you know, sort of
• 6:30
  Speaker 1: like this phone was my friend, my lover, my confidant,
• 6:36
  Speaker 1: you know, in the ways that our phones are often
• 6:38
  Speaker 1: a substitute version.
• 6:40
  Speaker 3: Human interaction. We might've been a little, a little early
• 6:43
  Speaker 3: on this.
• 6:44
  Speaker 2: Yeah. But it's still resonates.
• 6:45
  Speaker 3: Yeah.
• 6:46
  Speaker 2: And this is like, you know, I don't know if
• 6:51
  Speaker 2: it's like if the editors, you know, made this vision
• 6:54
  Speaker 2: come true. Like there's like a real, this is like
• 6:57
  Speaker 2: a rich cold open. Like there are a lot of shots.
• 7:01
  Speaker 2: There's like a, it's like a full sketch.
• 7:03
  Speaker 3: Yes.
• 7:04
  Speaker 1: Which I often think about when I'm rewatching is just,
• 7:09
  Speaker 1: oh my God, we did not set this in one location.
• 7:12
  Speaker 3: This was shot all over town.
• 7:14
  Speaker 1: And often what we did was we would film a
• 7:17
  Speaker 1: sketch that largely took place in one location and then
• 7:20
  Speaker 1: we would get a piece of this cold open at
• 7:24
  Speaker 1: the end of that. So we were piecing it together
• 7:28
  Speaker 1: throughout the entire shoot.
• 7:32
  Speaker 2: There's so much going on. Background actors, you know, different
• 7:36
  Speaker 2: settings and stuff that, you know, some of it's in
• 7:38
  Speaker 2: black and white.
• 7:39
  Speaker 3: Yes.
• 7:41
  Speaker 2: But what I liked, something that I'd forgotten about, which
• 7:43
  Speaker 2: is I think, you know, the ending where the, you
• 7:47
  Speaker 2: shatter instead of the phone.
• 7:49
  Speaker 1: Yes.
• 7:49
  Speaker 2: Is very Portlandia editors.
• 7:52
  Speaker 3: Yes.
• 7:53
  Speaker 2: Like a very simple ending to it. That's like a
• 7:58
  Speaker 2: little abstract, but.
• 8:00
  Speaker 3: A little absurd.
• 8:02
  Speaker 2: Yeah.
• 8:02
  Speaker 3: Yeah. That you, yes.
• 8:04
  Speaker 1: But I actually was, I, I hate to ascribe this
• 8:07
  Speaker 1: to our own work, but I was like, oh, that's clever.
• 8:10
  Speaker 1: But also I can say that because it wasn't my idea.
• 8:12
  Speaker 1: I was like, oh, that's a clever ending.
• 8:13
  Speaker 3: Yes.
• 8:14
  Speaker 2: That's what I thought also. For real. I was a
• 8:17
  Speaker 2: little bit like, I was like, okay, that's good. It
• 8:19
  Speaker 2: also surprised me. Yeah. Even though we did it, I
• 8:23
  Speaker 2: still was like, oh, yeah, that's right. That's how we
• 8:24
  Speaker 2: ended it. Yeah.
• 8:25
  Speaker 3: I thought it was a good ending.
• 8:26
  Speaker 1: So then we go into part one of the through
• 8:28
  Speaker 1: line slash wraparound, cool wedding part one, who feature recurring characters, Spike,
• 8:34
  Speaker 1: who's Fred's sort of.
• 8:37
  Speaker 2: Bicycle rights guy.
• 8:39
  Speaker 3: Yeah, rassable, gauges in the ear, bike guy.
• 8:44
  Speaker 1: And his wife slash, not wife, sorry, this is his partner,
• 8:48
  Speaker 1: his fiance, I guess, Iris. And is this the first
• 8:52
  Speaker 1: time we see Iris?
• 8:54
  Speaker 2: I think it might be.
• 8:55
  Speaker 3: I think it is.
• 8:56
  Speaker 1: And to me, Iris has a very familiar look. Like
• 9:00
  Speaker 1: I know this look, like the sort of baby bangs.
• 9:03
  Speaker 1: dyed black hair, very severe bob, long bob, lob, as
• 9:09
  Speaker 1: it's called, short bangs, and kind of a slightly retro look,
• 9:15
  Speaker 1: which to me is like one of the choices you
• 9:19
  Speaker 1: have when you're sort of in that like punk, punk
• 9:22
  Speaker 1: adjacent aesthetic is like a little bit of a throwback,
• 9:26
  Speaker 1: you know, like just vintage kind of 60s clothing, like,
• 9:33
  Speaker 1: a nod to that time, and then with an.
• 9:35
  Speaker 3: Edge to it.
• 9:36
  Speaker 2: And it's not Rockabilly.
• 9:38
  Speaker 3: It's not Rockabilly.
• 9:39
  Speaker 2: It's not that version of retro. It's this other thing, yeah,
• 9:42
  Speaker 2: like you said, 60s, 70s maybe even.
• 9:44
  Speaker 3: To me, when I think about it, it slightly.
• 9:48
  Speaker 1: Abuts like Riot Grrrl, where it's a slight reclamation of,
• 9:53
  Speaker 1: it's like this reclamation of like, okay, we're taking a
• 9:56
  Speaker 1: sartorial approach like look from an era where women had
• 10:05
  Speaker 1: a different status, but we're sort of owning it in
• 10:07
  Speaker 1: like a modern context.
• 10:09
  Speaker 3: And like, now it's empowerment. You know what I mean?
• 10:12
  Speaker 1: Like, it's just like re-imagining this clothing you know, that
• 10:16
  Speaker 1: used to be sort of like signifiers of like domesticity.
• 10:20
  Speaker 3: And now it's like, nope. Now it's just like, you know, independence.
• 10:26
  Speaker 3: That is that look for me.
• 10:27
  Speaker 2: And it's pretty serious. Like it's not like goofy.
• 10:31
  Speaker 3: It's not frivolous.
• 10:33
  Speaker 2: No.
• 10:34
  Speaker 3: Yeah.
• 10:34
  Speaker 2: There's no like funny jewelry. You know what I mean?
• 10:39
  Speaker 2: It's not like, it doesn't, it's less like B-52s and
• 10:41
  Speaker 2: it's more, there's a seriousness to it.
• 10:44
  Speaker 3: Yeah. It's severity.
• 10:47
  Speaker 2: Yeah. The black hair, especially. Yeah.
• 10:49
  Speaker 3: Yeah.
• 10:50
  Speaker 1: But I knew a lot of people with this look
• 10:52
  Speaker 1: and I, it a little bit, that color of hair
• 10:56
  Speaker 1: when I would just dye my hair at home, like
• 10:59
  Speaker 1: in college, just blue, black, permanent, like.
• 11:04
  Speaker 3: Totally not good with my skin tone at all.
• 11:08
  Speaker 1: Like just no texture or like, depth in the color
• 11:13
  Speaker 1: just it looked like the interior of a car like
• 11:16
  Speaker 1: just like matte black um it was that look except
• 11:19
  Speaker 1: it was a wig luckily i didn't have to dye it.
• 11:22
  Speaker 2: Uh our friends we had around us like it looked
• 11:25
  Speaker 2: like it was like some sort of alternative looking people
• 11:29
  Speaker 2: and then.
• 11:30
  Speaker 1: Dana dana millican back as she is we've talked about
• 11:34
  Speaker 1: her before she's in the you know the chicken you
• 11:38
  Speaker 1: farm episode, she plays the server in that. And now
• 11:44
  Speaker 1: she's playing the wedding planner. And so in this part one,
• 11:47
  Speaker 1: we're just going and talking to her about what we
• 11:50
  Speaker 1: want from our wedding and that we want it to
• 11:51
  Speaker 1: be a cool wedding.
• 11:53
  Speaker 2: And she's great at that.
• 11:54
  Speaker 3: She's great.
• 11:55
  Speaker 2: She really doesn't, like, she never tries to be funny
• 12:00
  Speaker 2: or have like a comedic reaction. It's very real.
• 12:04
  Speaker 3: Totally.
• 12:04
  Speaker 1: And this, you know what else When I was watching this,
• 12:07
  Speaker 1: I was like, this is something that.
• 12:08
  Speaker 3: We explore a lot too.
• 12:09
  Speaker 1: It's just like people who are about to embark on
• 12:13
  Speaker 1: something traditional or conventional, but who really need you to
• 12:16
  Speaker 1: know that they are against all of that.
• 12:19
  Speaker 4: Yep.
• 12:20
  Speaker 3: It's like we are doing this almost begrudgingly.
• 12:25
  Speaker 1: Yes.
• 12:25
  Speaker 3: It's like a hate wedding for yourself, which is like,
• 12:27
  Speaker 3: why get married?
• 12:28
  Speaker 2: Why do it at all?
• 12:30
  Speaker 3: Yeah.
• 12:30
  Speaker 2: It's like barely dipping a toe in. Like we'll barely
• 12:33
  Speaker 2: do this. Yeah. It's wedding in quotes.
• 12:37
  Speaker 3: Yeah. But to me, it's like the lady doth protest
• 12:40
  Speaker 3: too much.
• 12:40
  Speaker 1: I'm just like, if you're going to do it and
• 12:42
  Speaker 1: invite people, and this isn't what happens in the sketch,
• 12:44
  Speaker 1: but in real life, I'm like, you just have to
• 12:46
  Speaker 1: own it.
• 12:46
  Speaker 3: Just please. It's so tedious to.
• 12:49
  Speaker 1: Hear someone make excuses the entire time. Then I feel
• 12:56
  Speaker 1: sort of manipulated in even attending this.
• 13:00
  Speaker 2: I wonder if wedding planners must have a million stories
• 13:04
  Speaker 2: about people who've tried to do things differently.
• 13:07
  Speaker 3: Oh, yeah.
• 13:08
  Speaker 1: And they have to pretend that they've never heard this
• 13:10
  Speaker 1: idea before.
• 13:12
  Speaker 2: Things that are impossible to accomplish in a wedding.
• 13:15
  Speaker 3: Yeah.
• 13:15
  Speaker 2: I feel like some of it was improvised. It felt
• 13:29
  Speaker 2: improvised to me when we were coming up, like, I
• 13:32
  Speaker 2: could just, some of these ideas just seemed.
• 13:34
  Speaker 1: You know.
• 13:35
  Speaker 2: Yeah.
• 13:36
  Speaker 1: This is definitely the seat still early on where we
• 13:40
  Speaker 1: were improvising a large portion of the sketch. Yeah. Like
• 13:44
  Speaker 1: a very threadbare kind of outline, a couple of lines
• 13:48
  Speaker 1: of dialogue that we would not necessarily adhere to.
• 13:52
  Speaker 2: Yeah.
• 13:53
  Speaker 3: And long, long takes.
• 13:55
  Speaker 2: Long takes.
• 13:56
  Speaker 3: Yeah.
• 13:57
  Speaker 1: And props as a means of like finding story. Like there's,
• 14:00
  Speaker 1: she opens up, that like binder at the end.
• 14:03
  Speaker 2: Yeah.
• 14:04
  Speaker 1: And there's like this moving mechanical part and that was
• 14:08
  Speaker 1: something that she would have just seen for the first
• 14:10
  Speaker 1: time that day. We would have seen for the first
• 14:12
  Speaker 1: time that day.
• 14:13
  Speaker 2: Yeah.
• 14:13
  Speaker 1: Likely was not scripted but we had such a wonderful
• 14:18
  Speaker 1: like creative art department.
• 14:20
  Speaker 2: Yeah.
• 14:21
  Speaker 1: That they would, you know, often provide us with things
• 14:24
  Speaker 1: that would become like central.
• 14:27
  Speaker 2: Oh yeah.
• 14:28
  Speaker 3: To the plot.
• 14:29
  Speaker 2: Yeah.
• 14:29
  Speaker 3: You know, so.
• 14:30
  Speaker 2: And I think there's like screams. Like when she opens
• 14:33
  Speaker 2: that book, the sound, there's a sound effect of screaming.
• 14:36
  Speaker 1: Don't you mention factories and I mentioned that like it's death.
• 14:40
  Speaker 2: Yeah.
• 14:41
  Speaker 3: Yeah.
• 14:41
  Speaker 2: So anyway, what is it with that age or like
• 14:46
  Speaker 2: something in your thirties where like factories is like the
• 14:49
  Speaker 2: ultimate cool thing. Just any reference to factories or like
• 14:55
  Speaker 2: even graphics for like a lot of bands. I think
• 14:57
  Speaker 2: we're like factory based. Yeah. There's like an obsession with it.
• 15:02
  Speaker 3: Yeah, like smoke billowing.
• 15:04
  Speaker 2: Yeah. I've still got the ear gauges in as those prosthetics.
• 15:10
  Speaker 3: Yes.
• 15:10
  Speaker 2: We lose it somewhere in the series.
• 15:13
  Speaker 1: Oh, because it was so cumbersome. I mean, you were
• 15:15
  Speaker 1: there hours before. Which, like, if you're on a more
• 15:20
  Speaker 1: traditional TV show or film and you, you know, obviously
• 15:23
  Speaker 1: actors wear prosthetics all the time and you have this
• 15:25
  Speaker 1: pre-call and you're there for hours.
• 15:27
  Speaker 3: But for a sketch show, that was very... inconvenient.
• 15:30
  Speaker 1: Like it just, it ate a lot of time and
• 15:33
  Speaker 1: we needed to switch between characters and sketches quickly. And
• 15:36
  Speaker 1: it was kind of a burden on both you and
• 15:39
  Speaker 1: our makeup department.
• 15:41
  Speaker 3: Yeah.
• 15:41
  Speaker 2: That was a little time consuming.
• 15:43
  Speaker 3: Yeah.
• 15:44
  Speaker 2: I'm seeing also, I forgot to address this, but for
• 15:49
  Speaker 2: the dropping the phone, there's a shot of us in
• 15:53
  Speaker 2: front of goats.
• 15:55
  Speaker 3: Yes.
• 15:56
  Speaker 2: And the only reason I bring it up is just
• 15:58
  Speaker 2: because The writer's room that we had was across from
• 16:02
  Speaker 2: this like field.
• 16:04
  Speaker 3: An empty lot.
• 16:05
  Speaker 2: An empty lot.
• 16:06
  Speaker 3: In the middle of the city.
• 16:07
  Speaker 2: Yeah. That had goats.
• 16:09
  Speaker 3: That had goats.
• 16:10
  Speaker 2: So, yeah. I just wanted to. It was very. When
• 16:13
  Speaker 2: people would visit, they would say like, oh, this is
• 16:15
  Speaker 2: so Portland. There are goats there.
• 16:17
  Speaker 3: Right. And so the reason the goats were there. Okay.
• 16:19
  Speaker 1: So there's this empty lot that was, you know, waiting
• 16:22
  Speaker 1: to be purchased and developed and And in order to
• 16:25
  Speaker 1: keep the grass from going out of control, this farmer
• 16:30
  Speaker 1: brought in his herd of goats and let the goats
• 16:34
  Speaker 1: live on the city block where they maintained the grass.
• 16:39
  Speaker 2: Why doesn't that happen all the time?
• 16:41
  Speaker 3: I mean, it's, I don't know. It was a great idea.
• 16:44
  Speaker 1: And they were there until they did eventually develop that
• 16:49
  Speaker 1: block and it's still called the goat blocks because of it.
• 16:52
  Speaker 1: Oh really? Yeah.
• 16:53
  Speaker 3: The, um, there's an apartment building there now and it's
• 16:56
  Speaker 3: called goat blocks apartment. Uh, but yeah, we interacted with
• 17:00
  Speaker 3: those goats a lot.
• 17:01
  Speaker 2: Yes.
• 17:01
  Speaker 3: They were very, very cute.
• 17:03
  Speaker 1: And we would, we would leave the office and walk
• 17:05
  Speaker 1: to get lunch and we would pass the goats and
• 17:07
  Speaker 1: say hi.
• 17:08
  Speaker 2: Yeah.
• 17:08
  Speaker 3: Yeah.
• 17:09
  Speaker 2: It was nice. It was nice in the environment to have.
• 17:11
  Speaker 3: It was great. It was great.
• 17:13
  Speaker 2: That's, that's a good, um, something to point out.
• 17:17
  Speaker 3: I agree. Um, No, you go.
• 17:20
  Speaker 2: No, you go.
• 17:21
  Speaker 3: No, you go.
• 17:22
  Speaker 2: No, you go.
• 17:23
  Speaker 3: This is, so this is the first time, this is
• 17:27
  Speaker 3: a Subaru sketch.
• 17:30
  Speaker 2: That's what I was going to ask you.
• 17:32
  Speaker 3: Oh, well, I'm answering. It was, yeah, it's the first one.
• 17:36
  Speaker 3: So we, Subaru was one of our sponsors.
• 17:40
  Speaker 1: And this was kind of, this was new for us.
• 17:44
  Speaker 1: I don't think we had any sponsorship season one. We
• 17:48
  Speaker 1: were a very low-budget show, so this was helpful to do.
• 17:51
  Speaker 1: We had to do, I think, two sketches a year
• 17:54
  Speaker 1: that were tie-ins. I don't know what the exact number was,
• 17:57
  Speaker 1: but essentially we had to write the car into the sketch.
• 18:01
  Speaker 1: To me, this was one of the most organic uses
• 18:03
  Speaker 1: of Superoo. Because I remember later it feeling like, oh.
• 18:07
  Speaker 3: Goodness, what are we going to do? Because there's rules,
• 18:10
  Speaker 3: of course. You can't be doing something illegal.
• 18:13
  Speaker 1: Right.
• 18:14
  Speaker 3: In the car or like salacious, you can't be doing
• 18:17
  Speaker 3: anything dangerous.
• 18:19
  Speaker 1: Like, you know, it's just, there's more guidelines and we
• 18:22
  Speaker 1: weren't really used to that.
• 18:24
  Speaker 3: We had a lot of creative freedom. This, I still
• 18:27
  Speaker 3: felt a ton of creative freedom.
• 18:29
  Speaker 1: I mean, this was something that we definitely noticed in
• 18:32
  Speaker 1: Portland is this politeness that's so polite as to be
• 18:37
  Speaker 1: actually impolite that to me, like it's frustrating.
• 18:41
  Speaker 2: But I think this was your idea. This might have
• 18:43
  Speaker 2: even been before Subaru signed on.
• 18:47
  Speaker 3: I think you're right.
• 18:48
  Speaker 2: I think you just had an idea. You just brought
• 18:49
  Speaker 2: up that like in Portland, you could just be at
• 18:53
  Speaker 2: a light or a stop sign forever.
• 18:55
  Speaker 3: Cross traffic does not stop.
• 18:56
  Speaker 1: So going one direction or going like in one direction,
• 19:00
  Speaker 1: there's no stop necessary. Yeah. You know, it's like, but
• 19:04
  Speaker 1: people will still stop. So it's like, this is not
• 19:06
  Speaker 1: a four-way stop. This is a two-way stop.
• 19:08
  Speaker 3: But everyone stops.
• 19:10
  Speaker 1: And then.
• 19:11
  Speaker 3: It's anarchy.
• 19:12
  Speaker 1: It's like there are rules for a reason and it
• 19:16
  Speaker 1: creates more problems. I also find, because I still live
• 19:19
  Speaker 1: in Portland, I just think let's be efficient. Like things
• 19:24
  Speaker 1: need to move. So as a pedestrian, I'm fine to
• 19:29
  Speaker 1: just wait. Like if I reach the edge of the
• 19:33
  Speaker 1: sidewalk and you're about to go in a car, just go.
• 19:38
  Speaker 1: Like what happens is they stop and then there's this
• 19:41
  Speaker 1: awkward dance. So that's kind of what we're talking about,
• 19:43
  Speaker 1: except it was two cars.
• 19:44
  Speaker 2: Yeah. We had a bunch of characters for those. I
• 19:48
  Speaker 2: think we were just, you know, Mexican magicians. like, or
• 19:52
  Speaker 2: these were new characters.
• 19:53
  Speaker 3: Yes. Although definitely this wig comes back for me. I
• 19:56
  Speaker 3: don't know. I feel like you're, yeah, I think they're
• 20:00
  Speaker 3: one-off characters, but the wig came back.
• 20:03
  Speaker 2: Your wig came back, I think.
• 20:05
  Speaker 4: Yeah.
• 20:05
  Speaker 2: You're right about that. I don't think they had names
• 20:08
  Speaker 2: or anything, but. I really like, this was just, the
• 20:12
  Speaker 2: sketch really worked. Yeah.
• 20:14
  Speaker 3: And I would call this, like we talked about this,
• 20:16
  Speaker 3: the energy piece, right?
• 20:17
  Speaker 1: Where in terms of the pacing of the show, like
• 20:20
  Speaker 1: this has, where it's just a classic escalation, right? It's
• 20:23
  Speaker 1: just like, and then a ridiculous ending, you know, where
• 20:26
  Speaker 1: the absurdity just increases until it just kind of collapses
• 20:30
  Speaker 1: at the end.
• 20:30
  Speaker 2: Right. And like washing the car.
• 20:32
  Speaker 3: Yeah. Reading, like stopping to read, like writing the newspaper.
• 20:37
  Speaker 2: And I think- Did we get a real Yugo for that?
• 20:41
  Speaker 3: Yes.
• 20:44
  Speaker 2: In Oregon, somewhere. Somewhere.
• 20:46
  Speaker 3: Someone found a Yugo. Yeah.
• 20:49
  Speaker 1: We should explain what that is for a listener who
• 20:51
  Speaker 1: may not know.
• 20:52
  Speaker 2: I was going to say a Yugoslavian-made car, but I
• 20:57
  Speaker 2: don't think that doesn't exist anymore as its own nation.
• 21:01
  Speaker 3: So now you have to explain that.
• 21:03
  Speaker 2: I have to do history.
• 21:06
  Speaker 3: Yeah. We will be here a long time. Go ahead.
• 21:09
  Speaker 2: I wonder if there'll be a day where there's no
• 21:10
  Speaker 2: more nations, where it's just corporations. We had these things
• 21:15
  Speaker 2: called nations. But yeah, Yugo was made in the country
• 21:20
  Speaker 2: of Yugoslavia. And they were weirdly popular. Not popular. They
• 21:27
  Speaker 2: were just, Americans had them.
• 21:29
  Speaker 3: It was a budget vehicle.
• 21:30
  Speaker 1: It was like, now, I mean, that class of vehicle
• 21:34
  Speaker 1: just didn't quite exist. a true budget vehicle. And it
• 21:41
  Speaker 1: was a total rarity. I mean, and you'd see them
• 21:45
  Speaker 1: every once.
• 21:46
  Speaker 3: In a while.
• 21:46
  Speaker 2: Yeah, there'd be like a couple jokes about it.
• 21:48
  Speaker 3: Yeah, there were a lot of jokes. But there hadn't
• 21:51
  Speaker 3: been a joke in a while. Yeah. And so it
• 21:53
  Speaker 3: was very.
• 21:54
  Speaker 2: It was like a double joke.
• 21:55
  Speaker 3: It was very weird that we even could find a Yugo.
• 21:58
  Speaker 1: Yeah. I'm sure, I mean, even before I was around,
• 22:02
  Speaker 1: it was probably the butt of many jokes, like in
• 22:05
  Speaker 1: the 70s and early 80s, you know. Remember, here's another
• 22:10
  Speaker 1: car that had a joke about it was, remember the
• 22:12
  Speaker 1: Azuzu Sidekick and they would roll over?
• 22:14
  Speaker 3: Do you remember that?
• 22:15
  Speaker 2: Yeah, that's right.
• 22:17
  Speaker 3: That was another.
• 22:17
  Speaker 1: It's like part of this like line of like cars
• 22:20
  Speaker 1: that just like sort of were like little death traps.
• 22:26
  Speaker 2: Was there something called La Car?
• 22:27
  Speaker 1: I don't know.
• 22:30
  Speaker 2: This is 70s. There was something that was like in
• 22:34
  Speaker 2: the vein of like, we're going to make things easier
• 22:36
  Speaker 2: for you.
• 22:36
  Speaker 3: Someone should just do a whole podcast episode of just, like.
• 22:39
  Speaker 2: Of those, like, forgotten, like.
• 22:41
  Speaker 3: Forgotten cars that became the butt of jokes.
• 22:43
  Speaker 2: Yeah. Short-lived. Yeah.
• 22:46
  Speaker 1: I remember being with my sister, and we were in, like,
• 22:49
  Speaker 1: an ice cream shop when we were kids, and someone
• 22:51
  Speaker 1: pulled up in an Isuzu Sidekick, and my sister made
• 22:56
  Speaker 1: a joke in front of the guy. And we were
• 22:58
  Speaker 1: really young, and I remember thinking, like, that's... We're going
• 23:01
  Speaker 1: to get in trouble.
• 23:02
  Speaker 3: Like, you can't say that. He's... If she wasn't, like...
• 23:06
  Speaker 3: trying to be mean. She just was like, but she
• 23:08
  Speaker 3: said something about rolling over in the car.
• 23:10
  Speaker 2: And I was like, her owner was like, I don't
• 23:11
  Speaker 2: want to hear about this anymore. Um, and then we
• 23:16
  Speaker 2: got the, we're towed away, which.
• 23:18
  Speaker 3: I think is still saying, there you go.
• 23:20
  Speaker 2: Yeah. I, the other thing I like about watching it
• 23:23
  Speaker 2: is that nostalgically for that time that we were shooting,
• 23:28
  Speaker 2: I just remember there was like a freedom to shooting
• 23:30
  Speaker 2: in Portland. I'm sure they got the permits and everything,
• 23:33
  Speaker 2: but it's just like this, like, Little corner.
• 23:36
  Speaker 3: Yeah.
• 23:37
  Speaker 2: That to me really, I don't know, just something, it
• 23:40
  Speaker 2: really reminded me of being there.
• 23:41
  Speaker 3: Yes.
• 23:42
  Speaker 1: That's how I feel often every time I see a
• 23:45
  Speaker 1: sketch that takes place outdoors.
• 23:47
  Speaker 3: Just how much real estate we took up.
• 23:50
  Speaker 2: Yeah.
• 23:50
  Speaker 3: And not in a bad way, but like that we just,
• 23:52
  Speaker 3: it was, we were so fortunate. Yeah. We shot all
• 23:55
  Speaker 3: over that city.
• 23:56
  Speaker 2: Huge areas.
• 23:58
  Speaker 3: Yeah.
• 23:58
  Speaker 1: I remember when we ended the entire show and we
• 24:01
  Speaker 1: should get this number for our listeners, but someone counted
• 24:08
  Speaker 1: all of the locations and it was for sure in
• 24:11
  Speaker 1: the thousands.
• 24:12
  Speaker 3: It was a shocking amount.
• 24:13
  Speaker 2: So many.
• 24:14
  Speaker 3: Yeah.
• 24:15
  Speaker 1: And I still run into people in Portland who say, oh,
• 24:19
  Speaker 1: you shot at my house or you shot at my store.
• 24:20
  Speaker 2: Same.
• 24:21
  Speaker 3: Because it was ubiquitous.
• 24:23
  Speaker 2: Yeah. Then we've got, what was the title of this
• 24:27
  Speaker 2: sketch where Jack McBray didn't have a bag?
• 24:40
  Speaker 1: I don't know the name of the sketch, but it's
• 24:42
  Speaker 1: basically just someone didn't bring their own bag to the
• 24:44
  Speaker 1: grocery store. And you as the checkout cashier really give
• 24:51
  Speaker 1: him a hard time.
• 24:52
  Speaker 2: Yeah. Just from like.
• 24:55
  Speaker 3: By the way, I feel this all the time when
• 24:57
  Speaker 3: I forget my bag. Yeah.
• 24:59
  Speaker 1: So this is definitely one of those like anecdotes that
• 25:02
  Speaker 1: someone relayed in the writer's room and everyone understood it.
• 25:05
  Speaker 3: I think that.
• 25:06
  Speaker 2: I still do.
• 25:07
  Speaker 1: I still feel bad. I just felt bad the other day.
• 25:09
  Speaker 1: But I never have the bags in my car.
• 25:14
  Speaker 2: Sometimes I do, but it's just not often enough.
• 25:16
  Speaker 1: If the plan is to go to the grocery store,
• 25:19
  Speaker 1: I bring the bags. But if I'm just out running
• 25:22
  Speaker 1: errands or doing other things, and then I realize, oh,
• 25:24
  Speaker 1: I should stop at the grocery store, that's when I
• 25:26
  Speaker 1: don't have my bags.
• 25:27
  Speaker 3: And I still make a pretty big.
• 25:29
  Speaker 1: Deal about not bringing it for myself.
• 25:33
  Speaker 3: I self-flagellate over it. For no reason. No one has
• 25:40
  Speaker 3: ever come at me.
• 25:42
  Speaker 2: No, but I feel like I'm wasting paper when I
• 25:44
  Speaker 2: don't bring it.
• 25:45
  Speaker 3: Well, now you actually pay for the bags. There's a fee.
• 25:49
  Speaker 3: That's the same here, right?
• 25:50
  Speaker 2: There's a fee, but if I bring a reusable bag,
• 25:55
  Speaker 2: the problem is I get groceries, bring it into the house,
• 26:01
  Speaker 2: and then when do I bring it back again? That's
• 26:03
  Speaker 2: the problem. It makes its way into my house and then...
• 26:06
  Speaker 2: It's like a one-time thing.
• 26:07
  Speaker 1: I think people, you have to keep it in the car. That's,
• 26:10
  Speaker 1: I think, what people who are, I guess, better at pre-planning.
• 26:16
  Speaker 2: Yeah.
• 26:17
  Speaker 3: I'm not a great planner in that way.
• 26:19
  Speaker 2: Well, this came from a real feeling, this sketch. And
• 26:25
  Speaker 2: I think I was playing like kind of like a,
• 26:28
  Speaker 2: I think I've dealt with people like that too, who
• 26:31
  Speaker 2: are not, they're just a little distant and a little dim.
• 26:36
  Speaker 2: But pleasant. You know, because he's smiling the whole time. Yeah.
• 26:41
  Speaker 2: And then did we do the same characters for the
• 26:45
  Speaker 2: nature products, the deodorant and stuff? Oh, yeah.
• 26:48
  Speaker 3: I think we did. That's later.
• 26:50
  Speaker 1: Yeah.
• 26:51
  Speaker 3: Yeah.
• 26:52
  Speaker 2: But Jack McBrayer is great in this and he's just
• 26:56
  Speaker 2: good at, you know.
• 26:58
  Speaker 3: Yes.
• 27:00
  Speaker 2: Making something like that funny.
• 27:01
  Speaker 3: Yeah. He's just guileless. So it's really hard to come
• 27:05
  Speaker 3: at him.
• 27:06
  Speaker 1: Yeah.
• 27:06
  Speaker 3: You know, when he's playing someone with such a sweet nature.
• 27:10
  Speaker 2: Yeah.
• 27:10
  Speaker 3: Yeah.
• 27:11
  Speaker 2: Yeah. Put a little wig on him. I don't think
• 27:14
  Speaker 2: we barely had an ending. We might not have even
• 27:17
  Speaker 2: written one. Because all he does is he falls. Yeah. Yeah.
• 27:21
  Speaker 2: And it just looks like we just were like, we'll
• 27:23
  Speaker 2: figure something out.
• 27:23
  Speaker 3: Yeah. And sometimes we did and sometimes we didn't.
• 27:26
  Speaker 2: Sometimes we didn't. Like that was enough. Yeah.
• 27:28
  Speaker 3: To be fair, sometimes we did not.
• 27:29
  Speaker 2: But that was shot at Zupan's?
• 27:32
  Speaker 3: Zupan's. I believe not there anymore. On Belmont. Belmont.
• 27:35
  Speaker 2: But is there another one on another street?
• 27:38
  Speaker 3: There might be one. I think there's one Zupan's left
• 27:40
  Speaker 3: and it's downtown.
• 27:41
  Speaker 1: Wow.
• 27:42
  Speaker 3: Yeah.
• 27:43
  Speaker 2: But that was kind of like the alternative to Whole Foods.
• 27:49
  Speaker 2: Or would that be New Market?
• 27:51
  Speaker 3: Oh, New Seasons.
• 27:52
  Speaker 2: New Seasons.
• 27:52
  Speaker 1: Yeah, Zupan's predates both Whole Foods and New Seasons in Portland.
• 27:59
  Speaker 3: And I think Whole Foods used to be called Wild,
• 28:03
  Speaker 3: not Wild Oats, Nature's.
• 28:05
  Speaker 2: Yeah.
• 28:05
  Speaker 1: I mean, every city has that, like, you know, just
• 28:08
  Speaker 1: this like progression.
• 28:09
  Speaker 2: Yeah.
• 28:10
  Speaker 3: Evolution of grocery stores.
• 28:12
  Speaker 1: Yeah.
• 28:12
  Speaker 3: Yeah. That's.
• 28:14
  Speaker 2: See, if we still had the show, that's what we
• 28:16
  Speaker 2: would do.
• 28:17
  Speaker 3: The evolution of grocery stores. Yeah.
• 28:18
  Speaker 2: Evolution of a city, like a city dealing with the
• 28:21
  Speaker 2: evolution of grocery stores.
• 28:22
  Speaker 3: Yeah. Anyway, Zupans.
• 28:26
  Speaker 2: Okay. Then we've got. from in his bookstore.
• 28:30
  Speaker 3: Oh my God.
• 28:31
  Speaker 1: This one has one of my favorite improvised lines that
• 28:35
  Speaker 1: one of our guest stars did.
• 28:36
  Speaker 3: Like to me, the perfect kind of improv.
• 28:39
  Speaker 2: Yeah.
• 28:39
  Speaker 3: Do you want to guess what it is?
• 28:41
  Speaker 2: That he killed himself?
• 28:44
  Speaker 1: Holy shit. I, even when I was rewatching it, I
• 28:49
  Speaker 1: forgot what a brilliant response that is.
• 28:51
  Speaker 3: Yeah.
• 28:52
  Speaker 2: It's so good.
• 28:53
  Speaker 3: Yeah.
• 28:55
  Speaker 2: And the premise around this one, And this is, I think,
• 28:59
  Speaker 2: it was a pretty quick idea.
• 29:01
  Speaker 1: Yeah.
• 29:02
  Speaker 2: That we have a guest.
• 29:03
  Speaker 1: This sketch guest star is Shoray Agashloo, who plays an
• 29:07
  Speaker 1: author that we're coming, that we are inviting in to
• 29:10
  Speaker 1: do a guest reading.
• 29:12
  Speaker 2: A Persian author.
• 29:13
  Speaker 3: Mm-hmm.
• 29:13
  Speaker 2: Who, and she's a Persian actor.
• 29:16
  Speaker 3: Mm-hmm.
• 29:17
  Speaker 2: Really great. It's been.
• 29:19
  Speaker 3: Mostly in dramas.
• 29:20
  Speaker 1: I was, we were very excited, as we often are,
• 29:24
  Speaker 1: like struck by people's.
• 29:25
  Speaker 2: Yeah.
• 29:27
  Speaker 3: Just.
• 29:27
  Speaker 1: Interest in coming on the show and being silly. This
• 29:31
  Speaker 1: is one of those situations where we were like, really?
• 29:33
  Speaker 3: Okay, great. And then gave her a very ridiculous... Yeah.
• 29:38
  Speaker 1: Well, the premise wasn't ridiculous, but Tony and Candace's response
• 29:43
  Speaker 1: to anything is pretty ridiculous.
• 29:45
  Speaker 2: That's a pretty... We get through it pretty quickly. Like,
• 29:48
  Speaker 2: it doesn't go through different levels of annoying her. It's
• 29:51
  Speaker 2: just that we can't get our printer working.
• 29:53
  Speaker 1: Right.
• 29:53
  Speaker 3: Well, yes.
• 29:54
  Speaker 4: But.
• 29:56
  Speaker 3: Yeah. Tony.
• 29:58
  Speaker 1: This is also, by the way, we deal with printers
• 30:02
  Speaker 1: a lot on this show because there's one later on
• 30:04
  Speaker 1: with Kyle.
• 30:05
  Speaker 2: Oh, yeah, that's right.
• 30:07
  Speaker 3: But yeah.
• 30:08
  Speaker 1: Anyway, Tony thinks that in order to basically publish her book,
• 30:12
  Speaker 1: the problem is that she hasn't printed it out and
• 30:14
  Speaker 1: that we need to print out a thousand copies. But
• 30:17
  Speaker 1: there is a moment where when we're talking about printing
• 30:21
  Speaker 1: and process of writing and Tony says, what did Hemingway do? Yeah.
• 30:27
  Speaker 3: And she says, he killed himself. Yeah. And it's such
• 30:31
  Speaker 3: a great line.
• 30:32
  Speaker 2: It's great.
• 30:34
  Speaker 3: Because I'm, of course, asking what he did about printing.
• 30:36
  Speaker 1: Yeah, yeah.
• 30:37
  Speaker 2: Which, in some ways, also, that joke worked in that, like, also,
• 30:40
  Speaker 2: he killed himself over trying to get something printed.
• 30:42
  Speaker 3: Yeah. But I love.
• 30:45
  Speaker 2: I don't mean to be explaining jokes. I'm just saying them. No, yeah.
• 30:48
  Speaker 3: Worked on many levels.
• 30:48
  Speaker 2: Yeah.
• 30:51
  Speaker 3: But, yeah, that was a fun one.
• 30:52
  Speaker 2: I also, like, there's something about Iran that is appealing
• 30:59
  Speaker 2: to me. And I just liked having just that, you know,
• 31:03
  Speaker 2: the flag up there and everything. It's just something about, like,
• 31:06
  Speaker 2: it's such a mystery to me.
• 31:07
  Speaker 3: Yeah.
• 31:07
  Speaker 2: That I liked that, having that aspect of it in
• 31:12
  Speaker 2: the episode.
• 31:13
  Speaker 3: Agreed.
• 31:13
  Speaker 4: Co-Wedding Part 2.
• 31:25
  Speaker 3: Co-Wedding Part 2 is the... The rehearsal, wedding rehearsal.
• 31:31
  Speaker 2: You could see that the guy who plays your dad
• 31:34
  Speaker 2: is not speaking because we couldn't pay. It's just too
• 31:37
  Speaker 2: expensive to pay background actors.
• 31:40
  Speaker 1: Little inside industry tip, which is often if you see
• 31:45
  Speaker 1: a background actor who's not speaking, it's usually because they can't.
• 31:48
  Speaker 3: Literally, the production cannot afford to have them speak.
• 31:54
  Speaker 2: And the money that we saved. We have now.
• 31:59
  Speaker 3: Sometimes it works. And sometimes I find it obvious. I
• 32:03
  Speaker 3: can see it. Like sometimes I'll see it in a
• 32:07
  Speaker 3: show where it's.
• 32:09
  Speaker 1: Like one of the speaking roles, you know, or like
• 32:14
  Speaker 1: actual like cast members has two friends. And one is
• 32:19
  Speaker 1: like a five and under or like at least another
• 32:22
  Speaker 1: speaking part. And then the other is a non-speaking role.
• 32:24
  Speaker 3: And I can tell.
• 32:26
  Speaker 1: That they are not allowed to speak. And I can
• 32:29
  Speaker 1: see it, and it bothers me a little bit. But
• 32:31
  Speaker 1: I understand it from a practical level, of course. But
• 32:36
  Speaker 1: sometimes it doesn't work because the dynamic is off.
• 32:39
  Speaker 2: Yeah. Yeah.
• 32:40
  Speaker 3: You're like, this person would have vocalized here.
• 32:42
  Speaker 2: Absolutely.
• 32:43
  Speaker 3: They wouldn't just be nodding.
• 32:44
  Speaker 2: No. Especially at a rehearsal for a wedding, it's like,
• 32:49
  Speaker 2: people would be chiming in.
• 32:51
  Speaker 1: Yeah. It's just that like sort of general like din
• 32:54
  Speaker 1: or just, yeah, it can feel artificial.
• 32:56
  Speaker 2: Yeah.
• 32:57
  Speaker 3: But, but whatever.
• 32:58
  Speaker 2: It didn't bother me, but it was noticeable that, but yeah,
• 33:01
  Speaker 2: this is when we're trying to set up like what
• 33:03
  Speaker 2: the wedding is going to be like.
• 33:03
  Speaker 3: It's the seating arrangement. Basically we're going over all the plans.
• 33:06
  Speaker 2: It looked like it was freezing that day. Oh. When
• 33:09
  Speaker 2: I watch it, I wrote down that like, it seemed
• 33:11
  Speaker 2: like it was a chilly day.
• 33:12
  Speaker 4: Yeah.
• 33:13
  Speaker 3: We had a few of those.
• 33:14
  Speaker 2: Yeah.
• 33:15
  Speaker 1: We did shoot all summer, but of course, as everyone knows,
• 33:18
  Speaker 1: mornings can be cool. Or they used to be in
• 33:21
  Speaker 1: the summer.
• 33:22
  Speaker 3: Yeah. Yeah. You are very funny in this scene.
• 33:26
  Speaker 2: Oh, thank you.
• 33:30
  Speaker 1: But I have a line in it that I think
• 33:32
  Speaker 1: about a lot where I am talking to the wedding officiant.
• 33:36
  Speaker 2: That's right.
• 33:37
  Speaker 3: The priestess, I guess.
• 33:39
  Speaker 1: And she goes to comfort me because this scene culminates
• 33:43
  Speaker 1: basically in us like breaking up or fighting. Yeah, yeah.
• 33:45
  Speaker 1: She goes to comfort me and I say like, keep
• 33:47
  Speaker 1: your hands off me. you're a dirty hippie and you
• 33:50
  Speaker 1: don't understand punk at all.
• 33:51
  Speaker 3: Yep.
• 33:52
  Speaker 2: I've seen that as a meme. You have? Oh yeah.
• 33:55
  Speaker 3: Okay.
• 33:56
  Speaker 1: Well, it's weirdly, like there is something about Iris and
• 34:00
  Speaker 1: we talked to, you know, I was saying earlier, like
• 34:03
  Speaker 1: I know this character and there are so many of
• 34:05
  Speaker 1: the characters, there are parts.
• 34:08
  Speaker 3: Of us in these characters.
• 34:09
  Speaker 1: And to me, Iris like taps into that part of
• 34:13
  Speaker 1: me that still has that very like strident, like, pedantic
• 34:17
  Speaker 1: like mindset about certain things and like I there's something
• 34:22
  Speaker 1: about like coming of age at a time where like
• 34:25
  Speaker 1: there was a real differentiation between like hippies and punks
• 34:29
  Speaker 1: and this was like a leftover like from like the
• 34:32
  Speaker 1: 60s and 70s right where there was just this.
• 34:34
  Speaker 3: Split and.
• 34:38
  Speaker 1: Now I mean I could care less, you know, couldn't
• 34:41
  Speaker 1: care less about any of that stuff. But like, I,
• 34:44
  Speaker 1: there was a time where it was just like the
• 34:46
  Speaker 1: hippie mindset was just like this, it was like too lax, right?
• 34:51
  Speaker 1: Like just that kind of like, oh my God, like
• 34:54
  Speaker 1: we need to like care, like get a backbone.
• 34:57
  Speaker 3: Like it just felt too, too free.
• 35:00
  Speaker 1: And it, I definitely was channeling that in that moment.
• 35:05
  Speaker 2: That was exactly what that was. And that was really funny.
• 35:09
  Speaker 2: Because it is everything that that couple is about.
• 35:13
  Speaker 4: Yeah.
• 35:13
  Speaker 2: And I remember at the, I guess in the 90s
• 35:16
  Speaker 2: or whatever it was, like, I just remember that really
• 35:19
  Speaker 2: was like, that was like a main point of an
• 35:24
  Speaker 2: argument is if something was punk or not.
• 35:26
  Speaker 4: Yeah.
• 35:27
  Speaker 2: And I remember in those arguments, I'd hear myself saying
• 35:31
  Speaker 2: something ridiculous just to prove my point.
• 35:36
  Speaker 1: Well, like bands like Phish or Grateful Dead and you know, Phish,
• 35:40
  Speaker 1: I definitely appreciate and Grateful Dead, I am a fan of,
• 35:44
  Speaker 1: but it was like never the 20 until me.
• 35:47
  Speaker 3: Like it just, you could, like, there.
• 35:49
  Speaker 1: Was something that felt too indulgent and like desultory about
• 35:55
  Speaker 1: like hippie music and the style and the like labyrinthine,
• 36:00
  Speaker 1: like guitar lines.
• 36:02
  Speaker 3: And just like, it, it just went, it just didn't
• 36:06
  Speaker 3: have enough structure.
• 36:08
  Speaker 1: You know, and like punk was so much about like
• 36:10
  Speaker 1: rules and things just like, I don't know, just having,
• 36:14
  Speaker 1: it was a life, a code that you lived by.
• 36:17
  Speaker 1: And like, even though ostensibly, of course, so it was
• 36:20
  Speaker 1: just like the counterculture and hippies for some reason, we
• 36:24
  Speaker 1: just didn't see the overlap there. It felt diametrically opposed.
• 36:27
  Speaker 1: And that seems so ridiculous now, but it really, again,
• 36:31
  Speaker 1: we've talked about it on this podcast. Like there were
• 36:33
  Speaker 1: just these hard and fast rules to punk. Yeah. That,
• 36:38
  Speaker 1: you know, like it to deviate from that was a
• 36:42
  Speaker 1: sort of going against like everything you believed in, like
• 36:45
  Speaker 1: the ethos of it.
• 36:46
  Speaker 3: You know?
• 36:47
  Speaker 2: And Iris saying that, that would have been a real
• 36:50
  Speaker 2: point that Iris would have made. Like that was a real, like,
• 36:53
  Speaker 2: this is the end of this discussion. You are not punk.
• 36:57
  Speaker 3: Yes. Yeah. That's it. You, yeah, that was an insult.
• 37:00
  Speaker 1: Like it was just like to, to say that someone
• 37:04
  Speaker 1: wasn't that, you know, you were just like excluding them
• 37:06
  Speaker 1: from this ideology.
• 37:08
  Speaker 3: You know, that you lived by.
• 37:10
  Speaker 2: I remember, like, getting in these arguments so deeply that
• 37:15
  Speaker 2: I would say things like, well, then, Duke Ellington is punk.
• 37:21
  Speaker 2: You know?
• 37:21
  Speaker 3: Right, like, if you're going to open it even a little. Right. Yeah. Yeah.
• 37:26
  Speaker 3: I know. The amount of.
• 37:29
  Speaker 2: You know, just endless, endless, like, discussions. It's funny. Even
• 37:33
  Speaker 2: as I say, even as we talk about it, I
• 37:36
  Speaker 2: can feel my own skin... getting tingly with like, you know.
• 37:41
  Speaker 3: Yeah, who was or wasn't punk? Like that was just.
• 37:44
  Speaker 2: It was such a fight. Yeah. The Beatles came up
• 37:49
  Speaker 2: all the time where people would be like, they're not punk.
• 37:52
  Speaker 2: Like actually they are if you think about it.
• 37:55
  Speaker 3: Even you, just the word actually, that's.
• 37:58
  Speaker 2: According to your rules, well, the Sex Pistols did that.
• 38:02
  Speaker 2: What's the difference?
• 38:03
  Speaker 3: Yeah, yeah. It was, anyway. Love Spike and Iris. They
• 38:08
  Speaker 3: just fly in the flag.
• 38:09
  Speaker 2: Yeah. And the whole, that was a good, you know,
• 38:14
  Speaker 2: I like it was like sort of cliffhanger.
• 38:17
  Speaker 3: It was a cliffhanger.
• 38:17
  Speaker 2: Oh my God.
• 38:19
  Speaker 3: I'm so cold. Okay.
• 38:21
  Speaker 2: Netflix DVD.
• 38:22
  Speaker 3: Netflix DVD. This one, love.
• 38:25
  Speaker 2: Love it.
• 38:26
  Speaker 3: Yeah.
• 38:27
  Speaker 2: Whose idea was it?
• 38:29
  Speaker 1: To me, this is a Fred Armisen sketch.
• 38:31
  Speaker 4: No?
• 38:33
  Speaker 2: The part that.
• 38:35
  Speaker 3: The.
• 38:36
  Speaker 2: I don't remember who thought of was that then you
• 38:42
  Speaker 2: become the mail carrier.
• 38:44
  Speaker 3: Right.
• 38:45
  Speaker 2: I don't know who came up.
• 38:46
  Speaker 3: With such a good.
• 38:47
  Speaker 1: I mean, that would have been a collective effort, but
• 38:49
  Speaker 1: the other thing that I wanted to point out was just,
• 38:53
  Speaker 1: and we've, you know, this is the problem, not the problem,
• 38:57
  Speaker 1: but it just happens inadvertently with anything that it just, it.
• 39:02
  Speaker 3: Becomes of its time. And some things... We're ahead of
• 39:05
  Speaker 3: their time and.
• 39:06
  Speaker 1: Some things transcend and are timeless. But this, when Netflix,
• 39:11
  Speaker 1: when they actually delivered a DVD to your house in
• 39:17
  Speaker 1: a little package, that time is long gone.
• 39:20
  Speaker 2: Yeah.
• 39:22
  Speaker 3: And every once in a while, we will come up
• 39:25
  Speaker 3: against that.
• 39:26
  Speaker 2: How do you feel about that?
• 39:28
  Speaker 3: It's like I.
• 39:30
  Speaker 1: I don't want it to be that, but I'm also like,
• 39:33
  Speaker 1: I'm glad those things exist. If I'm watching someone else's show, like,
• 39:37
  Speaker 1: or something from like, you know, the eighties or nineties
• 39:41
  Speaker 1: and you see like a landlady or do you see,
• 39:42
  Speaker 1: I remember watching the exorcist like in the last couple
• 39:45
  Speaker 1: of years. And like when they go to the doctor,
• 39:48
  Speaker 1: he's smoking in the office. I'm like, okay, well, I
• 39:52
  Speaker 1: haven't seen that in a second. I sort of like
• 39:55
  Speaker 1: that because I mean, I think as a writer, it's
• 39:59
  Speaker 1: like you want everything to.
• 40:00
  Speaker 3: Just like to exist like sort of outside of time
• 40:04
  Speaker 3: and place.
• 40:04
  Speaker 1: But actually that's why things are good is because they
• 40:08
  Speaker 1: actually are situated in time and place and they are
• 40:10
  Speaker 1: a way of marking time and place for better or worse.
• 40:15
  Speaker 1: And I like to, you know, a through line to
• 40:18
  Speaker 1: something or to like understand like sort of, you know, anthropologically,
• 40:24
  Speaker 1: like why something happened or why something was or the
• 40:29
  Speaker 1: way technology, you know, places us somewhere specific. So I
• 40:36
  Speaker 1: actually don't mind it, but I think, you know, of
• 40:40
  Speaker 1: course I'd rather be ahead of something or outside of something,
• 40:43
  Speaker 1: but that's just not the reality of it.
• 40:45
  Speaker 2: That's impossible.
• 40:46
  Speaker 1: Right.
• 40:47
  Speaker 3: How do you feel about it?
• 40:48
  Speaker 2: Um, I really like it because, uh, the relationship between
• 40:56
  Speaker 2: the two, the mailman and Sandra is intact. Like that's
• 41:02
  Speaker 2: the main part of it. Like someone trying to school
• 41:05
  Speaker 2: someone on what films to watch. So that's, um, that
• 41:10
  Speaker 2: seems a little more timeless.
• 41:12
  Speaker 3: Yeah.
• 41:12
  Speaker 2: And then the other stuff around it, like you said,
• 41:15
  Speaker 2: I never mind seeing it on some other show. Yeah,
• 41:19
  Speaker 2: of course. It still works for whatever reason.
• 41:23
  Speaker 1: Yeah, and that's true of all technology or clothing or haircut.
• 41:28
  Speaker 1: I mean, that is just literally the nature of art.
• 41:33
  Speaker 1: It's just music, all of it. It can't be divorced
• 41:37
  Speaker 1: from that. so yeah I don't mind it but also
• 41:41
  Speaker 1: to your point like what makes it last and relatable
• 41:46
  Speaker 1: is the relationship between these two people yeah you know
• 41:50
  Speaker 1: like that to me and that's I think what I
• 41:53
  Speaker 1: just try to focus on.
• 41:55
  Speaker 2: I think we tried to we had a hard time
• 41:59
  Speaker 2: finding what that film was going to be and then
• 42:02
  Speaker 2: we had to get.
• 42:02
  Speaker 3: Oh right it was a permission I wondered why it
• 42:04
  Speaker 3: was so specific.
• 42:07
  Speaker 2: And I think we've found something that was public and
• 42:10
  Speaker 2: it just turned into public domain.
• 42:11
  Speaker 3: That's right. It was such an old movie.
• 42:13
  Speaker 2: I wonder what the original idea was, what the original
• 42:16
  Speaker 2: film was.
• 42:17
  Speaker 3: I know.
• 42:17
  Speaker 1: I would be curious like what is in the earlier
• 42:20
  Speaker 1: scripts because I think it was something, I know what
• 42:23
  Speaker 1: it was. It was one of the, it was a
• 42:26
  Speaker 1: Dracula or some kind of horror film that you would have,
• 42:28
  Speaker 1: that's what I think.
• 42:29
  Speaker 2: Okay.
• 42:30
  Speaker 3: Right? Like, and then we couldn't do that.
• 42:32
  Speaker 2: Okay.
• 42:33
  Speaker 1: I thought it was something that was a little more
• 42:34
  Speaker 1: like in your wheelhouse, like a Boris Karloff film or Right?
• 42:39
  Speaker 1: That's where my mind's going, but maybe that's not true.
• 42:43
  Speaker 2: Yeah, it was something old, but I can't remember. Something old,
• 42:45
  Speaker 2: for sure. But we had to, like, it took us
• 42:46
  Speaker 2: a while. Yeah. I think it's because, didn't we, because
• 42:50
  Speaker 2: we showed a clip of it.
• 42:52
  Speaker 1: Yes.
• 42:52
  Speaker 2: And you made me laugh so much in this. I
• 42:54
  Speaker 2: wrote this down, that there's a part where you're pointing
• 42:58
  Speaker 2: to the screen at one of the characters and you're
• 43:01
  Speaker 2: laughing because you're, like, you're losing your mind. Losing my mind, yeah.
• 43:04
  Speaker 2: So that really made me laugh.
• 43:06
  Speaker 3: Yeah.
• 43:06
  Speaker 2: That was really good.
• 43:07
  Speaker 1: That's nice.
• 43:09
  Speaker 3: All right.
• 43:09
  Speaker 1: This gets us to the end of the episode. We
• 43:11
  Speaker 1: are on part three of the wraparound.
• 43:13
  Speaker 3: Yeah. Cool wedding. And we are now in a gym
• 43:17
  Speaker 3: and we are splitting up friends.
• 43:19
  Speaker 1: Yeah.
• 43:19
  Speaker 3: Which is such a real thing. Yeah. Um, and it's
• 43:24
  Speaker 3: sadly a real thing, but we sort of.
• 43:26
  Speaker 1: Made it into like when you're in school and you're
• 43:28
  Speaker 1: picking teams, you're like team captain, you know? Um, And
• 43:33
  Speaker 1: that's how we split up. And the thing that makes
• 43:35
  Speaker 1: me laugh is when you pick my dad. I'm like,
• 43:37
  Speaker 1: you can't pick my dad.
• 43:37
  Speaker 3: And you're like, yes, I can.
• 43:39
  Speaker 2: Technically, we're picking people. Yeah.
• 43:41
  Speaker 3: Yeah.
• 43:43
  Speaker 2: Yeah. And we had some of our friends in there,
• 43:45
  Speaker 2: Rebecca Cole, keyboard player, who's gone on to tour manage
• 43:50
  Speaker 2: some stand-up stuff that I've done. And then she also
• 43:54
  Speaker 2: plays with Pavement. Yeah. And played in a band with you.
• 43:58
  Speaker 3: Yeah.
• 44:00
  Speaker 2: And then Lance Bangs.
• 44:01
  Speaker 3: Yep, who we just called Bangs for some reason.
• 44:03
  Speaker 2: Yeah.
• 44:03
  Speaker 3: I don't know why. Yeah.
• 44:07
  Speaker 2: So, nice clean ending. You know, we get the ear gauge.
• 44:10
  Speaker 3: Yeah, Jedediah.
• 44:11
  Speaker 2: Jedediah.
• 44:11
  Speaker 3: Who's been in a couple things, including sketches we've already
• 44:15
  Speaker 3: talked about. And I do like that.
• 44:17
  Speaker 1: I like, first of all, I love seeing our friends
• 44:20
  Speaker 1: populate the screen. And the recurring background actors and, you know.
• 44:28
  Speaker 3: Yeah. Characters. It's been great.
• 44:30
  Speaker 2: Yeah, it's good to see our old friends there.
• 44:32
  Speaker 3: Yeah.
• 44:34
  Speaker 1: This is a satisfying ending to me because they come
• 44:36
  Speaker 1: back together, but it's not in a wedding venue.
• 44:40
  Speaker 3: You know what I mean? Like we somehow get to
• 44:42
  Speaker 3: the wedding.
• 44:43
  Speaker 1: We end up having a non-traditional wedding.
• 44:47
  Speaker 2: Yeah, yeah.
• 44:48
  Speaker 3: But not the way we planned, which to me is
• 44:52
  Speaker 3: how life is.
• 44:54
  Speaker 2: And it's a great idea that like the sort of
• 44:56
  Speaker 2: basketball in the air, that should happen at more weddings.
• 45:01
  Speaker 3: Yeah, and for my ring, it's your gauge earring.
• 45:05
  Speaker 2: Yeah. Yeah. Do you still have it?
• 45:09
  Speaker 3: No.
• 45:12
  Speaker 2: So we should also, you know, in the tradition, even
• 45:14
  Speaker 2: though we're not getting paid for this, give it up
• 45:17
  Speaker 2: for Subaru. If you are a true listener, go out
• 45:23
  Speaker 2: and get yourself a Subaru. Try it out. Keep it.
• 45:28
  Speaker 2: We're asking you. That was a financial transaction back then,
• 45:31
  Speaker 2: but now.
• 45:32
  Speaker 3: We're still obligated.
• 45:33
  Speaker 2: Still obligated.
• 45:34
  Speaker 3: It's a lifelong contract.
• 45:35
  Speaker 1: Oh, yeah.
• 45:36
  Speaker 3: Yes. I have to bring it up three times a year.
• 45:40
  Speaker 2: Get it out there. Yeah.
• 45:42
  Speaker 1: And what sucks is if I forget, and so it's
• 45:44
  Speaker 1: like December 31st, I spend all of New Year's Eve
• 45:48
  Speaker 1: trying to sell those Subarus.
• 45:50
  Speaker 2: Get those Subarus out there. So thank you for listening
• 45:52
  Speaker 2: to Ayo Subaru.
• 45:57
  Speaker 3: Bye, guys.
• 46:08
  Speaker 1: Rewind.