Latest / Podlandia: A-O Rewatch with Fred Armisen and Carrie Brownstein / 205: Cops Redesign

Transcript

205: Cops Redesign · 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, watch Hey, hey, hey, watch.
• 0:10
  Speaker 1: Watch You're watching Podlandia.
• 0:31
  Speaker 2: Hi, I'm Carrie.
• 0:34
  Speaker 1: I'm Fred.
• 0:35
  Speaker 2: And this is AO Rewatch.
• 0:38
  Speaker 1: It's a Portlandia podcast where we look back at all
• 0:40
  Speaker 1: our episodes.
• 0:41
  Speaker 2: Today we are talking about Cops Redesign from season two.
• 0:45
  Speaker 1: So this is Cops Redesign, this episode. But before we start,
• 0:49
  Speaker 1: I want to say that this is not that important,
• 0:53
  Speaker 1: but we're wearing the same, Carrie and I are wearing
• 0:55
  Speaker 1: the same shirts we were wearing for the previous episode
• 1:00
  Speaker 1: In this podcast.
• 1:01
  Speaker 2: Right, because we keep discussing, and we will keep discussing,
• 1:04
  Speaker 2: but perhaps not doing anything about it, wearing a uniform.
• 1:10
  Speaker 2: So we're going to dip in and out of this
• 1:11
  Speaker 2: uniform thing.
• 1:11
  Speaker 1: Yeah, we want to be wearing a uniform.
• 1:14
  Speaker 2: But we haven't settled on a uniform.
• 1:15
  Speaker 1: Yeah, but this is the closest we've come to it.
• 1:17
  Speaker 2: This is the closest we've come to it. So if
• 1:19
  Speaker 2: you see these blue jacket shirts repeated, it's because we're
• 1:25
  Speaker 2: dabbling in uniforms.
• 1:27
  Speaker 1: Yes.
• 1:27
  Speaker 2: Dabbling in the idea of uniforms.
• 1:29
  Speaker 1: Yes.
• 1:30
  Speaker 2: We're comfortable. Yes.
• 1:31
  Speaker 1: And it's not like those dummies, they didn't change their shirts.
• 1:33
  Speaker 2: Yes. Please don't level that at us.
• 1:36
  Speaker 1: Don't.
• 1:36
  Speaker 2: Yeah. Or do, but just know.
• 1:39
  Speaker 1: It's not fair.
• 1:39
  Speaker 2: It's intentional.
• 1:40
  Speaker 1: Yeah. Okay. Speaking of clothes, Cops Redesign is about uniforms.
• 1:46
  Speaker 2: That's a really good segue. You know what? We're going
• 1:49
  Speaker 2: to get better at segues like that. Yeah. That was
• 1:51
  Speaker 2: like a real pro move you just did.
• 1:54
  Speaker 1: Can you imagine the people who worked at Segway?
• 1:59
  Speaker 2: I haven't thought about them for a second. I can't
• 2:01
  Speaker 2: believe a whole day went by and I hadn't thought
• 2:03
  Speaker 2: about Segway. I used to think about them every day.
• 2:06
  Speaker 1: Every day.
• 2:06
  Speaker 2: It was crazy. I was so excited. Oh, I was
• 2:08
  Speaker 2: so excited. I was like, the future is here. I
• 2:11
  Speaker 2: never have to walk again. Yeah.
• 2:16
  Speaker 1: Yeah. They're still a company, but they're not making anything.
• 2:19
  Speaker 1: They just sit there like, oh, man, no one wants these.
• 2:21
  Speaker 2: Well, they still do Segway tours, I think, around cities. Oh, really?
• 2:25
  Speaker 2: I think. Don't fact check me, but.
• 2:28
  Speaker 1: I won't.
• 2:29
  Speaker 2: I feel like they do. The novelty, again.
• 2:31
  Speaker 1: Cops redesign. This episode starts with the cold open of
• 2:37
  Speaker 1: the dream of the 1890s.
• 2:38
  Speaker 2: Which is a rare thing we did, which is to
• 2:40
  Speaker 2: be self-referential.
• 2:41
  Speaker 1: Yes.
• 2:42
  Speaker 2: I feel like one thing is Lorne Michaels, our executive producer,
• 2:47
  Speaker 2: I feel like that being self-referential is a little anathema
• 2:51
  Speaker 2: to him. I think, and I feel like when we
• 2:54
  Speaker 2: came up with this idea that You might have even
• 2:57
  Speaker 2: said like, oh, Lauren, like there are certain things that
• 3:00
  Speaker 2: we just knew that Lauren wouldn't necessarily.
• 3:03
  Speaker 1: Yes. That he wouldn't approve of. Yeah.
• 3:05
  Speaker 2: And not, and he was very supportive and very hands-off
• 3:08
  Speaker 2: and weighed in really judiciously and effectively when he needed to.
• 3:14
  Speaker 2: But he never would have told us not to do this.
• 3:16
  Speaker 2: But I think we did sometimes have his voice in
• 3:19
  Speaker 2: the back of our minds in a good way because
• 3:21
  Speaker 2: I think he is very wise. But I just want
• 3:24
  Speaker 2: to point out that this is something that we did not,
• 3:27
  Speaker 2: we didn't do very often.
• 3:28
  Speaker 1: Yeah, self-reference, he was, yeah, usually not into. That said,
• 3:36
  Speaker 1: he also visited set a lot. He came up to Portland.
• 3:40
  Speaker 2: Oh, so supportive.
• 3:41
  Speaker 1: Yeah, I remember it was, Like, just always a nice visit.
• 3:45
  Speaker 2: Yeah. And also, I just thought, like, this is such
• 3:48
  Speaker 2: a place that I don't imagine Lorne Michaels in.
• 3:51
  Speaker 1: Yeah.
• 3:51
  Speaker 2: You know, like, I think of him as a New
• 3:54
  Speaker 2: York guy.
• 3:55
  Speaker 1: Right.
• 3:55
  Speaker 2: You know, hung out with him in L.A. That all
• 3:57
  Speaker 2: makes sense.
• 3:58
  Speaker 1: Yeah.
• 3:59
  Speaker 2: Originally, he's from Canada, but, like, Portland, I was like, oh. Like,
• 4:02
  Speaker 2: it was very … It was really nice for me
• 4:05
  Speaker 2: to show them around this place I'd lived a long time.
• 4:08
  Speaker 2: I should also say that like I, when we shot Portlandia,
• 4:11
  Speaker 2: I was already living in Portland. I grew up in
• 4:13
  Speaker 2: the Pacific Northwest.
• 4:14
  Speaker 1: Yeah.
• 4:14
  Speaker 2: And like we talked about earlier, we didn't necessarily assume
• 4:18
  Speaker 2: the show would be filmed in Portland or that even
• 4:20
  Speaker 2: would have the name Portlandia. So it was always a
• 4:25
  Speaker 2: little bit, it never wore off to me, just the
• 4:29
  Speaker 2: excitement and how rare it was to be able to
• 4:32
  Speaker 2: shoot film a show in a place that I lived
• 4:35
  Speaker 2: and that place was not LA or New York. So
• 4:38
  Speaker 2: it was really nice and sweet to have people visit.
• 4:42
  Speaker 2: From all over.
• 4:44
  Speaker 1: Yeah.
• 4:45
  Speaker 2: Including Lauren. Yeah.
• 4:46
  Speaker 1: Yeah.
• 4:47
  Speaker 2: Anyway.
• 4:48
  Speaker 1: Um, dream of the 1890s. The idea of this is like,
• 4:53
  Speaker 1: just like the dream of the nineties. Like there is
• 4:56
  Speaker 1: this aesthetic that, um, It was in Portland, but it
• 5:02
  Speaker 1: was in many places where that had a sort of
• 5:04
  Speaker 1: 1800s vibe to it, especially with like sort of butcher
• 5:08
  Speaker 1: shops and barber shops that just had that look to it.
• 5:15
  Speaker 2: Yeah. This kind of... I mean, it exists now. I mean,
• 5:20
  Speaker 2: in like the world of like trad wives or there's
• 5:23
  Speaker 2: just these sort of like movements or trends that kind
• 5:26
  Speaker 2: of look back. I think not always in a good way.
• 5:29
  Speaker 2: You know, sometimes people are nostalgic for a time that
• 5:32
  Speaker 2: was not great for most people. This is sort of
• 5:36
  Speaker 2: in these, in Portland, I think it was a little
• 5:39
  Speaker 2: bit more about like, well, we want to go back
• 5:42
  Speaker 2: to a time sort of pre- technology when things were
• 5:46
  Speaker 2: less automated or there was a carefulness and sort of
• 5:50
  Speaker 2: a curation to how we made things, you know, and
• 5:54
  Speaker 2: the conceit was like, we, Oh, we got it wrong
• 5:57
  Speaker 2: with the 1990s. The dream is not the 1990s. Like,
• 6:02
  Speaker 2: you know, it's the 1890s. That was sort of the idea.
• 6:04
  Speaker 2: Like we're, this is the footnote where we've edited this
• 6:11
  Speaker 2: to make it actually correct.
• 6:14
  Speaker 1: And the locations we found were easy because there would
• 6:17
  Speaker 1: be some restaurant or something that did look very sort
• 6:19
  Speaker 1: of 1800s. Yeah.
• 6:20
  Speaker 2: And we're like curing their own meats and like.
• 6:22
  Speaker 1: Yeah, there was a lot of that, but there was
• 6:25
  Speaker 1: like a little bit of a misconception at the time
• 6:28
  Speaker 1: where people thought it was a very sort of vegan, uh, culture.
• 6:32
  Speaker 1: And it wasn't, there was a very sort of like,
• 6:34
  Speaker 1: let's get back into meat.
• 6:36
  Speaker 2: Yeah. Yeah.
• 6:37
  Speaker 1: Back into me.
• 6:38
  Speaker 2: Yeah.
• 6:39
  Speaker 1: And in this video, um, I've got this long beard
• 6:45
  Speaker 1: and it's, I've got that look, everyone's wearing suspenders and
• 6:48
  Speaker 1: things and handlebar mustaches. And I'm, I've got this ice
• 6:52
  Speaker 1: pick and I'm picking away at this big block of ice.
• 6:55
  Speaker 1: And that was a, just whoever's idea that was of
• 6:58
  Speaker 1: like the 1800s always seems to me like, you know,
• 7:02
  Speaker 1: I just picture a truck with like one big block
• 7:04
  Speaker 1: of ice.
• 7:05
  Speaker 2: Right. Like before refrigeration existed. Yeah. Yeah. That was a
• 7:10
  Speaker 2: kind of a thing in like mixology for a while
• 7:12
  Speaker 2: where it was like, that comes up with a cube
• 7:14
  Speaker 2: of ice. You know, like the shape, the size of
• 7:16
  Speaker 2: ice in the glass was like really said something about
• 7:19
  Speaker 2: your drink. Said something about the establishment. We're not doing
• 7:23
  Speaker 2: like crushed ice or cube ice. We're doing a big
• 7:26
  Speaker 2: block of ice.
• 7:27
  Speaker 1: It's almost angry at the invention of cube ice.
• 7:29
  Speaker 2: Absolutely.
• 7:30
  Speaker 1: It's very like, why did we decide to do that?
• 7:32
  Speaker 1: Back to the big block of ice. Yeah.
• 7:35
  Speaker 2: Like, you know, why mess with perfection?
• 7:38
  Speaker 1: Yeah. Yeah. I really like this song. And I remember
• 7:41
  Speaker 1: like in the performance of it, I was thinking of
• 7:44
  Speaker 1: the band Lungfish.
• 7:45
  Speaker 2: Oh, Asa.
• 7:46
  Speaker 1: Because Asa had this big beard. That's right.
• 7:49
  Speaker 2: I will say, watching this, I thought you looked very
• 7:52
  Speaker 2: handsome in this.
• 7:53
  Speaker 1: Thank you, Carrie.
• 7:54
  Speaker 2: You're very welcome. I just want to throw you that compliment.
• 7:57
  Speaker 1: Oh, I appreciate that.
• 7:57
  Speaker 2: You know, I hadn't seen this in a while. And
• 7:58
  Speaker 2: I was like, this, it really, the color of the beard,
• 8:02
  Speaker 2: which was a fake beard.
• 8:03
  Speaker 1: Yeah.
• 8:04
  Speaker 2: Really brought out the color.
• 8:05
  Speaker 1: Of your eyes. That's so, by the way, I'm very
• 8:08
  Speaker 1: good at taking compliments.
• 8:09
  Speaker 2: You really are. I've always thought that about you.
• 8:11
  Speaker 1: Yeah.
• 8:12
  Speaker 2: Yeah.
• 8:12
  Speaker 1: There's like a sort of, I'm gracious. And then I
• 8:16
  Speaker 1: move on from the moment. Like I don't linger in it.
• 8:18
  Speaker 1: I sort of take it, accept it. So, so thank you.
• 8:24
  Speaker 2: You're welcome.
• 8:27
  Speaker 1: Um, but yeah, I thought there was like, I re
• 8:30
  Speaker 1: I remember at the time when, when the, the, the
• 8:33
  Speaker 1: season came out, um, Wait, were you waiting for a
• 8:37
  Speaker 1: compliment back?
• 8:38
  Speaker 2: No. Oh my God. Even you saying that, that's like
• 8:43
  Speaker 2: the anti-compliment. Like you saying that implies that I'm someone
• 8:46
  Speaker 2: that's like, just wait, what if I just was mad
• 8:49
  Speaker 2: the rest of the episode? Like, wow, Fred, I said
• 8:52
  Speaker 2: something nice to Fred and you didn't say it back. No,
• 8:54
  Speaker 2: I hope you never comment on how I wanted the show.
• 8:57
  Speaker 2: How dare you?
• 8:59
  Speaker 1: Also, whatever came next would be so- And disingenuous. Just
• 9:03
  Speaker 1: so you know. No, you know what?
• 9:06
  Speaker 2: I'm never giving you another compliment again. Let's make a rule.
• 9:09
  Speaker 1: How about that that was- The last- The last compliment.
• 9:12
  Speaker 1: And it will stand this test of time. Yes. I
• 9:16
  Speaker 1: will always remember it.
• 9:17
  Speaker 2: Yes.
• 9:18
  Speaker 1: And appreciate it. Dream of the 1890s, written by Davin
• 9:22
  Speaker 1: Wood and John Kreisel. Well written. I really like the song.
• 9:29
  Speaker 2: Me too.
• 9:30
  Speaker 1: I was enjoying it. And then I forgot that we
• 9:33
  Speaker 1: hear a longer version of the song.
• 9:35
  Speaker 2: Yes.
• 9:35
  Speaker 1: And then in the editing. It dips down.
• 9:37
  Speaker 2: You know what I really like in the song? The bridge.
• 9:39
  Speaker 2: A good bridge is a tricky, it's not a guaranteed
• 9:45
  Speaker 2: good part of a song.
• 9:46
  Speaker 1: No. Sometimes it's a throwaway. This is the one where
• 9:48
  Speaker 1: it goes, it's a long way back.
• 9:49
  Speaker 2: Yes. I thought it really soared there. Especially in a
• 9:54
  Speaker 2: song for TV. Mostly people are focusing on chorus. Just
• 9:59
  Speaker 2: get to the chorus. In just regular songwriting, a bridge
• 10:04
  Speaker 2: is really important, but I was very pleasantly surprised that
• 10:08
  Speaker 2: this had a great bridge. And this was another one
• 10:11
  Speaker 2: where just like Dream of the 90s, meaning the 1990s,
• 10:15
  Speaker 2: I sort of show up at the end. Um, so
• 10:18
  Speaker 2: it was another one of those days on set where
• 10:20
  Speaker 2: I show up and you guys have built this world
• 10:23
  Speaker 2: and then I only get to.
• 10:25
  Speaker 1: You're off a little.
• 10:25
  Speaker 2: Yeah. I mean, I'm in the, the talking parts, you know, the,
• 10:29
  Speaker 2: where you're telling me about this city, but in terms
• 10:31
  Speaker 2: of the music.
• 10:32
  Speaker 1: Yeah. You do the Charleston at the.
• 10:33
  Speaker 2: Yes. Which I think if anyone is, uh, whatever, if
• 10:38
  Speaker 2: anyone's studied the Charleston, I'm probably not doing the Charleston.
• 10:42
  Speaker 2: So sorry for all those Charleston academics out there.
• 10:45
  Speaker 1: For anyone who's 110.
• 10:46
  Speaker 2: Yes.
• 10:47
  Speaker 1: Listening.
• 10:48
  Speaker 2: Yeah.
• 10:48
  Speaker 1: When the season came out, I remember Tina Fey telling
• 10:54
  Speaker 1: someone else about this sketch. And I just felt that
• 10:56
  Speaker 1: was giving me a good feeling. I was like, oh,
• 10:57
  Speaker 1: she watched it.
• 10:59
  Speaker 2: That's nice. That's a good feeling. Yeah. I didn't know that.
• 11:02
  Speaker 2: Maybe you told me at the time.
• 11:04
  Speaker 1: No, I definitely did.
• 11:07
  Speaker 2: I can go back through my records.
• 11:08
  Speaker 1: I definitely told you that.
• 11:10
  Speaker 2: In fact, in some ways, like I remember... So when...
• 11:15
  Speaker 2: when the show comes out, like in general, it felt
• 11:19
  Speaker 2: like we had a good reception, but Portland itself, I
• 11:23
  Speaker 2: think always was unsure about like, they embrace the show
• 11:29
  Speaker 2: in some ways. And then in other ways, it made
• 11:32
  Speaker 2: them feel self-conscious because they were like, it's not a
• 11:35
  Speaker 2: city that's used to seeing itself on screen. And even
• 11:38
  Speaker 2: though we were like, well, it's just, it's a stand
• 11:41
  Speaker 2: in for many cities and it's a show about, relationships
• 11:45
  Speaker 2: and ideas and it's a silly sketch show, there was
• 11:49
  Speaker 2: always a little bit of, it was fraught sometimes. You know,
• 11:52
  Speaker 2: some cities are used to seeing themselves on screen. New York, London, Chicago,
• 11:57
  Speaker 2: Los Angeles. And those shows don't have to be the
• 12:00
  Speaker 2: end all. Like Sex and the City is not the
• 12:03
  Speaker 2: only show about New York. If you don't like Sex
• 12:06
  Speaker 2: and the City, you can pick any other show about
• 12:09
  Speaker 2: New York and decide like that's your show. But what
• 12:13
  Speaker 2: I remember with Dream of the 1890s was that they
• 12:18
  Speaker 2: liked it. There was something specific about this and I
• 12:22
  Speaker 2: felt relieved. It felt like a love letter to the city,
• 12:28
  Speaker 2: even though it wasn't exclusively about the city. And we
• 12:32
  Speaker 2: gleaned so much joy from shooting there and from being
• 12:36
  Speaker 2: creative with so many denizens of Portland that I was
• 12:41
  Speaker 2: grateful in the moments that the city was like, yeah,
• 12:45
  Speaker 2: this is, you guys get it. Like there were certain
• 12:48
  Speaker 2: moments where I felt like they, they sort of got it.
• 12:51
  Speaker 2: And that was like a good kind of, um, synchronicity.
• 12:56
  Speaker 1: Yeah. Yeah.
• 12:57
  Speaker 2: I was, I was just the sort of like, you
• 12:59
  Speaker 2: were like Tina Fey liked it. And I was like,
• 13:00
  Speaker 2: and I also liked it.
• 13:02
  Speaker 1: No, but that's a really good point.
• 13:04
  Speaker 2: I like, um, we were in conversation with the city
• 13:06
  Speaker 2: the whole time, which I think is not always the
• 13:09
  Speaker 2: case with shows. I mean, certainly if you're shooting in,
• 13:12
  Speaker 2: New York or LA, and you're not even, you know,
• 13:14
  Speaker 2: a show isn't necessarily set in those places, you're not
• 13:16
  Speaker 2: necessarily having a discourse with the city itself. But I
• 13:20
  Speaker 2: felt like this was an ongoing conversation with the city.
• 13:25
  Speaker 2: And it was a conversation that had many iterations.
• 13:29
  Speaker 1: Season to season.
• 13:30
  Speaker 2: Season to season, you know. And yeah, and I think
• 13:35
  Speaker 2: the way that Portland is um, thoughtful and self reflective is,
• 13:41
  Speaker 2: is part of its charm. And then it's also a
• 13:44
  Speaker 2: burden sometimes because it is, it's just a thinking city.
• 13:47
  Speaker 2: It's a city that's like grappling with its identity a lot.
• 13:50
  Speaker 2: There's not like, well, this is who we are. You know,
• 13:53
  Speaker 2: like you have cities like that, that are like, of
• 13:54
  Speaker 2: course it's, it's just New York, like get over it,
• 13:57
  Speaker 2: you know, where it's like, you know, Portland, it's, there's
• 14:00
  Speaker 2: kind of a mercurial kind of fluid fluidity to it. And, um, Yeah,
• 14:05
  Speaker 2: so it was interesting to sort of be sometimes at
• 14:08
  Speaker 2: the mercy of those fluctuations, I thought.
• 14:12
  Speaker 1: I feel like Portland doesn't have that ambition to be
• 14:17
  Speaker 1: known in any particular way in the way that, say,
• 14:19
  Speaker 1: New Orleans does.
• 14:20
  Speaker 2: Right.
• 14:20
  Speaker 1: That, like, for lack of a better word, there's like
• 14:24
  Speaker 1: a sort of shyness or something. I mean, that might
• 14:28
  Speaker 1: be too much to describe it, but I'm just saying
• 14:30
  Speaker 1: that it never seemed like Portland was like trying to
• 14:34
  Speaker 1: like get like, I wish people knew what we were about.
• 14:37
  Speaker 2: Right. And also I think in the way that like, it's,
• 14:41
  Speaker 2: it's very telling that I think Portland doesn't want to
• 14:44
  Speaker 2: be labeled. It like doesn't want to have like a,
• 14:48
  Speaker 2: it's like we couldn't all agree on who we are,
• 14:52
  Speaker 2: what represents us. And that is part of what Portland is,
• 14:56
  Speaker 2: is to not, is to just not be able to
• 14:59
  Speaker 2: have like one coherent identity. It's more like, we just
• 15:03
  Speaker 2: want to be considered good or kind, which are, you know,
• 15:07
  Speaker 2: more abstract. And that's a hard, you know, to try
• 15:10
  Speaker 2: to drill down on abstraction is I think really hard
• 15:12
  Speaker 2: for a city. It's like, it's admirable, but it's, it's like,
• 15:17
  Speaker 2: they won't just settle on, well, Statue of Liberty or,
• 15:20
  Speaker 2: you know, like the Red Sox, you know, it's just like,
• 15:23
  Speaker 2: it's harder when you're just like, we want to be
• 15:25
  Speaker 2: a vibe.
• 15:26
  Speaker 1: But that's what, is lovable about it. That's so attractive
• 15:30
  Speaker 1: about it. Yeah.
• 15:31
  Speaker 2: Because it's like, okay, we were capable of changing. We're
• 15:36
  Speaker 2: not yet there. And that I think carries an optimism
• 15:39
  Speaker 2: and hopefulness to it, which are traits I do like,
• 15:43
  Speaker 2: you know, associate with Portland is that kind of hopefulness.
• 15:45
  Speaker 2: And like, we will, we are continuing to, we're not
• 15:48
  Speaker 2: there yet. And that's interesting. I think for a city,
• 15:52
  Speaker 2: because it sort of shows like, okay, we can still
• 15:55
  Speaker 2: be better than we are now.
• 15:56
  Speaker 1: Yeah.
• 15:57
  Speaker 2: But it is very different than that kind of like
• 15:59
  Speaker 2: fixed identity.
• 16:00
  Speaker 1: Yeah. Yeah. This is our cuisine. This is our dish. Yeah.
• 16:05
  Speaker 2: This is our dish. Yeah. Anyway. So cops redesign is
• 16:18
  Speaker 2: the wraparound is the through line sketch of this episode.
• 16:22
  Speaker 1: It's about redesigning the cop uniforms because this is, based
• 16:27
  Speaker 1: on the mayor too. The mayor is dealing with a crisis. Yeah.
• 16:31
  Speaker 2: Which is usually I would say every season we had
• 16:35
  Speaker 2: three or four episodes that were revolved around the mayor
• 16:41
  Speaker 2: played by Colin McLaughlin, who was game to come back
• 16:45
  Speaker 2: year after year and who we always wrote for. Always.
• 16:48
  Speaker 1: Yeah.
• 16:49
  Speaker 2: And so we usually gave the mayor, the city sort
• 16:51
  Speaker 2: of a crisis or some kind of obstacle. to overcome.
• 16:56
  Speaker 2: And this one starts with the cops coming in and
• 16:59
  Speaker 2: mucking up a Star Trek in the park performance, which
• 17:05
  Speaker 2: is a real thing in Portland, Star Trek in the park.
• 17:06
  Speaker 2: In fact, I believe that is the real Star Trek
• 17:09
  Speaker 2: in the park cohort that we see on screen. And
• 17:14
  Speaker 2: the cops come in and the mayor decides that the
• 17:18
  Speaker 2: cops need a rebrand.
• 17:20
  Speaker 1: Yeah.
• 17:23
  Speaker 2: Which is very real.
• 17:25
  Speaker 1: Yeah.
• 17:26
  Speaker 2: I mean, in this version of it, it's silly, but
• 17:31
  Speaker 2: we've made it silly.
• 17:32
  Speaker 1: Yeah.
• 17:34
  Speaker 2: And why he would ask Fred and Carrie to help
• 17:36
  Speaker 2: is beyond me.
• 17:38
  Speaker 1: Maybe he thinks we're kind of stylish or something or
• 17:40
  Speaker 1: more connected to that world or something. Yeah.
• 17:43
  Speaker 2: No, I mean, this is a, this is the nature
• 17:44
  Speaker 2: of the show is that we are his, you know, sort.
• 17:47
  Speaker 1: Of go-tos for stuff.
• 17:51
  Speaker 2: This is something I was talking about earlier though, that
• 17:52
  Speaker 2: I want to point out. So there's a joke at
• 17:54
  Speaker 2: the beginning where the mayor is showing a negative headline
• 17:58
  Speaker 2: and Fred cannot identify what the negative headline is, even
• 18:01
  Speaker 2: though it's the main headline. And I was saying that
• 18:05
  Speaker 2: the Fred and Carrie of Portlandia are, more naive and guileless.
• 18:10
  Speaker 2: And this is a good example of that. I feel
• 18:11
  Speaker 2: like I just want to make the assumption that you
• 18:14
  Speaker 2: would have been able to identify the proper headline.
• 18:17
  Speaker 1: I think so.
• 18:18
  Speaker 2: If I showed you a newspaper, but the Fred of Portlandia.
• 18:22
  Speaker 1: Just picked whatever was closest to him.
• 18:24
  Speaker 2: Yes. Yeah. Which becomes one of the jokes in the beginning,
• 18:28
  Speaker 2: as well as a joke that you definitely improvised about
• 18:31
  Speaker 2: Keystone cops, which is one of your solutions that you
• 18:33
  Speaker 2: come up with.
• 18:34
  Speaker 1: Yeah. Yeah.
• 18:41
  Speaker 2: And then you imitate a Keystone cop.
• 18:43
  Speaker 1: Yeah.
• 18:44
  Speaker 2: Which is a great, great impression.
• 18:45
  Speaker 1: Thank you.
• 18:46
  Speaker 2: Yeah.
• 18:46
  Speaker 1: Wow, a lot of 1920s. I wonder if we knew
• 18:48
  Speaker 1: that there'd be so many 1920s references.
• 18:51
  Speaker 2: I think that is coincidence. Also in this, Sam Adams
• 18:57
  Speaker 2: plays Mayor Kyle's assistant. Sam Adams was the real mayor
• 19:03
  Speaker 2: of Portland at this time.
• 19:04
  Speaker 1: At the time. Yeah. And we were shooting really in.
• 19:07
  Speaker 2: In his office.
• 19:07
  Speaker 1: Yep. That's the real mayor's office.
• 19:09
  Speaker 2: Again, this is one of the weirdest... At the time,
• 19:13
  Speaker 2: it seemed completely normal. But the access that we were
• 19:16
  Speaker 2: given to municipal buildings in Portland, you know, I'm driving
• 19:22
  Speaker 2: a real police... That was not... Later on, I'm driving
• 19:24
  Speaker 2: a real police car. That was not a picture car.
• 19:27
  Speaker 2: Like they... But yeah, we shot in City Hall. I
• 19:30
  Speaker 2: remember hanging out with Kyle... just all over city hall.
• 19:36
  Speaker 2: And yeah, the mayor.
• 19:37
  Speaker 1: The whole crew was there, all that equipment. Yeah.
• 19:40
  Speaker 2: Yep.
• 19:42
  Speaker 1: Yeah.
• 19:42
  Speaker 2: So Sam Adams was the guest star for season after season.
• 19:45
  Speaker 1: And he's really funny in it.
• 19:47
  Speaker 2: He's very funny.
• 19:48
  Speaker 1: He sort of appears in the doorway. Yeah. And will
• 19:50
  Speaker 1: sort of answer. And this one, they had a joke where,
• 19:54
  Speaker 1: I think it was a real mistake that they kept
• 19:56
  Speaker 1: where a picture frame falls out of, from the wall.
• 20:00
  Speaker 2: Yes. And we keep going back to that.
• 20:01
  Speaker 1: And we keep going back to it and it keeps falling.
• 20:03
  Speaker 2: But this ends basically with, we decide that a way
• 20:07
  Speaker 2: to rebrand the cops would be to redesign their uniforms.
• 20:11
  Speaker 1: Yes. To upgrade those.
• 20:13
  Speaker 2: Yeah. And that falls on us.
• 20:16
  Speaker 1: Yes. The next sketch is zero packaging rats. And it
• 20:23
  Speaker 1: came from a real news item in Portland where they
• 20:27
  Speaker 1: had a new grocery store that's going to have zero packaging.
• 20:32
  Speaker 1: Meaning all the food is just out. And I think
• 20:36
  Speaker 1: I made a joke going like, Oh, the rats are
• 20:38
  Speaker 1: going to be happy. And then in the writer's room,
• 20:40
  Speaker 1: we just came up with this idea of like rats
• 20:43
  Speaker 1: reading the same article. I mean like, Oh my God,
• 20:45
  Speaker 1: we have to go to this place. Yeah. And somehow
• 20:49
  Speaker 1: it became an animated piece. Yeah.
• 20:53
  Speaker 2: Which is highly ambitious.
• 20:55
  Speaker 1: Yeah.
• 20:56
  Speaker 2: Because it obviously animation is painstaking and time consuming, but yeah,
• 21:02
  Speaker 2: we had these stop motion.
• 21:04
  Speaker 1: Yep. Um, Rats.
• 21:07
  Speaker 2: I feel like a bug just flew into my, did
• 21:09
  Speaker 2: you see that?
• 21:09
  Speaker 1: It didn't fly into your face. It flew into your
• 21:12
  Speaker 1: hair for a second, but now it's gone.
• 21:14
  Speaker 2: Okay, great. I'm glad you saw where it went because
• 21:20
  Speaker 2: it felt like it went up my nose. Okay, great.
• 21:22
  Speaker 1: It didn't. It was just in your hair.
• 21:24
  Speaker 2: Okay.
• 21:25
  Speaker 1: Yeah.
• 21:25
  Speaker 2: So anyway, so we have this animated sketch and we
• 21:28
  Speaker 2: end up doing this a couple of times, but this
• 21:30
  Speaker 2: is the first one. Yeah.
• 21:32
  Speaker 1: Another thing that I learned about only because I thought
• 21:34
  Speaker 1: this would be quick and easy, and it turns out
• 21:37
  Speaker 1: to be expensive and difficult.
• 21:38
  Speaker 2: Yeah.
• 21:39
  Speaker 1: So we recorded the audio for it, and it was
• 21:42
  Speaker 1: sort of after, we'd have to, you know, we'd wait
• 21:45
  Speaker 1: a long time for it to be included in the
• 21:47
  Speaker 1: episode because they had to make it. The other voice
• 21:51
  Speaker 1: is John Levenstein, who's a friend of ours, a friend
• 21:56
  Speaker 1: of John's, very funny person.
• 21:58
  Speaker 2: Very funny person, wrote for Arrested Development, which is one
• 22:01
  Speaker 2: of my favorite shows of all time.
• 22:03
  Speaker 1: And he goes on to play a judge in Portlandia.
• 22:07
  Speaker 2: Yeah.
• 22:08
  Speaker 1: But yeah, he was the other rat. Yeah. And it's
• 22:11
  Speaker 1: just us discussing how are we going to get in
• 22:13
  Speaker 1: there and steal his food.
• 22:14
  Speaker 2: Yeah.
• 22:16
  Speaker 1: And the rats kind of look like us. And I,
• 22:20
  Speaker 1: I love those pieces. It's a nice break.
• 22:22
  Speaker 2: It is. I think it's a nice visual break.
• 22:23
  Speaker 1: Yeah.
• 22:24
  Speaker 2: On the show. And also something that we never, we,
• 22:26
  Speaker 2: we didn't set out like when we were pitching the show. Oh,
• 22:29
  Speaker 2: and there'll be animated segments.
• 22:31
  Speaker 1: Yeah.
• 22:31
  Speaker 2: Even though that's, somewhat traditional in sketch. I mean, there's
• 22:35
  Speaker 2: precedent for it, you know, on SNL and shows, but we, yeah.
• 22:40
  Speaker 2: We also made it more difficult. I mean, stop motion
• 22:42
  Speaker 2: is pretty tricky, but it's great.
• 22:45
  Speaker 1: I guess now it would be, they would do a
• 22:47
  Speaker 1: digital version of that, right?
• 22:48
  Speaker 2: Yeah. Rats was animated by Bent Image Lab in Portland
• 22:52
  Speaker 2: and their group of creative folks. And they, and we,
• 22:57
  Speaker 2: this was not the only rats we did. We go
• 22:58
  Speaker 2: on to do a couple others in later, later seasons.
• 23:03
  Speaker 1: Yeah. And with John Levenstein playing that third rat.
• 23:06
  Speaker 2: Yeah.
• 23:08
  Speaker 1: Then we go on to, oh, okay. So now we
• 23:13
  Speaker 1: do another Brendan and Michelle at school.
• 23:15
  Speaker 2: Yes.
• 23:16
  Speaker 1: Having an argument about, with the school.
• 23:18
  Speaker 2: Yes. So we're at Shooting Star Preschool. Yeah. Janet, the
• 23:22
  Speaker 2: head of the school.
• 23:23
  Speaker 1: Yeah.
• 23:24
  Speaker 2: Is running a PTA meeting essentially.
• 23:26
  Speaker 1: Yeah. And there are parents there and we have a,
• 23:33
  Speaker 1: real discussion, a serious discussion about records, what records they're
• 23:37
  Speaker 1: listening to. And I love this sketch because I could
• 23:41
  Speaker 1: tell that whatever we're improvising is really how we feel.
• 23:45
  Speaker 2: Yes.
• 23:46
  Speaker 1: I think you bring up can, right?
• 23:48
  Speaker 2: I do. And noi.
• 23:49
  Speaker 1: Yeah.
• 23:50
  Speaker 2: No, no, no.
• 23:50
  Speaker 1: It's noi I think you bring up.
• 23:52
  Speaker 2: I bring up krautrock.
• 23:53
  Speaker 1: Yeah, yeah.
• 23:53
  Speaker 2: I bring up krautrock. Which I did in an earlier
• 23:56
  Speaker 2: podcast episode, which I really must be trying to say something.
• 23:59
  Speaker 2: But yes, I had the exact same feeling. I was like,
• 24:02
  Speaker 2: oh my God, I can hear the real versions of us.
• 24:06
  Speaker 1: Yes.
• 24:07
  Speaker 2: Coming through in Michelle and Brendan. Yeah. Like our real
• 24:12
  Speaker 2: music snobbery, like poking out here.
• 24:19
  Speaker 1: And also how important it is.
• 24:21
  Speaker 2: Yes. And we don't take it lightly.
• 24:23
  Speaker 1: No, no.
• 24:24
  Speaker 2: If I was having a conversation at a school, I
• 24:29
  Speaker 2: would be concerned for what they were listening to.
• 24:34
  Speaker 1: The tone of the whole discussion, the whole argument, there's
• 24:39
  Speaker 1: this tone where I think you say like, no, that's pablum.
• 24:42
  Speaker 1: That's like, there's this very like, I'm angry, but respectful.
• 24:47
  Speaker 1: It is my turn to speak.
• 24:48
  Speaker 2: Yes. And I really, there's the other couple.
• 24:53
  Speaker 1: Yeah.
• 24:54
  Speaker 2: They talk about Mike and the Mechanics, and the guy
• 24:57
  Speaker 2: gives a very earnest retort to how amazing Mike and
• 25:02
  Speaker 2: the Mechanics were, that it was like 80s dream pop
• 25:05
  Speaker 2: or something. There's an earnestness.
• 25:08
  Speaker 1: And validity.
• 25:09
  Speaker 2: And validity. I was actually like, good point. As Carrie,
• 25:13
  Speaker 2: I was thinking, good point. Michelle, I was not having it.
• 25:17
  Speaker 2: But yeah, it was a really fun sketch. And I think...
• 25:24
  Speaker 2: We basically took, I think, a conversation, an argument that
• 25:28
  Speaker 2: we've had not in that context. Yes. And put it in,
• 25:32
  Speaker 2: you know, sort of in a place where it wouldn't
• 25:34
  Speaker 2: normally happen. But these are the kinds of conversations I
• 25:36
  Speaker 2: think growing up, like in high school and definitely when
• 25:40
  Speaker 2: I was living in Olympia and playing music. I mean,
• 25:43
  Speaker 2: these were conversations, like make or break conversations. Like, what
• 25:48
  Speaker 2: was your opinion on this album?
• 25:52
  Speaker 1: There's no politeness. there's a real, like, this is really
• 25:56
  Speaker 1: what I'm, this argument, I'm going to win this argument.
• 25:59
  Speaker 2: The stakes felt very real. Like if you, you know,
• 26:03
  Speaker 2: there were, it was like Beatles or Stones was like
• 26:06
  Speaker 2: a legitimate, like beef. And then people, there was always
• 26:10
  Speaker 2: someone that would just say the kinks.
• 26:12
  Speaker 1: Yes.
• 26:13
  Speaker 2: There was always that person that threw the, you know,
• 26:15
  Speaker 2: but these were, this is kind of how you, like,
• 26:18
  Speaker 2: this was the currency with which you use to like
• 26:20
  Speaker 2: move through you know, the, the community, like the, the
• 26:24
  Speaker 2: punk and indie rock community was like, what, who, what
• 26:27
  Speaker 2: was your favorite album by this band? Yeah.
• 26:30
  Speaker 1: And don't say the wrong one.
• 26:31
  Speaker 2: Don't say the wrong one with television. Is it adventure
• 26:33
  Speaker 2: or Marky Moon?
• 26:34
  Speaker 1: Right.
• 26:35
  Speaker 2: You know, it's like, yeah. And it was like, do
• 26:37
  Speaker 2: you want to choose the more obvious one? The one
• 26:39
  Speaker 2: that you maybe know is a little bit better, or
• 26:41
  Speaker 2: do you want to choose the more obscure one? Like
• 26:43
  Speaker 2: what gives you more credibility? Yes. And this was vexing.
• 26:48
  Speaker 2: Like this was tricky as a young person to, to
• 26:52
  Speaker 2: navigate like what to like and what to know, like
• 26:57
  Speaker 2: how much information, you know, I was just always like
• 27:00
  Speaker 2: collecting this information. I was voracious and like wanting and
• 27:04
  Speaker 2: feeling like I needed to know this and to know
• 27:06
  Speaker 2: the right things.
• 27:08
  Speaker 1: Yes. I think the thing that's happened over time though,
• 27:14
  Speaker 1: not though, is that Now I hear the Clash argument,
• 27:20
  Speaker 1: which my whole life has been like, there's the Clash. Okay,
• 27:24
  Speaker 1: they had their hit singles on Combat Rock. We talk
• 27:26
  Speaker 1: about that in the sketch. Now enough time has passed
• 27:29
  Speaker 1: that that is no longer an issue where now it's
• 27:33
  Speaker 1: all been shrunk down into like, do you even know
• 27:37
  Speaker 1: who the Clash are?
• 27:38
  Speaker 2: Yes.
• 27:39
  Speaker 1: Unfortunately. I'm just, just as time has gone, now I've
• 27:43
  Speaker 1: had to sort of tell people, you know.
• 27:46
  Speaker 2: Oh, it sounds ridiculous. I mean, this sounds just absolutely
• 27:49
  Speaker 2: trivial in some ways. And it's hard to kind of
• 27:52
  Speaker 2: stress like how serious it felt, you know, to err on,
• 27:57
  Speaker 2: you know, you didn't want to be wrong, but yes,
• 27:59
  Speaker 2: there is that conflating, that flattening effect. I think that
• 28:03
  Speaker 2: technology and the internet has had on these kinds of things. Whereas,
• 28:06
  Speaker 2: you know, like where there's just a list of songs,
• 28:09
  Speaker 2: you know, it's like, if you're listening to a streaming service,
• 28:12
  Speaker 2: it's like, the clash radio or like this is the clash.
• 28:16
  Speaker 2: And then it decontextualizes all the music. So it's, it
• 28:20
  Speaker 2: doesn't matter if should I stay or should I go
• 28:24
  Speaker 2: was on combat rock and whether you think that's peak clash,
• 28:27
  Speaker 2: that's just one of the many songs it doesn't like
• 28:30
  Speaker 2: provenance origin, you know, like even, you know, what was
• 28:34
  Speaker 2: happening in the world when the record came out, like
• 28:36
  Speaker 2: those things really don't matter, nor do like personnel, like the,
• 28:40
  Speaker 2: the people who played on it, you know, people used
• 28:43
  Speaker 2: to legitimately ask like, you know, your favorite band member,
• 28:47
  Speaker 2: who's your favorite Beatle or like Mick Jones, Joe Strummer,
• 28:51
  Speaker 2: like even in, you know, punk bands. But now it's like,
• 28:56
  Speaker 2: people don't care, which is fine, but it, it just,
• 29:01
  Speaker 2: it's so different. You know, that, that kind of like, it's, yeah,
• 29:06
  Speaker 2: it's just all kind of being sucked through a very
• 29:08
  Speaker 2: narrow straw. Yeah. Yeah.
• 29:10
  Speaker 1: That's a perfect description.
• 29:12
  Speaker 2: Yeah, it's just such a different kind of listening experience
• 29:20
  Speaker 2: for a lot of people. But this sketch really distilled,
• 29:25
  Speaker 2: I think, how intense the stakes felt and how your
• 29:29
  Speaker 2: identity was so married to what your opinion was about
• 29:34
  Speaker 2: music and what you knew.
• 29:36
  Speaker 1: Including bringing up a band like Mike and the Mechanics,
• 29:38
  Speaker 1: where in our sometimes you do try to bring up
• 29:41
  Speaker 1: a pop band as a sort of like this is
• 29:46
  Speaker 1: even cooler than what you think.
• 29:48
  Speaker 2: Is cool oh like and i like it's ironic.
• 29:52
  Speaker 1: It's ironic and they're like no let's really appreciate what
• 29:54
  Speaker 1: this yes for in a different way yeah which is
• 29:58
  Speaker 1: so realistic when people argue.
• 30:00
  Speaker 2: For sure. And then with time, there's reassessments of bands that,
• 30:04
  Speaker 2: you know, people, you know, dismissed and then realized later,
• 30:07
  Speaker 2: you know, because we were all falling prey to, you know,
• 30:11
  Speaker 2: this kind of like music snobbery or, you know, knee
• 30:16
  Speaker 2: jerk reaction to something that ends up being really, you know,
• 30:20
  Speaker 2: brilliant or interesting or seminal or something. But yeah, there
• 30:26
  Speaker 2: is something, I think for us, this sketch is just,
• 30:30
  Speaker 2: it's very real, despite it taking place in this preschool.
• 30:35
  Speaker 1: Like, I don't think any of us memorized anything. I
• 30:39
  Speaker 1: think we just knew what to say. This was a
• 30:41
  Speaker 1: case of like, not like, what should we, what is
• 30:43
  Speaker 1: our argument? It was just start talking.
• 30:45
  Speaker 2: Yes, exactly.
• 30:47
  Speaker 1: Start talking.
• 30:48
  Speaker 2: I mean, some, again, at this point we're season two.
• 30:51
  Speaker 2: There's definitely things that are more scripted. And again, every
• 30:54
  Speaker 2: sketch had an outline and specific beats. And we didn't
• 30:58
  Speaker 2: necessarily even adhere to those. Sometimes on the day, you
• 31:02
  Speaker 2: need all that stuff so that you can get a
• 31:04
  Speaker 2: location and costumes can do their work and production design
• 31:09
  Speaker 2: can do and art department can do their work. But
• 31:11
  Speaker 2: often we would discard the script when we got there.
• 31:14
  Speaker 2: And as, as we go further into the seasons, we
• 31:17
  Speaker 2: do follow the script more. And sometimes you need it
• 31:20
  Speaker 2: to like rats, which we were just talking about. There's
• 31:22
  Speaker 2: a script you have, we have to read and follow
• 31:24
  Speaker 2: the script because somebody is going to animate that. Um,
• 31:27
  Speaker 2: but this was definitely one that I agree. Like I doubt,
• 31:31
  Speaker 2: I bet Jana is saying at the top what was
• 31:33
  Speaker 2: in the script to introduce the setups. But after that,
• 31:37
  Speaker 2: you know, I don't think Mike and the Mechanics was
• 31:40
  Speaker 2: mentioned in there, or Cannes, or Noy, or Krawack, or
• 31:43
  Speaker 2: anything like that.
• 31:44
  Speaker 1: They were good as the other couple, too.
• 31:46
  Speaker 2: Yes.
• 31:46
  Speaker 1: You know, their tone was perfect.
• 31:51
  Speaker 2: And then at the end, Isaac Brock, singer, songwriter, Modest Mouse,
• 31:55
  Speaker 2: comes in, and he's donating albums.
• 31:58
  Speaker 1: Yep.
• 31:59
  Speaker 2: And I think he templed the dog, right? Yeah. Yeah.
• 32:02
  Speaker 1: He's great in it, too. Yeah.
• 32:05
  Speaker 2: There are always more musicians than I remember being in.
• 32:08
  Speaker 2: That's one thing in rewatching. I'm like, oh, my God.
• 32:11
  Speaker 1: Right.
• 32:11
  Speaker 2: We had this guy. Again, Portland has a very rich
• 32:16
  Speaker 2: music scene. But also when people were coming through, we'll
• 32:19
  Speaker 2: get to other episodes where people would be on tour.
• 32:21
  Speaker 2: And if they had a day off before or after,
• 32:24
  Speaker 2: we would have them on the show. And, you know,
• 32:27
  Speaker 2: for us, that was such an extension of our of
• 32:29
  Speaker 2: our world. Our real life world was to be surrounded by.
• 32:34
  Speaker 2: music people yeah it was a comfortable yeah and in
• 32:37
  Speaker 2: addition to obviously you know comedians and stand-ups and stuff
• 32:40
  Speaker 2: the the music community felt just as intrinsic and innate
• 32:44
  Speaker 2: to the show like i didn't i didn't really differentiate
• 32:47
  Speaker 2: between like having a you know a musician act on
• 32:50
  Speaker 2: the show or yeah comedian act on the show at
• 32:53
  Speaker 2: all yeah the same.
• 32:55
  Speaker 1: Yeah definitely yeah i want to say i'm enjoying this.
• 32:59
  Speaker 2: Yeah me too um but yeah i enjoyed watching that
• 33:02
  Speaker 2: and this is a sketch that i see people reposting
• 33:05
  Speaker 2: because I think it, it, it does, it is an extension.
• 33:09
  Speaker 2: I think of whether it's about music or something else
• 33:11
  Speaker 2: where people are just so impassioned about something that almost
• 33:14
  Speaker 2: takes you by surprise, like, you know, for the context
• 33:17
  Speaker 2: or that.
• 33:18
  Speaker 1: Yeah. I, I've had some experiences recently, whatever the last
• 33:25
  Speaker 1: five years or something in this zone. And I can't
• 33:28
  Speaker 1: really bring it up because I don't want to talk
• 33:30
  Speaker 1: about any artists in any way, but I just want
• 33:33
  Speaker 1: to say, I've had recent discussions about bands and pop
• 33:40
  Speaker 1: artists where I'm still trying to make that, even though
• 33:46
  Speaker 1: I've gotten older, I'm still like, there's some things I've
• 33:49
  Speaker 1: held on to. Some things I've let go of. Thankfully. Yeah.
• 33:54
  Speaker 1: Couple little things where I still kind of hang on
• 33:57
  Speaker 1: and I'll just leave it at that.
• 34:00
  Speaker 2: For me, I have that. similar experience but my journey
• 34:05
  Speaker 2: is more like when I first discovered punk and alternative
• 34:10
  Speaker 2: music and by the way I think it predated alternative
• 34:13
  Speaker 2: music because that term came about post Nirvana like when
• 34:16
  Speaker 2: I anyway so when I was first listening to punk
• 34:21
  Speaker 2: it required a forced rejection of all the pop music
• 34:24
  Speaker 2: that I actually loved when I was in elementary and
• 34:27
  Speaker 2: middle school you know I really listened to a lot
• 34:30
  Speaker 2: of I mean it was like peak MTV and, you know,
• 34:35
  Speaker 2: I knew kids on the block and Wilson Phillips and
• 34:37
  Speaker 2: it was just, you know, stuff that pretty cheesy. Um,
• 34:42
  Speaker 2: and I went back, I think as I got older, um,
• 34:47
  Speaker 2: some of that music, not all of it, but I
• 34:49
  Speaker 2: was like, no, I love Van Halen 1984, you know,
• 34:52
  Speaker 2: but that was the kind of stuff that was like
• 34:54
  Speaker 2: too mainstream.
• 34:55
  Speaker 1: Oh yeah. Yeah. I was there too. Yeah.
• 34:58
  Speaker 2: And now I'm like, okay. I like a lot of
• 35:01
  Speaker 2: that stuff or Madonna who, I mean, I was obsessed
• 35:03
  Speaker 2: with as a kid and there was sort of a
• 35:04
  Speaker 2: moment of like, well, I'm, you know, not listening to
• 35:06
  Speaker 2: Madonna now. Now I'm listening to like Lena Lovitch and like,
• 35:11
  Speaker 2: and now it's like, of course I like love the
• 35:14
  Speaker 2: Madonna album or something, you know? I mean, some musicians
• 35:17
  Speaker 2: transcend that like Prince, always cool. I could listen to
• 35:21
  Speaker 2: Prince in elementary school and I never had to You know,
• 35:25
  Speaker 2: artists transcended it, you know. Zeppelin was another band. Although
• 35:29
  Speaker 2: Zeppelin was on the bubble. There was definitely, like, it
• 35:32
  Speaker 2: was too indulgent. So much punk music was a reaction.
• 35:35
  Speaker 1: Exactly that.
• 35:35
  Speaker 2: To the grandiosity and all that, like, you know, guitar stuff. Sure.
• 35:40
  Speaker 2: I love that guitar stuff. So it's like this whole, like, indoctrination, right,
• 35:45
  Speaker 2: into these subcultures where you're like, as part of your
• 35:48
  Speaker 2: new membership, you must.
• 35:50
  Speaker 1: You have to.
• 35:51
  Speaker 2: You have to get rid of anything that was there.
• 35:54
  Speaker 2: it seemed uncool. And then, you know, slowly you let that,
• 35:57
  Speaker 2: you don't care. You stop caring.
• 35:59
  Speaker 1: Yeah.
• 35:59
  Speaker 2: And you're like, I, I like all this stuff. Um, yeah.
• 36:03
  Speaker 1: You know, it was a good place to see it
• 36:05
  Speaker 1: because now a lot of those artists know each other,
• 36:10
  Speaker 1: meaning like I've seen pictures of Bob Weir and Joe
• 36:13
  Speaker 1: Strummer together.
• 36:14
  Speaker 2: Right.
• 36:15
  Speaker 1: And I'm like, of course, they all like.
• 36:17
  Speaker 2: In our minds.
• 36:17
  Speaker 1: Oh my God.
• 36:18
  Speaker 2: They're grateful dead. And the clash, they were like diametrically opposed.
• 36:21
  Speaker 1: So sometimes on Instagram, um, a rock star will comment
• 36:26
  Speaker 1: on an other rock star. And you think that they're
• 36:29
  Speaker 1: from different planets, but I'm like, oh no, they all
• 36:31
  Speaker 1: know each other and are like trying to support each other.
• 36:33
  Speaker 2: Wait, it's a narrative that other people came up with. Yeah.
• 36:36
  Speaker 1: And they're all like, hey, good show or whatever.
• 36:38
  Speaker 2: Because it's more interesting to think that like, especially when
• 36:41
  Speaker 2: genre was really important, that, you know, there was no relationship.
• 36:45
  Speaker 2: You know, a good example of that when Jimmy Buffett
• 36:47
  Speaker 2: died and people think of Jimmy Buffett, you know, very
• 36:50
  Speaker 2: in a reductive way, you know, Um, and all of
• 36:53
  Speaker 2: these songwriters, Paul Simon, you know, like, um, people were
• 36:58
  Speaker 2: like everybody. Yes.
• 36:59
  Speaker 1: Everyone.
• 36:59
  Speaker 2: Like anyone who's sort of still alive from that era
• 37:02
  Speaker 2: was like, Oh my God, Jimmy Buffett, nicest guy.
• 37:04
  Speaker 1: Great.
• 37:05
  Speaker 2: So, and, and it had that same effect on me
• 37:07
  Speaker 2: where I was like, of course they just know him. Sure.
• 37:09
  Speaker 2: He has some hits that people, you know, think of
• 37:12
  Speaker 2: as a little bit corny, but he also has an
• 37:14
  Speaker 2: extensive catalog. And he was a guy that held on
• 37:18
  Speaker 2: to a fan base for decades, which is.
• 37:20
  Speaker 1: A huge fan base.
• 37:21
  Speaker 2: A huge fan base. Like an ardent, fervent fan base.
• 37:25
  Speaker 2: And that's what these other people are respecting. And in
• 37:27
  Speaker 2: addition to his songwriting and musicianship, it's like, no, to last,
• 37:31
  Speaker 2: to have not just a moment, but a career, hats
• 37:34
  Speaker 2: off to you. And know him as a person and
• 37:37
  Speaker 2: all of the sort of noise around this person is
• 37:42
  Speaker 2: only this kind of artist. That just goes away.
• 37:45
  Speaker 1: Yeah.
• 37:45
  Speaker 2: And so, yeah. But that was really one where all
• 37:48
  Speaker 2: these people came out of the woodwork. Yeah. And were
• 37:50
  Speaker 2: just like.
• 37:51
  Speaker 1: Yeah. Paul McCartney had this long statement.
• 37:55
  Speaker 2: Yeah. And I never would have guessed. Yeah.
• 37:59
  Speaker 1: Anyway.
• 37:59
  Speaker 2: Anyway. What a detour.
• 38:12
  Speaker 1: Cops Redesign Part Two. Is the fashion show.
• 38:16
  Speaker 2: Is a fashion show.
• 38:17
  Speaker 1: On a table in a meeting room.
• 38:19
  Speaker 2: Yes.
• 38:19
  Speaker 1: And the chief of police is there.
• 38:22
  Speaker 2: Who is just looking at us like a bunch of idiots.
• 38:26
  Speaker 1: So we, Carrie and Fred, are sort of doing the
• 38:30
  Speaker 1: fashion show.
• 38:31
  Speaker 2: We're treating it like a full fashion show.
• 38:33
  Speaker 1: Yeah, the commentary.
• 38:34
  Speaker 2: Yeah, there's three models.
• 38:35
  Speaker 1: Yeah.
• 38:36
  Speaker 2: Yeah.
• 38:36
  Speaker 1: One of them is Annie Clark.
• 38:37
  Speaker 2: Yeah, aka St. Vincent.
• 38:39
  Speaker 1: Another huge part of the... list of musical guests. Yeah.
• 38:46
  Speaker 2: And she actually comes back and is in other, other episodes.
• 38:51
  Speaker 1: So they've got all these, I think those are well-designed.
• 38:54
  Speaker 2: Yeah. This is a sweatshirt. Yeah.
• 38:56
  Speaker 1: Cop uniforms.
• 38:57
  Speaker 2: Yeah.
• 38:58
  Speaker 1: So I just, I enjoyed watching that.
• 39:00
  Speaker 2: Yeah. And in some ways it's like, we're, yeah, we're,
• 39:03
  Speaker 2: we're trying to like defang this, you know, it's like,
• 39:06
  Speaker 2: and it's the, the cops, you know, we're sort of like, okay,
• 39:11
  Speaker 2: you know, what if it was more like this? And, Yeah,
• 39:13
  Speaker 2: the guy wants nothing to do with us. But we're
• 39:16
  Speaker 2: really proud of our designs.
• 39:18
  Speaker 1: I will say, I do sometimes look at the military
• 39:21
  Speaker 1: of North Korea and go, guys, it's 2026. Like, update this.
• 39:29
  Speaker 1: They have these balls. hats that are from like another
• 39:33
  Speaker 1: time come.
• 39:34
  Speaker 2: On have you have you told them this.
• 39:37
  Speaker 1: I want to i want to i want to get
• 39:40
  Speaker 1: in touch with them like do you Read the planet.
• 39:43
  Speaker 2: If anyone listening has... Yeah, if you.
• 39:46
  Speaker 1: Have connections to the North Korean military.
• 39:48
  Speaker 2: Yeah. We would love a chance to redesign that. Yeah.
• 39:52
  Speaker 1: Let's heighten it up.
• 39:53
  Speaker 2: Oh, watch this episode. I mean, see, our work speaks
• 39:56
  Speaker 2: for itself.
• 39:57
  Speaker 1: These long winter coats that just look bulky. Take a
• 40:04
  Speaker 1: look at the French military. That's all I'm saying. Yeah.
• 40:10
  Speaker 2: I think you're onto something. Yeah.
• 40:12
  Speaker 1: And I'm sure they're listening. Except, I don't know if these,
• 40:15
  Speaker 1: we might have to, do we dub this in other languages? Anyway,
• 40:24
  Speaker 1: so that's a, that has a good cliffhanger in that
• 40:29
  Speaker 1: the chief of police is like.
• 40:31
  Speaker 2: Oh, well, he's like, okay. He's sort of like, he
• 40:33
  Speaker 2: dares us. He's like, really? Yeah, you police the city then. Yeah. Yeah.
• 40:38
  Speaker 1: So that's a good.
• 40:39
  Speaker 2: It's a cliffhanger.
• 40:40
  Speaker 1: Yeah. Okay, wow.
• 40:42
  Speaker 2: This is a real music one because now the next
• 40:45
  Speaker 2: sketch is Do You Know, which is kind of a
• 40:47
  Speaker 2: take on Did You Read, which is from season one,
• 40:50
  Speaker 2: where our characters are kind of one-upping each other, which
• 40:54
  Speaker 2: is very apropos of this episode, I guess, and the
• 40:57
  Speaker 2: conversation we were having earlier about music. Did You Read was,
• 41:00
  Speaker 2: of course, like how many articles have you seen, trying
• 41:03
  Speaker 2: to drill down on who's seen more, who knows more,
• 41:06
  Speaker 2: and this is with people.
• 41:08
  Speaker 1: Yeah.
• 41:09
  Speaker 2: And what our characters do essentially is we end up
• 41:12
  Speaker 2: riffing on all of the musicians we know in Washington, D.C.
• 41:16
  Speaker 2: And it's real.
• 41:17
  Speaker 1: And it's real. These are all real people.
• 41:18
  Speaker 2: These are real people.
• 41:19
  Speaker 1: Who we really know.
• 41:20
  Speaker 2: Who we really know. And so really, this was not
• 41:23
  Speaker 2: a sketch at all. This was just us and Wigs
• 41:25
  Speaker 2: asking each other, do you know this person? And you
• 41:27
  Speaker 2: really were like, yeah, I do.
• 41:30
  Speaker 1: But also... I think we have had that discussion.
• 41:33
  Speaker 2: We have had this discussion.
• 41:34
  Speaker 1: We name a city and it's always like, well.
• 41:36
  Speaker 2: Yeah. Who do you know from that city?
• 41:37
  Speaker 1: Where did you play? Oh, well then Minneapolis becomes.
• 41:40
  Speaker 2: Yeah. And it's not just who you know, but like,
• 41:42
  Speaker 2: do you know the bands from there?
• 41:43
  Speaker 1: Yeah. Yeah. And the people who ran the clubs, all
• 41:46
  Speaker 1: that stuff.
• 41:46
  Speaker 2: Oh gosh. Yeah.
• 41:47
  Speaker 1: I mean, Olympia.
• 41:49
  Speaker 2: Don't get me started.
• 41:50
  Speaker 1: San Francisco. Yeah. So yeah. So that was, DC seems
• 41:55
  Speaker 1: to be like the most.
• 41:58
  Speaker 2: I don't know why we, we, picked that one but
• 42:01
  Speaker 2: that one.
• 42:02
  Speaker 1: It's maybe that when neither of us are from there
• 42:04
  Speaker 1: so it's easy to.
• 42:05
  Speaker 2: Yeah right no and there's no cheat like if it
• 42:07
  Speaker 2: was you know chicago if it was chicago for you
• 42:10
  Speaker 2: you and you would win yeah yeah um so yeah
• 42:13
  Speaker 2: so that's the sketch and again weirdly i wouldn't call
• 42:17
  Speaker 2: it self-referential but i think as as we look back
• 42:21
  Speaker 2: i realize there are just tropes like oh this is
• 42:23
  Speaker 2: that kind of sketch yeah you know um anyway so
• 42:27
  Speaker 2: this is that kind of sketch um.
• 42:30
  Speaker 1: Bad art, good walls is from the observation that coffee
• 42:34
  Speaker 1: shops have bad art on the walls always. It's always some,
• 42:42
  Speaker 1: just some painting that is just very amateurish, but not students,
• 42:48
  Speaker 1: not art students, something like adults who are trying to
• 42:50
  Speaker 1: make art. And it's just an observation from that. And
• 42:54
  Speaker 1: then the company that is making this.
• 42:57
  Speaker 2: Right. The joke is that instead of it actually being,
• 43:00
  Speaker 2: you know, someone's attempt at, you know, a painting or
• 43:03
  Speaker 2: photography that there's just a company that's providing bad art
• 43:07
  Speaker 2: for every coffee shop.
• 43:08
  Speaker 1: Yeah. And like, this is bad. This is all, this
• 43:10
  Speaker 1: one's terrible. Let's get this out here. Yeah. Yeah. Yeah.
• 43:14
  Speaker 2: And, uh, we have, um, there's an improvement.
• 43:18
  Speaker 1: I wish Sean Hayes is in it.
• 43:19
  Speaker 2: Sean Hayes is in it. Great. And he comes in
• 43:22
  Speaker 2: kind of late. Like, I remember that Sean was in
• 43:24
  Speaker 2: this as I started the sketch starts and I'm like, wow, he,
• 43:27
  Speaker 2: Kind of a late entry into this.
• 43:28
  Speaker 1: Yeah. Yeah.
• 43:29
  Speaker 2: And weird characters. Although these are recurring characters for us. Yes. Rarely,
• 43:32
  Speaker 2: but they, they reoccur a couple of times.
• 43:35
  Speaker 1: An improvement I would have made on it is that
• 43:37
  Speaker 1: I wish we referenced the order of what coffee shop
• 43:42
  Speaker 1: it's going to. Like this is going to, you know,
• 43:45
  Speaker 1: Billy's in Lincoln, Nebraska.
• 43:47
  Speaker 2: Right.
• 43:47
  Speaker 1: We've got to send these out, get this out to,
• 43:49
  Speaker 1: but now it's too late.
• 43:51
  Speaker 2: Yes, it is too late. I, I, I have had
• 43:54
  Speaker 2: that experience where I just think, oh, there would be
• 43:56
  Speaker 2: a better button here. Like, you know, a better ending. Um,
• 44:00
  Speaker 2: I do like the moment where we all, this is
• 44:02
  Speaker 2: a common thing that we do because I think it
• 44:04
  Speaker 2: makes us laugh on the day, but it, it did
• 44:06
  Speaker 2: make me laugh rewatching it just where we repeat each
• 44:09
  Speaker 2: other's lines in a way that's very silly. And Sean
• 44:12
  Speaker 2: gets in on that too.
• 44:13
  Speaker 1: Yeah.
• 44:14
  Speaker 2: Um, yeah. And then, uh, that was our, uh, AD
• 44:20
  Speaker 2: at the end. Jay.
• 44:21
  Speaker 1: That's right.
• 44:22
  Speaker 2: And, uh, Sophia. who had a myriad of roles on
• 44:27
  Speaker 2: the show, but costume and.
• 44:29
  Speaker 1: Yeah, she's in a bunch, yeah. And also art-wise, I
• 44:33
  Speaker 1: think legally, we're not allowed to use art that's out there.
• 44:39
  Speaker 2: Yeah, so we created... We had to have.
• 44:40
  Speaker 1: People make all those paintings.
• 44:42
  Speaker 2: Yeah, exactly.
• 44:44
  Speaker 1: Which is, yeah, its own task.
• 44:46
  Speaker 2: Which is its own task, yeah. I would say that
• 44:48
  Speaker 2: the photography was worse than the... When I was watching, objectively,
• 44:51
  Speaker 2: I thought some of that Like the frets. Oh, yeah, yeah.
• 44:55
  Speaker 2: F-holes on the guitar. Yeah, yeah, yeah. It was really, yeah.
• 44:59
  Speaker 1: Bad stuff.
• 45:00
  Speaker 2: Yeah.
• 45:00
  Speaker 1: But I liked describing to an artist, like, you've got
• 45:03
  Speaker 1: to make this bad. Yeah. So, yeah. Yeah. All right.
• 45:09
  Speaker 1: We're coming to the last part of Cop's redesign.
• 45:13
  Speaker 2: Part three. We are at the skate park, a real
• 45:15
  Speaker 2: skate park in Portland.
• 45:16
  Speaker 1: Yes.
• 45:16
  Speaker 2: Under the Burnside Bridge.
• 45:17
  Speaker 1: Yes.
• 45:19
  Speaker 2: With real skaters.
• 45:21
  Speaker 1: Yep.
• 45:21
  Speaker 2: And we are in our redesigned uniforms.
• 45:26
  Speaker 1: And we have some makeup on, I think. Some sort
• 45:28
  Speaker 1: of pink lines or something.
• 45:30
  Speaker 2: Sort of like Bowie kind of. Yeah. I mean, David Bowie.
• 45:34
  Speaker 2: I mean, it's ridiculous. I mean, we have shoulder pads.
• 45:36
  Speaker 2: I think we mentioned shoulder pads earlier on. And now
• 45:39
  Speaker 2: we're wearing shoulder pads.
• 45:43
  Speaker 1: It looks like we're cold.
• 45:46
  Speaker 2: Oh, you know what? I mean, yeah.
• 45:47
  Speaker 1: I think that might have been a cold day or something.
• 45:50
  Speaker 1: Or maybe it's the makeup that may look that way.
• 45:52
  Speaker 2: Yeah. There's another episode where I know that we're really hot.
• 45:58
  Speaker 1: Okay.
• 45:59
  Speaker 2: But I know that, yeah, we might have been cold. Yeah.
• 46:03
  Speaker 2: And basically we fail terribly.
• 46:06
  Speaker 1: Yeah. Yeah. And we're chasing people around. A lot of
• 46:10
  Speaker 1: sound effects.
• 46:10
  Speaker 2: And Keystone Cops.
• 46:11
  Speaker 1: Keystone Cops. Yeah.
• 46:13
  Speaker 2: And so they speed up and sort of cartoony and
• 46:16
  Speaker 2: we're chasing.
• 46:18
  Speaker 1: Yeah.
• 46:18
  Speaker 2: These skateboards around and they're mocking us and mocking the police.
• 46:22
  Speaker 2: And yeah.
• 46:24
  Speaker 1: And then the cops really did let us use their car. Yeah.
• 46:28
  Speaker 2: And then they let us burn. Like then there's a
• 46:32
  Speaker 2: cop car that's graffiti and up on blocks and basically
• 46:36
  Speaker 2: totally messed up and destroyed. So yeah. Um, which is yeah.
• 46:44
  Speaker 2: Good on them for just being like, sure.
• 46:46
  Speaker 1: Yeah.
• 46:47
  Speaker 2: Um, And that was it. And then we're trapped in
• 46:51
  Speaker 2: the back of the car.
• 46:52
  Speaker 1: That's it.
• 46:53
  Speaker 2: And then, yeah, that's the end. And we've failed.
• 47:00
  Speaker 1: But we succeeded in making a good episode.
• 47:03
  Speaker 2: I liked this episode. This episode made me laugh. And yeah,
• 47:08
  Speaker 2: I remembered. I was actually shocked to see myself actually driving.
• 47:12
  Speaker 2: I was like, right, they let us use that car.
• 47:15
  Speaker 1: I think about that all the time.
• 47:17
  Speaker 2: It's crazy.
• 47:19
  Speaker 1: I remember we did scenes where I was driving and
• 47:23
  Speaker 1: I remember really thinking if I hit someone on a bicycle,
• 47:27
  Speaker 1: because there's bicycles everywhere. That's a real thing. So I
• 47:31
  Speaker 1: felt kind of nervous that there was.
• 47:33
  Speaker 2: I did a lot of my own stunts on that show.
• 47:36
  Speaker 1: Oh, yes, you did.
• 47:37
  Speaker 2: And I think I'm not saying that driving is a stunt,
• 47:39
  Speaker 2: although technically it is actually. But there were two things.
• 47:43
  Speaker 2: John Kreisel, again, he always was like, oh, and Carrie,
• 47:47
  Speaker 2: you'll just fall off the couch.
• 47:48
  Speaker 1: Yeah.
• 47:48
  Speaker 2: And I would just say, okay. Or jump or do things.
• 47:53
  Speaker 2: And it was very physical. I did hurt myself a
• 47:55
  Speaker 2: couple of times. I do remember having to have a
• 47:58
  Speaker 2: massage therapist come and work on my back. I hurt
• 48:02
  Speaker 2: myself numerous times. I think we rarely, if ever, had
• 48:06
  Speaker 2: stunt doubles.
• 48:08
  Speaker 1: Interestingly, he didn't do that much with me. He must
• 48:11
  Speaker 1: have known how fragile I am.
• 48:14
  Speaker 2: Yeah, how brittle your bones are.
• 48:15
  Speaker 1: How brittle I am with you. It was just like,
• 48:18
  Speaker 1: you go do it. The only stunt person I had
• 48:22
  Speaker 1: was because I'm afraid of heights. And I was at
• 48:24
  Speaker 1: the top of this prison building. And I was like,
• 48:28
  Speaker 1: I can't go to the edge. So we had someone
• 48:30
  Speaker 1: from a distance who looked like me.
• 48:31
  Speaker 2: You know what? There was some motorcycle stunts where Lance,
• 48:37
  Speaker 2: my character Lance, is driving a motorcycle. That's obviously not me.
• 48:40
  Speaker 1: Oh, okay. But.
• 48:41
  Speaker 2: I often had to ride on the back of a
• 48:42
  Speaker 2: motorcycle and we were not up on a rig.
• 48:45
  Speaker 1: You're right.
• 48:45
  Speaker 2: We were not on a trailer.
• 48:46
  Speaker 1: And that wasn't me.
• 48:48
  Speaker 2: That definitely wasn't you.
• 48:49
  Speaker 1: Yeah.
• 48:49
  Speaker 2: That was Aaron, Danger Aaron.
• 48:51
  Speaker 1: That's right.
• 48:53
  Speaker 2: He was a stunt guy and motorcycle rider and part
• 48:57
  Speaker 2: of the Jackass crew happens to live the show and
• 49:00
  Speaker 2: movie Jackass that he lives in Portland. Yeah. And they
• 49:03
  Speaker 2: would just throw me on the back of a motorcycle
• 49:06
  Speaker 2: and I was wearing a helmet, but Yeah, that's scary.
• 49:08
  Speaker 2: I think. I don't know if I always. Anyway, that
• 49:10
  Speaker 2: was really. Yeah. At the time, it didn't feel scary.
• 49:14
  Speaker 2: But when I think about it now, I feel scared.
• 49:17
  Speaker 2: even somehow like retroactively it seems dangerous but yeah yeah
• 49:22
  Speaker 2: um yeah it's sort of a blessing and a curse
• 49:24
  Speaker 2: to be.
• 49:25
  Speaker 1: Yeah operating so loosely.
• 49:27
  Speaker 2: Yeah so loosely um you you get away with a
• 49:31
  Speaker 2: lot of stuff which can be exciting but also maybe
• 49:34
  Speaker 2: you want more rules yeah Yep. Anyway, that's Cop Redesign.
• 49:43
  Speaker 1: That's right. Thank you all so much for listening and watching,
• 49:47
  Speaker 1: I guess. Thank you for watching.
• 49:51
  Speaker 2: Thank you for watching.
• 49:53
  Speaker 1: Thank you for listening to me.
• 49:54
  Speaker 2: Thanks for listening to me. Thanks, everyone. We watch.