On the pod, the guys revisit The Gang Gives Frank an Intervention from It's Always Sunny in Philadelphia Season 5, Episode 4.
Charlie Day: We’re back in the podcast again. And, where a friend is a friend. Buh, du du du du du dun dun, dun du du du du dun. Back in the podcast again.
Megan Ganz: Yeah.
Glenn Howerton: Ah!
Meg: *Laughing* You’re really jet lagged, huh?
Glenn: Jet lag–when I go west–
Glenn: It fucks me up. Like, going east I’m fine.
Meg: Even all the way to like Europe?
Glenn: Yeah. Uh…I’m sorry. It’s the other way around. Excuse me, excuse me. Going east fucks me up. Is that what I said?
Meg: Yeah. Going–
Glenn: Going east fucks me up.
Meg: Oh. Going east fucks you up.
Glenn: And going west is, I’m fine.
Meg: Is fine. Oh, okay. Yeah.
Glenn: Yeah, because, like, coming west. When you go west, you you just go to sleep early.
Glenn: And then you wake up early.
Meg: My move now with uh, traveling because, I'm going today actually to London. Flying–
Glenn: Oh you are?
Meg: Yeah. 5pm Today.
Charlie: And Sam will be there till we see ya?
Meg: Yeah. Gonna see the husband and all that. It is 9am By the way, so he's just made it on time.
Charlie: I wasn’t worried about it.
Glenn: Wait a minute.
Glenn: I wasn’t worried about it. I wasn’t worried about it.
Glenn: Wait a minute now. Oh shit!
Charlie: Oh! This is a good look man. This is slick.
Glenn: Cutting it close. Tough guy.
Rob McElhenney: I’m not that close. ‘Cause what time is it?
Meg: It’s 9am.
Rob: It’s 9 am everybody. 9 am.
Charlie: I like the sweatshirt with the shades.
Rob: Thanks. It–I just came in from outside.
Charlie: Sure, yeah. That’s what happens. Once when you’re inside, that’s where you come from usually. Usually come from an outside.
Rob: On account of it being so uh, so bright outside.
Glenn: Uh-huh. Uh-huh. *Laughter*
Meg: Guys it’s been a minute.
Glenn: We’re back.
Rob: We’re back.
Charlie: We’re back. And we’re back.
*THEME SONG 1:49*
Rob: And we’re back.
Glenn: Should we, should we do something to celebrate the fact that we're back. Should we should we sing a song? Should we uh–
Glenn: Should we just do the podcast? Should we–
Meg: Don’t look at me.
Glenn: Celebrate Megan?
Charlie: Song or no song?
Rob: It’s been a long time. Everybody looks a little bit different.
Glenn: Just a little older.
Rob: Just a little–yeah. Meg’s hair looks cool.
Glenn: Meg, did you curl your hair?
Meg: I– This is the way my hair is naturally.
Meg: So I just didn’t straighten it.
Glenn: You have ring–straight up ringlets.
Glenn: There's a ringlit in the front. That's like, you’re like Annie.
Charlie: Your’re kidding. So naturally, you straighten that shit out and you say stop it, with the curls? And you tell–
Meg: And then I re-curl it. I straighten it, and then I blow it dry, and then I re-curl it.
Glenn: Why? Because, because they're not fancy when you don't do it. Right?
Meg: Uh. The short answer is because like this is a little more unpredictable.
Meg: And the long answer is–
Charlie: It’s a control issue thing.
Meg: –’cause wearing my hair naturally is me accepting like that perfec–not being perfect is like okay.
Charlie: So you talked to therapist just before he came in to do this?
Meg: She actually cuts my hair. Right, like–
Charlie: As she cuts your hair she’s like, “It’s okay Meg.”
Glenn: Well, people who cut hair are kind of therapists, aren't they? Right? Like they they they get I think the people who have cut my hair know more about me than most most of my friends. Yeah, except for now. We're doing a podcast so everybody knows.
Charlie: Yeah, now everyone’s all–
Meg: Well, Abby did this, the, hairstyles, Abby Roll.
Glenn: Oh she did? Abby Roll.
Meg: So um, hairstyles for sunny for many years. So she said, “Hey”. yeah,
Charlie: “Hey, Abby Roll.”
Rob: Okay. Well, you look, Glenn looks tan.
Charlie: Glenn’s been in Hawaii.
Glenn: I’ve been in Hawaii for 10 days.
Rob: But I’ve never, I’ve never known a person in my life that puts on sunblock the way that you put on sunblock. And have and have for 25 years for as long as for as long as I've known you.
Charlie: Wait, how do you know how he puts on sunblock?
Glenn: Yeah, how–I’m confused by that too.
Rob: Well, well we use, we live in California. Sorry, let me break it down for you. We live in Southern California.
Glenn: Right. So does Charlie.
Rob: And we used to, we used to actually, we used to share an apartment in Venice, California.
Charlie: So this is where you picked up on the sunblock.
Rob: Yeah. But you guys also know all this information already. I live, I lived with Glenn in Venice, California about a block from the beach and we would go to the beach three times a week.
Rob: Where do you put on sunblock?
Glenn: What do you mean?
Rob: Where do you put on sunblock?
Charlie: On your face. And your arms, and your chest.
Rob: You put on sunblock on the beach? And so I would know about Glenn's Sun blocking methods.
Glenn: I didn’t know that you had observed my sunblocking methods, I’d love to hear what they are.
Charlie: He’s filed them, remembered them, for later use.
Charlie: It’s diabolical.
Rob: It's impossible. Impossible not to because, it's impossible not to because this would be circa 2005–
Charlie: If I had to guess.
Rob: Yeah, go ahead.
Charlie: He has a very particular way of putting on sunblock, which is different. It's like very like specific and measured and maybe time consuming. This is a guess.
Rob: Definitely time consuming. It's the amount, the amount first of all the brand. Let's start with the brand. Again, I don't know exactly what brand it was, but it's–
Charlie: It’s a high end brand.
Rob: It's high end. It's, it’s–
Glenn: Not in 2005 I don't think.
*TIME STAMP 5:08*
Rob: It is–
Glenn: Interesting to me.
Rob: It is–
Meg: Is it that kind that doesn’t rub in all the way?
Glenn: Oh, well that’s just the unfortunate that's the unfortunate, you know–
Charlie: Result of having a non-absorbent face.
Charlie: My face can’t absorb.
Glenn: I guess I was using like what, the mineral sunscreen like the white stuff that just turns your face like straight white?
Rob: But, well, whatever it was, yeah, we'd be in a sea of 20 people and I would like to be able to walk down the beach and I would see you know, in the distance I could pick you out because I would see 19 human beings and then one person who was purple.
Glenn: I know.
Rob: Purple person.
Glenn: Well, so how does–how do you use sunscreen–
Rob: You turn a color that Meg’s sweater is. I don’t know what the reaction is, the white, the white on white.
Charlie: Okay, so he has a very high end thing. And he puts it on and it doesn’t absorb in and it turns his skin purple?
Glenn: I don’t think he said that it’s high end. He did not say that it was high end.
Rob: No, I don't know that it's high end. I it's, it’s, it was sunblock that nobody else was using. At the time. It was some kind of industrial grade lather.
Glenn: I’ll tell you.
Charlie: It’s just paint.
Rob: It’s just like caulk.
Glenn: And yet still, I’ve got sun damage all over my fucking face. But I do think–
Rob: And we’ve established that you’re not as healthy as Charlie. So–
Charlie: I stay out of the son.
Glenn: By a different metric. By a different metric. Yeah. By other metrics I was, I was the healthiest.
Charlie: I don’t think you’re healthy at all. Very sick in the mind, and the body.
Glenn: Well, the mind yes. The body possibly. Definitely after these 10 days–
Charlie: That’s okay, I don't think I'm healthy either. I think it's, ya know, bullshit.
Glenn: I don’t know. I drank my face of for 10 days guys. Just drank this fuckin’ face off. And I drank on the plane, on the ride home.
Rob: Good for you.
Glenn: On the flight home.
Charlie: Because they offer you that a, that a, mai tai. And it’s tough to resist. You know? You’re on with the, Hawaiian airlines.
Glenn: It is but man I wish they'd met No, no, I Well, it was the mai tais you know at the at the resort at the beach. You know that when you're there? Then they're just, they’re coming around.
Meg: What was the earliest you had a drink? This is what I was on vacation. I'm always like, what's the earliest? I'm gonna start–
Meg: Oh, okay.
Glenn: I’d wait till noon usually. I’m not a, I’m not a mimosa guy. That’s not my jam.
Rob: But if but if you had a drink at noon, would you have, but you have the ability to just have two or three and get, have like a nice little buzz. And then just stop, for five hours.
Glenn: Oh yeah.
Rob: And then pick it back up again. If you start drinking at noon, you’re not gonna keep going until you fall asleep at night.
Glenn: Oh, no no. Yeah, yeah, yes. Me personally, that's that's how I roll. Yeah, but I do like to get a good buzz going on. I'm not, I'm not a big fan of having one drink. I don't understand that.
Rob: I don't understand that either.
Glenn: One drink. I, it, one drink? You know, just like, What's the fucking point of that? You know what I mean?
Rob: I've only have four drinks in like two and a half months. And they were all right in a row.
Rob: Because I don't get the point. I had one night where I was like, I'm just gonna fucking drink tonight. And so I did.
Glenn: Right, so why would you–
Rob: I don’t know.
Glenn: You want to feel all the feelings.
Charlie: I can do one. I can do one. Depending on what it is. But I can be like, alright, end of the day. We have a single beer. And that's–
Glenn: Get the calories that are made but not feel like–
Charlie: But this is new for me. I never used to be able to do it.
Meg: Do you do a beer, like Rob does a Manhattan? Where it’s like, a big gulp cup.
Rob: How big is the glass of beer? Are we filling a glass like this?
Glenn: Are you drinking a 40 ounce?
Charlie: Like a Guinness.
Rob: So it’s one beer. I don’t get it.
Glenn: Yeah, it's like and Guinness isn't even that high and alcohol.
Charlie: Well how fucked up do you need to be?
Rob: Well, not fucked up. I don’t wanna be falling down. I want to feel the effects of the alcohol. Otherwise, I'll just drink water.
Glenn: Yeah, exactly. I'm like, it's not worth the calories. You know, it's not worth the it's that juice isn't worth the squeeze. It's just like, it's like having a it's like having a thimble full of orange juice. You're just like, what's the point of that? I'm gonna have a whole glass of it.
Charlie: I don’t count calories.
Glenn: Well I don’t mean, I just mean what’s the point? Like–
Rob: Unless you’re enjoying the taste. Which we’re skipping right over.
Charlie: I do enjoy the taste and experience and then and then I'm enjoying the fact that I've only had one right.
Rob: Ah, I see.
Charlie: Then I’m like, okay that was nice. I had a beer I–
Rob: I get it.
Glenn: Well since we’re talking about alcoholism.
Meg: Good segway.
Rob: Well Charlie, you’re taking, you're taking pleasure in the same thing in the control of just having the one as well. Right.
Glenn: I don’t think that's what it, I don't think–
Rob: He just said that. He said he enjoys the fact that he's just having the one
Charlie: Yeah, like, I won’t–
Glenn: So there’s–
Charlie: There’s none of the guilt along with it when–
Charlie: I have one. But speak–if you guys are having too many, maybe you need a…
Glenn: Intervention, intervention, intervention.
Meg: Yeah. Today we're talking about my favorite episode I’m really excited about this, which is season five, episode four. The Game gives Frank an intervention. It aired on October 8 2009 and was written by Scott Marder and Robert Rosell and directed by Fred Savage. Dee, Dennis and Charlie attempt to stage an intervention on Frank who has gone off the deep end. Meanwhile, Frank attempts to bang aunt Donna who Mac is also trying to bang. Yeah, I love this episode. I enjoyed watching it for probably the 50th time. What did you guys think about it?
Rob: Of all the episodes we’ve done, so far in this podcast. I would encourage the creeps and the listeners uh, to go watch this episode.
Rob: Just go watch it, it’s a joy.
Charlie: I, that's what I was thinking. I was like, this is a good one, if you had never seen the show, it'd be like, what's this one? And it gives you a good sense of, of who the characters are and what the show can be and um, top to bottom funny. Laugh entire time.
Glenn: Yeah, yeah. Yeah, same.
Charlie: Danny, the–
Charlie: peak Frank Reynolds.
Charlie: Right here. Just the best. A good lesson for any young comedic actor in like the absolute absence of vanity, from both Danny and Marilyn as Gala Snail, is unbelievably hysterical. And all you want to do is watch them. You know, just like, be filthy and gross and disgusting.
Glenn: Also want to point out, you know, for the young folks out there when when you do something like this, like a show like this, and the episode I think is widely considered to be I think by a lot of fans, a classic like one that gets a lot of people's like, you know, in their top 10 or whatever. You know, and I remember after that episode, it was probably right around the time that we were getting on Twitter. Right? And starting to be able to see comments after an episode would air. Everybody was talking about wine in a can wine in can, wine in a can and so funny wine and a can. The fact that we did not then take that idea and start making a wine in a can. Is just so stupid. It's so stupid that we do that. That's like a huge thing now, wine and a fucking can.
*TIME STAMP 12:01*
Glenn: And not only is it conducive to violent hand gesture.
Dennis: I am loving this canned wine thing. I think it's brilliant. I mean, I'm active. I'm gesturing with my hands. And I don't feel restricted. I mean, if I was holding wine glass right now, I'm spilling wine all over the goddamn place.
Dee: It would get everywhere. Yeah well look. We’re not intervening on Frank for a lack of good idea.
Dennis: Well, that's for sure.
Glenn: As we’ve established in the episode.
Charlie: Great line in there.
Glenn: But the most brilliant thing about it is like sometimes you only want one glass of wine. You don't want to commit to a whole bottle and maybe, maybe you you know, maybe you only want to drink like what if you wanna only have–
Rob: Didn’t this man just say he doesn’t wanna drink just one? This is actually to Charlie’s point.
Glenn: I’m not saying me. I’m saying, a person.
Charlie: Saying, “one”. Someone like me.
Glenn: I could use–
Rob: Maybe somebody like Charlie, would just want one.
Charlie: This is new to me though, to be clear. Years in the past, I couldn’t just have one glass of wine.
Glenn: That is true. You should establish that. Usually it was 2 or 3. You wouldn’t go crazy, but you’d have 2 or 3.
Charlie: Yeah, yeah. This is like me, like getting to the age of like, “Hey man, one’s okay.”
Glenn: Yeah, one’s all right.
Rob: You used to drink Chimay.
Charlie: Well, Chimay will put you on your butt.
Rob: If anybody knows what Chimay is.
Glenn: Is that super high in alcohol?
Rob: I went out with Charlie One night we just had a couple of drinks at the bar and he's like, let's get Chimay. I'm like that sounds fancy. Let's get that and it's a delicious beer. And I was like let’s get a few more and we wound up having I don't know three or four shots and I was annihilated.
Glenn: What’s the alcohol…What’s the–
Charlie: All of it.
Rob: A lot.
Charlie: All of it. It’s made by monks I think. Isn’t that one made by monks? Probably not anymore, right?
Rob: It doesn’t sound like something monks would make, does it? Chimay.
Meg: 9 percent alcohol by volume.
Glenn: Oh my god.
Rob: That’s a lot.
Charlie: That’ll sneak up on ya.
Rob: That’ll sneak up on you.
Meg: That’s very near wine levels of, right?
Glenn: Yeah. I mean wine’s like, 11, like 12 percent.
Glenn: 12, 13 percent.
Meg: Sneakin’ up on ya.
Glenn: And most beers are like–
Rob: Yeah, so I think we had like maybe 5. 5 or 6 of those very quickly.
Glenn: That’s the, that’s the equivalent of yeah, drinking like, almost a dozen. Almost a dozen.
Glenn: Of regular beers. Like a light beer.
Charlie: Those were young men.
Rob: Those were young men.
Charlie: No kids, right? No one, you have to get up in the morning and take care of somebody.
Charlie: So you can abuse yourself.
Charlie: The sun damage or–
Glenn: Oh boy.
Charlie: Monk beer.
Meg: Now that you guys are getting older, you’re not getting real weird with it?
Frank: I don't know how many years on this earth I got left. I'm gonna get real weird with it.
Meg: ‘Cause that seems like–
Rob: It’ll hit a tipping point on the back side of it.
Charlie: Oh yeah.
Rob: I’ll pick it back up again.
Charlie: I’m getting more, uh, not weird with it but more just sort of self accepting, you know? To be like just don't have to, clean up the edges a little bit just kinda–
Glenn: Of life?
Glenn: What do you mean?
Charlie: Of me. Just trying to be like yeah, just just just be you and–
Glenn: Let the dad jokes fly.
Charlie: Whatever comes out is…you know. Don't, don't try to filter it too much.
Meg: Letting go of that vanity. Like you were talking about.
Charlie: Letting go of that vanity. Trying to.
Meg: One of one of the funniest scenes of the entirety of Sunny I think is Danny gargling all that beer.
Mac: God. You are disgusting, a disgusting animal.
Charlie: Let’s talk about this. So we're on location in Philly. And we'd been out and about.
Rob: It was very early in the morning.
Charlie: So we go down there at six in the morning. I think we'd been up late enjoying Philly. Enjoying–
Glenn: We always were.
Charlie: making a show. Fred Savage was a ton of fun to be with in town and uh–
Glenn: Fred Savage was–
Charlie: A savage.
Glenn: A savage when we would go out.
Charlie: Yeah. He was having a good time.
Charlie: Climbing out of the top of limousines. Or whatever he was doing.
Rob: Yeah. What was that?
Glenn: Almost getting arrested.
Rob: Why did we have a limousine? We would, we would never ever ever traveled in a limousine.
Glenn: No we didn’t, no we weren’t with him.
Rob: Yeah, but but a limousine was had man it was a prop car or something? I can't remember.
Rob: He got he got pulled over by the police. And he got a ticket. Because he climbed up out of the car. While it was moving.
Glenn: And was like, yeah. Like, somebody screaming out of the sun roof–
Glenn: of a limousine.
Charlie: Why did have a limousine?
Glenn: Like a high school prom kid, yeah.
Meg: Was there an episode where you were shooting on Philly–
Charlie: We wouldn’t have taken one of the–
Glenn: No, listen. We did not have a limousine, Fred Savage got a limousine.
Glenn: And went around with probably Lofaro and some other fuckin’ random–
Charlie: We were in that car, were we not?
Glenn: I was not there.
Rob: I was in the, yeah. We were in the car.
Charlie: Yeah, I was in the car.
Glenn: Oh I wasn’t there.
*TIME STAMP 16:28*
Rob: Where were you during this trip?
Charlie: I think you were there.
Rob: Glenn was absent for the whole trip?
Glenn: I definitely was not–
Meg: He was still putting on sunblock.
Glenn: I was applying sunblock.
Charlie: Still trying to get his sunblock on.
Glenn: I was trying to get adjusted to…that’s right.
Meg: At 8pm at night.
Charlie: That 6am sun is–
Rob: Okay, either way it was–
Charlie: Early morning.
Rob: Very early morning. We were out all night and then turned right back around and went to set. And um, and Danny was with us all night and and then knew he had to play inebriated that morning. So–
Glenn: He just kept it going.
Rob: He just kept it going.
Glenn: Just kept it going.
Rob: He just kept it going.
Charlie: But we had a reporter come down to set.
Rob: Oh shit, right.
Charlie: Who was doing like a morning show talking about–
Rob: Good day, Philadelphia.
Charlie: Yeah good day– Like, I guess someone from FX you know, press department had had booked this interview for us, which was rare like this, maybe this is why we didn't continue to get a lot of interviews. He was doing that garbling thing and you know, Bureau down the front of his shirt, talking to the reporter–
Rob: And she started kind of giving him shit. And so he was giving it back to her. Now this is live on, a on a morning show. And you can see me and Charlie, I can see Charlie in the camera. Just like what's happening?
Charlie: What is going on?
Rob: And I'm standing next to Danny. And I'm realizing oh, I'm guilty by association. So I start like inching away, like out of the frame, because I don't want any part of these two. Both of–
Charlie: Yeah, yeah.
Glenn: God knows what he was saying.
*AD BREAK 17:47*
Rob: This episode is sponsored by Betterhelp.
Charlie: Yeah, yeah. Because getting help, you know, getting to know yourself. You know, that's a lifelong process. Right.
Glenn: And as David Bowie always said, cha cha cha cha changes.
Rob: We’re gonna have to pay for that, we’re gonna have to pay for that.
Charlie: Oh, then maybe he just said cha-cha changes.
Glenn: As David Bowie said, cha cha cha cha cha changes.
Rob: Yes. That’s right. That’s right, be like Bowie and turn and face the strange.
Charlie: And with Betterhelp online therapy, you know, you don't have to face a stranger. All you got to do is a face to screen.
Meg: Yeah, I tried BetterHelp actually, and I can personally attest that it was helpful for what I was going through. I think the part I liked most about it is that it was all online. So I could um, make appointments really easily and adapt it to my schedule.
Charlie: Do you think David Bowie ever had a therapy? You think he went to a therapist?
Rob: Well, I'm gonna say anybody who wrote the Berlin trilogy was going through something.
Glenn: Rob knows about the Berlin trilogy?
Rob: Of course I do.
Charlie: Mhm. Well, either way, you know, I bet, I bet if he had the option of online therapy, he would have been using it.
Rob: What could’ve been to that, almost anonymous artist.
Charlie: Yeah, he had a lot of potential that guy. He did.
Meg: And you can discover your potential with better help visit betterhelp.com/sunny today to get 10% off your first month.
Glenn: I want to say it again. That's BetterHelp h e l p.com/sunny.
Charlie: Yo, fellas, you know, it looks like the rainiest year ever in the history of California.
Charlie: It looks like it's finally coming to an end man. Finally, the sun that we all signed up for.
Rob: nd you know what son means means the shorts got to come back out guys.
Rob: It’s time to get those core shorts from Vuori back on. You know, get a little sun on them walking sticks.
Charlie: Or you get the toy– you could go for the Vuroi Sunday performance joggers, you call you could protect the entire leg.
Rob: I love a good jogger. I love a good jogger.
Charlie: It’s always a good look.
Rob: It's super versatile. I work out with it. And I can lounge in it. But I will say that it's getting warm guys and it's time for shorts.
Charlie: Vuori is an investment in your happiness, right? That's what it is. Okay for listeners they're offering 20% off your first purchase so you can get yourself some of the most comfortable versatile clothing on the planet at Vuori.com/sunnypod.
Rob: That’s V U O R I.com/sunnypod.
Glenn: Not only will you receive 20% off your first purchase, but enjoy free shipping on any US orders over $75 and free returns. That's a biggie. So what you're going to do is you're gonna go to Vuori.com/sunnypod. As we've established that's V U O R i.com/sunnypod and discover the versatility of Vuori clothing.
Glenn: Ladies, gentlemen, life moves fast. It moves really–
Charlie: It does. It goes fast, doesn’t it?
Glenn: You know, Starbucks ready to drink coffee delivers an uplifting boost that helps you tune into the moments that matter wherever you are.
Rob: That's right Starbucks ready to drink coffee is here to announce that they are ready to help you enjoy every moment.
Rob: Every single moment? That’s the claim?
Glenn: You don’t think you could enjoy every single moment if you really put your mind to it?
Charlie: Yeah, I don't know. I mean, I have moments I don't particularly enjoy. I have moments that maybe I don't want to enjoy.
Rob: In theory you could be enjoying those moments if you, if you charge them up a little bit with Starbucks ready to drink coffee. Now can I suggest a bottled Frappuccino chilled coffee drink now comes in four flavors.
Charlie: You may suggest that. How's that gonna make me enjoy taxes? Or like being stuck on a tarmac at the airport?
Glenn: Okay, well, I got two softballs for you to answer your question. Okay. Right off the bat. It would give you the energy and the focus to do those taxes. Going through the TSA line. I don't know you got energy, you're energized you're full of life and you might find a lot of comedy in those moments, right? Comedy that you can draw from and pull into your professional.
Charlie: Yeah. You mean I could start a stand up routine about the airports?
Rob: That’d be original?
Charlie: Be the first guy ever to do that, right?
Rob: Yeah, it’d be different.
Charlie: That’d be kinda cool.
Rob: And you would enjoy every moment of it.
Charlie: But would the audience just wanna be, you know, cover our bases here. Would the audience enjoy another sort of airplane routine?
Glenn: Well, it depends. Have they had their Starbucks ready to drink coffee drinks you know before your set?
Charlie: Right, right, right. Oh, two starbucks minimum at my standup show. I’ll put that on the flier, right?
Glenn: Starbucks coffee, ready for right now.
Charlie: Ready for right now? You’re telling me ready for right now?
Glenn: Yeah. You can shop the full lineup online or in store or wherever you buy groceries.
*AD BREAK OVER 22:12*
Meg: There’s just a part in that scene where, at the very end when he does the final gurgle. But it's incredible because he takes a sip of beer. And then he breathes like he opens his mouth and breathes. And then he does that thing, which doesn't make any sense. Like, where does he keep the beer while he keeps it?
Rob: I’ll tell you where he keeps it. He’s vomiting, in that moment.
Rob: He’s taking it down and it’s coming back up.
Charlie: No he’s not.
Rob: Watch it again.
Mac: You are disgusting. A disgusting animal.
Rob: Maybe not all the way down to his stomach. But it’s definitely down in his throat. ‘Cause he takes a breath and then it comes back up.
Meg: Yeah, it comes back up. It foams all over.
Glenn: That’s extraordinary.
Rob: Watch it again.
Glenn: Wow. That’s extraordinary.
Rob: Try to figure out how, how you would do that.
Glenn: Right. I didn't notice the breath before. So I just thought he had it in his mouth and–
*TIME STAMP 23:06*
Meg: It’s great. And it's such a funny scene. And also, Rob's whole, like waving away.
Rob: I mean, I’m sure there’s bloopers where I’m laughing.
Charlie: On the page, it’s not really that funny. Like the biggest joke on the page was that, he doesn’t realize Rob’s walking behind him. And that they’ve been walking together, which is a funny idea, sort of like, from an intellectual standpoint. But then when you get to a man just like burping and barfing beer on himself, and being so disgusting, it's like Rob has to walk away. It becomes instantly funny.
Meg: So funny.
Glenn: When you're shooting something, you have to worry about conten– something called continuity. And I don't know if everybody knows what continuity is. But basically like, you know, if you're, if you're in a scene and, and, let's just say you've got a thing where you have to, you know, something spills out of your mouth and all over your shirt.
Rob: Why don't you continue this conversation but halfway through, take your hat off, continue it and then put your hat back on, and then continue it, and then just cut back and forth. And then we'll show people what continuity is.
Rob: Go ahead.
Glenn: So if take one, you know, if take one you’re, you’re wearing a hat. And then, you know, then suddenly in–
Charlie: You go to lunch you come back, you forget you're wearing a hat in the scene.
Glenn: You go to lunch, you come back, you’re still shooting the same scene. You come back. Somebody you know, somebody forgot to put the hat back on you all of a sudden, some takes you got the hat on, sometimes you got the hat off.
Rob: And sometimes you're talking to the person and then and then you cut back to the other person to see what their response is. And the next thing you know–
Glenn: They’re wearing a hat again.
Glenn: It’s just super weird. You know, like it does–it doesn’t cut together. Um, you know. So, so if you're doing a scene where you're spitting all over your shirt, you got to reset that shirt every single time. You know what I mean? I guess unless in this scene, it I guess it would it just we just established that it just started that way.
Glenn: But like, I mean, still like the, the continuity of something like that is a nightmare. And you'd have to you know, there's some fuckin’ wardrobe guy–
Rob: The poor wardrobe department on the first take, sees that he's spilling it all over a shirt.
Charlie: And a hairdryer on the shirt.
Rob: Yeah. And their job is like–
Glenn: They probably didn't have another shirt.
Rob: They we’re like, “Oh my God. We don't have a double for that we don't have a double.”
Glenn: Well it wasn’t in the script.
Rob: Of course it’s not.
Charlie: Right, right.
Glenn: So they didn’t have a double for the shirt.
Charlie: Right, right, right.
Glenn: They didn’t have a dry shirt. And even if they did, they woulda’ had to have had 10 of em.
Rob: Yeah. So you just gotta commit–
Glenn: 10 dry shirts.
Rob: to it being like that from the top.
Meg: If in the scene, you’re looking at Danny’s shirt and not his face, you have–
Charlie: Well, there is a point in time where you can get away with a pretty bad lack of continuity. And I think that's when the energy of the performance is so interesting and engaging. You'll see that in like a Scorsese movie, where you be like, Oh, wow, that's just there's a lack of continuity in like Goodfellas or something and then–
Glenn: Yeah, it drives me crazy.
Charlie: Not quite hats off, hats on. There are some continuity things that are like too far. But sometimes you just gotta, you gotta get the continuity.
Meg: Fun with continuity today.
Charlie: And like sometimes you just don't know, like, why or when something happened. You’re like, well how’d that. So this is for–
Rob: Yeah, I mean, it feels like it doesn't make sense because you're not, you're not sucked into the reality of what's happened. You're actually like pushed–
Glenn: Yeah, it kind of takes you out of it, right? Yeah, it takes you out of it. ‘Cause you're like, wait, wait, you know, that's what you don't want right? You're doing you're in you're actually having a really good scene like you said, and then the next thing you know, you're like, wait, was did he have that didn't have a hat on before did he–
Rob: But it is amazing, how you will not notice it. If the scene is good enough and is compelling enough, to Meg’s point, where you’re looking at somebody’s–
Charlie: Yeah, you won’t get–
Rob: face and not– *Laughing*
Meg: I think we’re having fun with continuity today.
Rob: Not paying attention.
Glenn: No, I know. It’s just, it’s weird. And that’s what you don’t want. You know, ‘cause it will take you out of it.
Charlie: I think the jump can like, look awkward.
Glenn: Right. You just don’t want it to be strange.
Charlie: The shoulders up.
Rob: The jacket.
Charlie: For the listeners, we did a bit where we just kept uh–
Rob: Oh that’s right. The listeners won’t get it either. Fuck them. Um, can I just throw, that reminded me of fat guy in a little coat for a second. I've been going back with the kids and watching some 90s comedy.
Glenn: Fat guy in a little coat?
Charlie: *Singing* Fat guy.
Meg: Tommy Boy.
Rob: Fat guy in a little coat.
Chris Farley: *Singing* Fat guy in a little coat.
David Spade: Take it off dickhead, I’m serious.
Chris Farley: Richard, what’s happening?
Rob: Fat guy in a little coat.
Charlie: Tommy Boy. That doesn’t mean anything to you?
Glenn: Oh, I never saw that movie.
Rob: Oh. Buddy, do yourself a favor. It holds up.
Glenn: Does it hold up?
Rob: There’s a bunch of movies that do not, and that one does.
Glenn: And by the way–oh for sure. Yeah, no. I, I, and it wasn’t one of those things where I was like, I don't want to watch it. Let's– I just never I don't know. It just never happened.
Charlie: You missed it.
Glenn: I always wanted to see it.
Charlie: Moments happen and–
Glenn: I love Chris Farley.
Charlie: Oh then, you’ll like Tommy Boy.
Glenn: No I mean, I was obsessed with him. And I don't know why didn't see that movie.
Meg: He used to do that fact a little coat bit to David Spade while they were together, at SNL. Like it was like the bit he would do in the write– because they would write sketches together. And David Spade was like “Basically I would write and he would be around.
Rob: He would just be doing that.
Meg: You know, just like doing bits like, fat guy in the little coat. He just puts on David Spade's coat. And then like, it’s just a funny image, ‘cause he’s like in a tiny coat.
Charlie: Oh that’s great.
Rob: Try to cheer him up.
Meg: It’s so funny. Um, yeah, that movie is great, classic.
Glenn: I will, I will wa–as soon as I watch Welcome to Wrexham, I will–
Rob: Great. Watch Welcome to Wrexham and then transition into it.
Glenn: By the way, I did tell Rob that I did start walking–watching Welcome to Wrexham.
Glenn: And it’s, it’s great.
Charlie: Good for you, man.
Glenn: It is a very, very enjoyable show.
Charlie: We should watch Tommy Boy, together, man.
Glenn: Watch Tommy–
Rob: Well, we watched Anchorman last night. And let me tell you something, that also holds up.
Meg: That’s so funny.
Glenn: That movie’s–
Rob: And that’s 20 years old.
Charlie: Lot of good laughs in there. Lot of good laughs.
Rob: 20 years old. Came out in 2004, so 19 years.
Glenn: I don’t like that. I don’t like that.
Rob: I know.
Meg: That's a great lesson, in that you don't have to have any straight characters for a movie to work. Everybody can be a completely insane, it’s like–
*TIME STAMP 28:33*
Rob: Well, you see, you see Christina Applegate’s character, starts straight. And then they we’re like, “Eh. This ain’t working.” And then she just goes berserk.
Meg: Goes off the rails, yeah.
Charlie: Also like, work is so relative, right? There are tons of people who would watch both those movies and be like, “These are awful.” They're wrong. But they're out there. They’re out there.
Glenn: Right. They're dead wrong.
Rob: Well, there's a bunch of movies that we did watch that, I mean, I think objectively Of course, it's not objective, but I think are just straight terrible. But I'm not gonna say which ones they are. But they were very popular.
Glenn: I wish you would. Yeah. And a lot of the, a lot of, I find that a lot of the 80s comedies do not hold up. And I don't mean I don't mean just in terms of like the blatant misogyny, racism, all that kind of stuff. You know, that would, that was for some reason acceptable back then. It's more, it's just they're just not funny.
Charlie: Why does comedy not age well?
Rob: It’s so specific to the time you live in.
Charlie: Yeah, it’s all about the time you’re in.
Glenn: But sometimes, it, it often does. It often does. So when it doesn't, it really stands out to me because like there are comedies from the 80s that, that totally hold up their comedies from the 7– Did they make comedies in the 70s?
Rob: It was a bleaker time, but yeah, sure, sure.
Glenn: Those movies were bleak, huh?
Rob: Sure, well, like Mash was considered a comedy and it is funny, but it's also you know, yeah, pretty dark.
Glenn: Yeah. It’s about the Korean war. Yeah, well, yeah. It's a it's always an exploration of the time you live in and the fact that it can, that it sometimes can transcend it. And also So if you have to put it in perspective of the time, so half the time that my kids will watch something, even in Tommy Boy and be like, Oh, that's not funny to them, because they've seen it 1000 times because somebody ripped it off.
Charlie: Oh right. And it was new for us at the time.
Rob: It was new for us at the time.
Charlie: Right, right.
Rob: Like, you have to understand that at the time nobody was doing–
Charlie: So, you’re watching Groucho Marx and you’re like, nobody’s doing the big glasses and the mustache thing. You’re like, this is amazing, look at this.
Glenn: But, but, but I’ve noticed a lot of movies from the 80s that I thought were so funny back in the day. It's not even that, it's not even that the jokes aren't landing. It's that there aren't any.
Glenn: It's like, it's like, there's, there's like a killer. There's one movie in particular that I'm thinking of that has so many. It has like a lot of really, really funny moments in it. And then large stretches where I'm like, is there a joke in here? Should I just say what it is?
Charlie: Say it. Yeah,
Glenn: Three amigos. It's like, there's whole chunks of that movie, where, like, there's no, either there's no jokes, or there's jokes, and I'm not getting them or whatever. And then there's moments where it's like, so funny.
Charlie: I can’t remember.
Rob: Okay, I'll go you, I'll go you a step further. We watched uh, Tommy Boy, and it was a grand slam. So the next night, we were like, let's watch Black Sheep, because it's kind of like the, the spiritual seeker.
Rob: And I remember as soon as we started watching it, I was like, Oh, right. I have the same experience when I watched this 20 years ago. It fucking sucks. It sucks.
Glenn: Yeah, I’ve heard it–
Rob: And it's the same to guys. And the reason is because it's just a series of sketches. There is no period of time like Tommy Boy. It's actually a pretty compelling emotional story with a bunch of really funny bits because the actors are incredible. Whereas Black Sheep was just bid after bid after bid after bid. And my kids got bored. They wanted to turn it off.
Glenn: It was like, exhausting.
Charlie: Yeah, but Anchorman is bit after bit after bit, and you’re not bored, right?
Glenn: Oh Anchorman?
Charlie: You’re not really tied into anything, like emotionally in that. So like, why does it work sometimes and not–
Rob: No, but there is a story. There is a, there is a legitimate story. Yeah. That is, that is a sign of the times. I mean, it’s about–
Glenn: There’s gotta be in Black Sheep. It can’t literally just be a bunch of sketches, it’s not a sketch movie.
Meg: Yeah, it’s like an election story.
Rob: I don’t even know that I could tell you what it is.
Charlie: So maybe that right there in lies the problem. Right? If there’s not enough of something for people to sort of attach to–
Charlie: with an emotional through line, then you just don’t care about it.
Rob: Yeah, like Tommy Boy is like they're, actually when, when, when, spoiler alert when Brian Dennehy dies, whose Tommy's dad is actually like, pretty emotional. And then the story is very clearly about Tommy, about David Spade’s character never having a brother and Tommy needing a brother. And they become, and you like watch them fall in love–
Charlie: It’s like the uh, Disney model, right? Like, it's like the parents die. And then the child has to go on a voyage.
Meg: Yeah, that’s exactly right.
Rob: Yes, yes. And in Anchorman, it's about, it's about trying to break the glass ceiling and having the times change, and women come and be a part of what the boys are trying to, trying to do. And, you know, and like how we have to accept that or whatever.
Charlie: Well, Sunny’s a good example of why, you know, one particular story resonates and maybe another one doesn’t. And, intervention is all about trying to help Frank. And him like emotionally like, why?
Glenn: Yeah. What is it, what is it about this episode, for you Meg?
Meg: Oh. I can tell you exactly.
Meg: Well. For me, it's that this episode has a number of like, really funny runners, small things that like dot through the whole episode. Like your lips all turning red. Which is really funny. And is just such a funny progression as the story goes on that you're also then last seen, everybody's lips are totally dyed red, when you're having that conversation with the intervention specialists. Um, there's that there's the use of the word intervention that like changes over the course of the episode, leading to the funniest thing wherem where then Mac is talking about how he wants to bang, Donna because Barbara was the best sex he's ever had. And then Frank goes intervention intervention, like timeout like he's using it in place of like, timeout.
Meg: It just is the evolution of that word, and how everybody uses it is really funny.
Glenn: Yeah, it becomes abused.
Meg: Yeah. And I think the other thing is that, they the, there's a guest character played by Susie Nakamura, Mura.
Glenn: Oh yeah.
Meg: Who just does such a great job of being the straight character that you guys are all revolving around and being so crazy, and there's so many funny scenes, like when you go to hire her in the first place, and you're telling her that she needs to bring a gun to the intervention, because Frank's gonna have one and then you're talking about catching him in a net. And then she points out the Dee’s drinking wine during them trying to hide–
Charlie: Yeah. That’s a good scene.
Meg: There’s just so many things, yeah.
Charlie: Her performance is great. Like watching it again and being like, “Wow, it's so grounded and real.”
Rob: And also funny. She found a way to be the straight person, and still find her ways to be funny in a very real way.
Glenn: Yeah. Love that.
Meg: She’s doing like, the care. She has like a lot of compassion, which is just a funny thing to bring around the energy that you guys have like, I think maybe my favorite–
Glenn: She’s really trying to her job.
Glenn: I think that’s why it works, right?
Glenn: She’s like, really really, trying to like–
Meg: She has so much compassion for these people that she shouldn't. But I think my favorite moment is when Frank thinks he's getting roasted.
Frank: What the hell's going on?
Charlie: Dropped you man!
Dennis: Yeah you sit down! So we can tell you what an asshole you've been
Dee: We’re gonna get all in your face and point out your faults.
Frank: A roast? I’ve always wanted to be roasted! Oh wait, let me switch gears here. Fire up this spliff.
Tabitha: No, no, no, no, no. Wait, wait, wait Frank hold on. Everyone’s here today because they care about you, and they want you to get well.
Frank: She aint funny. Next.
Charlie: Yeah, that’s probably the best line in the episode.
Glenn: Yeah, we quote that line all the time.
Rob: All the time.
Charlie: “She ain’t funny.”
Rob: Was this the first id– was this the first episode, now I know, we've dealt with guns in the past. But was this the first time we established that Frank carried a gun with him at all times? When you say “you know, he's got this little pistol with him that he carries with him.”
Meg: “And he doesn’t really hesitate to use it.”
Rob: I feel like–
Charlie: That’s the first time we said it’s always on him.
Rob: Well that Frank has a gun that’s always on him.
Charlie: I mean, we’ve used the gun, we’ve had arguments about the gun.
*TIME STAMP 36:03*
Rob: But was it Frank’s guns? Or was it our gun that we kept in the bar?
Glenn: No, Frank, we established it in, well, I know we used it in the, in season 2, whe Dennis and Dee have a new dad, right? ‘Cause he’s on facebook and he’s fuckin’ firing the gun. We’ve had multiple arguments about it.
Charlie: Yeah, but did we establish that–you’re saying, did we establish that it’s always on him.
Rob: Did we establish that it’s always on him? That he’s always got the gun on him.
Glenn: That I’m not sure. Yeah.
Charlie: I think that’s the first time we use that joke. And that by the way, it being always on him is something that we've probably picked up and dropped, and you know.
Meg: Well, it’s so funny when you lure him down the bar for a grease fire, and he comes in wielding the gun.
Charlie: Yeah, yeah, yeah. For the fire.
Glenn: For the grease fire, yeah.
Charlie: It’s a way to solve all problems.
Meg: Uh, I just love it, I think it’s so funny. Oh, the one thing that did start in this episode is nightcrawlers. First mentioned of nightcrawlers episode. Who, do you guys remember who came up with–
Glenn: That’s Marder and Rosell.
Charlie: Yeah. That feels like a Marder and Rosell. This episode feels like, so much of the amazing, sort of idiosyncratic sense of humor that they brought to the show. Like, really weird specific things like nightcrawlers and–
Rob: Dude. When Frank says “They did monster energy drink and dry humped and I think she gave me poison Ivy.
Frank: I think the snail is too depraved, even for me. This broad is berserk.
Gail: Wake and bake.
Mac: You guys bang?
Frank: No, no. We did a bunch of those monster energy drinks and dry humped, it was awful. I think she gave me poison ivy.
Charlie: That is exact those guys, yeah. That’s those guys to a tee. And I–
Glenn: *Laughter* “We drank monster–”
Charlie: Actually, that might be the best line in the episode.
Charlie: I even remember–
Meg: “This chick is berserk.”
Charlie: uh, Dee’s line of, “We’re not intervene–”
Glenn: “She’s berserk.” “Berserk.”
Charlie: And “Mashing it.” And “Mashing it.” That was scripted. You know, you’re just “Mashing it.”
Meg: I also love that she's like, “I'm giving my handy under the table.” And aunt Donna says something like “you're supposed to be sexually active. You're not supposed to be fondling your uncle.”
Glenn: “You’re a 35 year old woman. You’re supposed to be sexually active.”
Charlie: She’s like, “I’m sexually active now mom.” She’s amazing in this episode now, too.
Rob: Nora Dunn?
Glenn: Plays it completely straight.
Charlie: Both of them. Her and Mary Lynn.
Glenn: She played it so straight that I wasn't even sure that she wanted to be there at all. You know what I mean, like she played it's so real that I was like does she, I thought hated–
Rob: You got the sense that early on–
Glenn: I got the sense that she did not–
Rob: even around this season, where you were most likely we'd make an offer to somebody of some stature and obviously Nora Dunn had been on Saturday Night Live forever. And the offer would come in and they wouldn't have never heard of the television show but they saw the that Danny was on it. And they thought okay, well this will be safe because da– because DeVito is on it. It's in the scene, so I think I'll be good.
Glenn: Yeah, it’s legit.
Rob: And then they show up to set and be like why am I?
Charlie: What is this?
Rob: What have I signed up for? I, I have made a terrible mistake.
Glenn: That's the impression that I got from Nora Dunn. Who I love Nora Dunn and I am for the our younger audience, they may not even know her from Saturday Night Live because I was like maybe pre there watching SNL days, but she was so awesome on SNL. I've always loved her but yeah, I definitely got the impression that she like what the fuck is this?
Charlie: You mean we were working?
Glenn: But But I mean–
Rob: She was lovely.
Glenn: but she would’ve read the script and she was not no she was she was she was fine. She wasn't like, you know, overtly mean or whatever, but it was, I don’t know. There's like maybe a little bit of a standoffishness or like–
Meg: It worked for the character though.
Glenn: It works so great for them and maybe that's what she was doing. Maybe she's just a phenomenal actor.
Charlie: I think it might have been she was just playing like playing the character of like–
Glenn: Yeah, ‘cause her character was exactly like–
Charlie: How am I supposed to deal with these lunatics?
Glenn: Yeah, yeah. That’s entirely possible.
Charlie: Um, I don’t, I don’t really remember what she was like on set. So I can’t speak to it. But I, there’s probably a thing right? Where you’re used to doing like big shows and you come down, and we have these little cheap looking cameras, right?
Rob: Charlie and I were just at post last week because we're cutting season 16 right? And we're doing this wonderful episode that Meg directed, um where we're bowling. And, and we're watching some of the footage and it's Sunny and it looks like shit. And we recognize that. But then we shot a couple of the sequences in super slow mo.
Charlie: There's a flashback moment.
Rob: On these, on these incredible cameras and it looks like film. And it looks so great. And we're watching it. And almost like our hearts are breaking because we're like, oh, that's what it could look like. And it would be a different show.
Glenn: And we’re gonna have to degrade it to make it match on some level, right? We’ll probably have to degrade it? I mean, I haven’t seen it.
Rob: Or it, or it’ll feel stylistic and cool. But either way–
Charlie: Yeah we do that a lot. Where we use a nicer camera for some sort of stylistic flashback thing. But–
Rob: Either, either way like any actor, that's caught on like, looks cool, looks better, looks more attractive, more cinematic and, and we've just like destroyed our careers–
Rob: by presenting ourselves as clowns on video, on videotape.
Glenn: Clowns on videotape.
Charlie: Clowns on videotape.
Glenn: Clowns on videotape.
Rob: Clowns on videotape. Go with a video tape to the clowns.
Charlie: It is, yeah. But you know,the, the way we're able to shoot the show with the tiny little handheld cameras–
Glenn: Keeps us nimble.
Charlie: and comedically is great.
Rob: But also, It also allowed us to shoot say that very, very, very intricate bowling episode. With multiple I'm, so many characters, so many side characters. It's so tricky. And we were able to do that. How many days did you shoot that in?
Meg: 3 days plus one scene another day.
Rob: That’s insane, that’s insane.
Charlie: You need like, 2 weeks to shoot something like that.
Rob: Oh at least, at least two weeks.
Glenn: Oh, yeah, yeah.
Meg: Yeah. I wasn’t stressed at all.
Glenn: No, no.
Meg: It was fine.
Charlie: But uh, you know, it is what it is.
Glenn: You didn’t seem stressed.
Meg: That was acting. I was acting.
Glenn: You were holding it all together.
Meg: I was holding it all in. But–
Glenn: Yeah. You seemed liked you had it.
Meg: Yeah. I mean, it was, I knew it was gonna be funny, because it was all you know, I knew it was gonna I was just like, this is gonna be a great episode from the beginning.
Glenn: No, but it was hard to shoot. I mean, I can’t–
Charlie: Speaking of continuity, that's really tricky, where you know, you have bowling pins, like balls that are returning down lanes that might be returning down in one shot and not and then take two. And if you want to cut between take one and take two. But–
Meg: I made a serious error during that, that, I would if I had got the whole thing to shoot over again, I would have given you guys all assigned seats that you stay in every time you're not bowling. Because I thought it would be I was like, well, when you ball you don't sit in the same seat the whole time you like kind of mix it up, as you saw, I was like, I'll be like veritas, you know?
Glenn: Well, but then we block shot. And that makes that–
*TIME STAMP 42:30*
Meg: Fuckin’ nightmare.
Glenn: just an absolute fuckin’ nightmare. ‘Cause the continuity is just a mess, it’s a mess. One moment somebody’s sitting there. Next minute they’ve got a hat on. They don’t have a hat on. The hats backwards. It’s nuts.
Charlie: But there's a thing that happens right where you get, you get to all these like great performance moments. And then you find the right music and then you massage the sound and and, in, on a finer film, you do some beautiful color work on our show, not so much but, and it all kind of comes together and works.
Rob: We're actually gonna have to do some color work. I gave them one color note, we never give any color notes. But, when I was watching a lot of the raw footage and these cameras and the lighting and the way we shoot it, for whatever reason, it's, it's picking up, and the definition, it's picking up so much of the weirdness of the redness of our skin. And so in certain scenes, some of us are just like bright red.
Rob: Bright red.
Charlie: But you can fix that in the–
Rob: Oh yeah, you can absolutely fix it. But we have that's the kind of coloring that we just–
Charlie: I feel like we should add a level of grain to it. Which is dirties it up which is just like you can sort of do a blanket grain over the thing in which, because it's gotten so with the TVs now, and the cameras and by the way everyone's probably watching at home with their Auto Motion correct on they're like why does this look like a fucking BBC television? Well that's because you don't know how to use damn TV, or, or the TV company has ruined entertainment for you. But um–
Glenn: That’s the default setting.
Charlie: It’s the default setting.
Glenn: It’s the default setting. You turn the TV on for the first time and the default setting is to ruin every single thing you watch.
Charlie: To ruin everything you watch. Unless you’re watching uh–
Glenn: What, what? You got a problem sir?
Charlie: Yeah. What is this attitude?
Glenn: You got a fuckin’ problem?
Charlie: You like how it looks?
Rob: No I don’t. We’ve covered this. A couple of times.
Charlie: Oh, okay. Well it’s an issue.
Rob: Continuity wise, if you could go back in time and just splice in the moments where we talk about it–
Charlie: It’s an issue, it’s a major issue.
Rob: It is a major issue.
Glenn: No, I I’m, I’m, I’m very aware that we’ve spoken about it multiple times, and I'm very very deliberately speaking about it again, because it is a problem that needs to be fixed.
Rob: Needs a fixin.
Charlie: These people must be stopped.
Meg: One thing, can I say really quickly from that scene with Donna where you're where Gail's mashing it and everything. I for whatever reason really love the line that Mac delivers where he goes “I hope you like crispy, because it is burned.” His breakfast and I swear every time I make breakfast that, like goes through my head at some point like “Hope you like a crispy because it is burnt.”
Charlie: I love that. That whole scene, top to bottom is great.
Charlie: The smashing of the windows.
Meg: “You’re always safe when you’re with me.”
Rob: Yeah. “Did you kick in my door.” That’s definitely Marder and Rosell. “Did you kick in my door?” “I kick, yes. In, no. I did come in through the window. That’s gonna be a security concern, but you’re always safe with me.”
Charlie: We’re always smashing our way in and out of people’s places. Which is funny which is funny, for now you know.
Rob: Breaking and entering.
Charlie: 30 years from now. I'm like, well that's not funny you can’t–
Glenn: You can’t just break into somebody’s house.
Charlie: The robots. blast you to death, right?
Glenn: The, the house robot.
Charlie: Yeah the house robot.
Glenn: The house robot will get ya.
Charlie: Will incinerate you.
Charlie: And uh–
Meg: Um, some classic Sunny lines came from this episode. There's there's a few actually. “Well I don't know how many years on this earth I got left, I'm gonna get real weird with it.” But I like the second part of this line actually which is, “Meanwhile block the wind up going to roast this bone.”
Glenn: “I’m gonna roast this bone.” Yeah, yeah, yeah. “Meanwhile.”
Meg: “Meanwhile.” I love that he gives himself a meanwhile. “My god there's not enough salt in the world for her.” Which is a great line.
Rob: “I love getting angry at her for making you feel bad about yourself.”
Glenn: Yes, that.
Charlie: That was an interesting little spin on it. Which is–
Glenn: I remember us coming up with that and thinking that that, was really, really funny. It’s like, yeah, getting mad at somebody–
Charlie: To force you to have to salt them.
Glenn: To treat them in such a horrible way.
Rob: Why did you make me beat you?
Meg: There’s no joy in salting someone.
Glenn: Right. Why did you make me strike you.
Rob: Why do you do this to me.
Glenn: Yeah. Why do you make me like this?
Charlie: We all lose when–
Rob: We all, nobody wins.
Glenn: Nobody wins.
Charlie: When you force us to salt you.
Meg: Charlie actually got to salt the snail. So how did it feel when you were actually–
Charlie: You know, really satisfying. And the way salt moves, when you throw it.
Glenn: Yeah, boy–
Charlie: It has a nice arc to it.
Glenn: It sure does.
Rob: But to close that loop in the episode, you say that you did not enjoy it.
Glenn: You did not enjoy it.
Rob: You did not enjoy it.
Glenn: No, you feel horrible about that.
Charlie: I felt terrible. Hated to have to do it.
Glenn: I also like, when she’s irritating us and we don’t have salt on us. We inadvertently start throwing–
Charlie: Oh, you do a great bit in the first scene where you’re talking to her and you’re doing a sort of, salt flicking gesture with your hand.
Rob: Oh, and then Charlie’s like clearly laughing at the end of the scene. ‘Cause he turned like this.
Charlie: I’m sure I’m laughing.
Glenn: I started going like that, and then Kaitlin started doing it. She caught me doing it, and started doing that. And then you start laughing, and to cover up the laugh, you start doing it.
Meg: A very funny cold open too. I personally love any cold open that ends with you guys just looking at each other for a silent beat. And then the titles hit like you know? He says yeah, and this one it's it ends with Frank saying “flush that turd down the drain.” And then he walks away from you guys. And you just sort of look at each other and then it goes Gang Gives Frank an Intervention. Which I think is funny.
Rob: Was this the first time, I noticed this because we just put it in another episode this year, and we certainly had it in an episode last year. But the bagpipes playing Amazing Grace. Was that the first time we’ve used that? ‘Cause we used that, quite a bit.
Glenn: Probably. Oh, uh, yeah, because then we used it again, when, when we pretend and the baby, the baby death scene.
Charlie: Did we use it for Mac and Charlie Die? When Dennis gives a speech?
Rob: I don’t think so.
Charlie: No. Maybe not.
Glenn: I don’t think we hit, I think we would have had we found it. There’s a few things like that, that we’ve used multiple, multiple times. Definitely Dance of the Sugar Plump Fairies.
Rob: Oh yeah.
Rob: Again, we’re using it again this year.
Glenn: Any time something diabolical, any time something sneaky happens. Right?
Charlie: Yeah. Sneakiness.
Glenn: Sneakiness and diabolical activity.
*AD BREAK 48:14*
Rob: We do get asked about Athletic Greens quite a bit.
Glenn: Yeah, yeah, yeah. Lots of people writing into the show, asking Meg all kinds of questions about what it is and how you can use it.
Rob: So what we're gonna do right now is we're gonna have Meg just go ahead and tackle all the questions and the answers right now.
Glenn: Meg, do I need to be an athlete to enjoy Athletic Greens.
Meg: You don’t, I uh, drink it every day.
Charlie: Not only are they wondering like, how do I get the stuff? They want to know how to get it for free?
Glenn: Is that right?
Charlie: And by the way, I get that. Like, who wouldn’t want something for free?
Meg: Yeah. Stop dming me. I’m not giving out free Athletic Greens.
Charlie: Oh, you’re not? Oh sorry. Okay.
Glenn: Athletic Greens has less sugar.
Meg: Yeah, that's not a question. But it does have less sugar. Yeah, less than one gram of sugar and no GMOs. No artificial anything. It's also keto, paleo, vegan and dairy free and gluten free.
Glenn: To make it easy Athletic Greens is going to give you a free, free, this is the thing you were talking about–
Glenn: one year supply of immune supporting vitamin D, and five free travel packs. That's of the AG1 with your purchase and all you got to do is go to athleticgreens.com/sunny. And and listen that is important. You got to do the slash sunny part otherwise you won't get the free things. And Meg doesn't get to eat.
Charlie: So again, that's athleticgreens.com/sunny to pick up the ultimate daily nutritional insurance, that's what you get in there.
Rob: Hey guys, I’m feeling good. You want to know why?
Charlie: Boner pills!
Rob: No, no. They are not boner pills this time. I realized that um, I was paying for a subscription service, a streaming service that I didn't want. And I'm not going to name names Paramount plus. I wanted to watch um, Yellowstone, which I really, really enjoyed. And then I scrolled through some of their other stuff. And I was like, meh, I don't care, but I forgot about it. And I realized that I was paying this monthly rate. And I didn't realize it until I went to, to rocket money.
Charlie: So how did rocket money help you with this?
Rob: Rocket money is a personal finance app that helps you, I, first of all, identify what subscriptions you have. Because it turns out I had like, I mean, 40 subscriptions that I didn't even know I signed up for, or automatically signed up for they help you identify them and then lower your bills all in one place.
Charlie: Well, that sounds very useful.
Rob: Do you have any idea how much the average American spends on subscriptions a month?
Glenn: I would say, at least 200 a month.
Rob: It’s, that’s exactly right.
Charlie: Okay. That’s a lot of money, that’s a lot of money. But basically it’s gonna help you stop throwing away money.
Rob: Yeah. Nobody likes to throw away money. Except Glenn.
Charlie: It’s gonna maybe help you cancel maybe, your unwanted subscriptions. It’s gonna help you manage expenses, is that, that’s what it’s gonna do?
Glenn: Yeah, I think that’s a service that we should be providing. Rocketmoney.com/sunny. The slash sunny parts important.
Glenn: /sunny. Rocketmoney.com
*AD BREAK OVER 51:11*
Meg: Well, have you guys ever been to an intervention? Either your own or somebody else’s?
Glenn: Oh boy, I’ve wanted to. I’ve wanted to intervene on some people, but no.
Meg: No, never?
Rob: I’ve had conversations with people but it hasn’t be off, like an official.
Charlie: A full surprise.
Rob: There were no professionals consulted. No, it was more like, “Hey man. I just wanna bring this to your attention.”
Meg: Yeah. That’s good.
Glenn: Yeah, yeah.
Charlie: Imagine if it was you, right. Walking into a room and then a bunch of people you know are there, like, “Oh shit. Here we go.”
Rob: “Here we go.”
Glenn: But I think, I think, so, so at the time that we were making that episode. Jill and I, we were, we used to, did you guys watch the show Intervention?
Meg: I used to watch it.
Glenn: ‘Cause we watched it religiously.
Charlie: Oh yeah.
Glenn: I wonder if that’s, I must’ve come in and been like, I saw this episode of Intervention. Maybe we were talking about that because–
Charlie: Yeah, it was a big hit at the time.
Glenn: Yeah. That’s what it was based on. I mean, that’s what the idea was based on. Because–
Glenn: You guys never watched that show?
Rob: No, but 100% I remember, if that was, if that was the beginnings of the conversation that we didn’t know it was an episode until, I believe it was Rob Rosell was like, “What’s the difference between and intervention and a roast?”
Rob: And then we were like, “Okay. Now we just have to write that episode.”
Glenn: That’s an episode.
Charlie: Yeah. Now that’s a thing.
Glenn: Right, right, right, right.
Rob: My favorite moment in the whole episode is that when, you want to list the things of how how Frank’s has affected you and it's because “you're annoying.”
Charlie: “You are annoying.”
Charlie: That’s another one we quote a lot.
Rob: “It has affected me in the following ways, you are annoying.”
Meg: Also when you go to help Charlie write his letter to Frank you're like “I'm assuming I'll write yours down.” and you're like “Yes, that’ll be fine.”
Charlie: “That’ll be fine.”
Meg: And then there’s another line there, “Illiteracy. What does that word even mean?”
Glenn: Oh yeah, yeah, yeah.
Charlie: I think, right, I was still like denying it, in this phase of the show, right? Which is funny.
Rob: We should maybe look up some, there’s a lot of bloopers from that scene.
Glenn: From, oh.
Rob: From the two of you guys having that, it was really funny.
Charlie: Yeah, probably.
Glenn: Are there though? Did we?
Rob: “But what is it?”
Charlie: “But what is it?”
Glenn: Did we actually, is that in the bloopers though?
Meg: I don’t, I’ve never seen that.
Glenn: I don’t remember see–but remember us laughing–
Glenn: Like having a really hard time getting through that scene.
Charlie: A lot of these scenes were tough to get through.
Rob: “I wanna know. I wanna know. Tell me what it is.”
Charlie: “I wanna know. What is it?”
Glenn: “You said, you mentioned nightcrawlers and now I can’t move passed it. I need to know what it is.”
Meg: Oh the nightcrawlers bit is what you’re talking about.
Glenn: Yeah, yeah, yeah.
Meg: And then I love the, that, Frank when you talk about what it is in front of Frank. And you’re like, “Intervention, we didn’t know.” And he’s like, “Well that’s what it is.”
Glenn: ‘’Cause you weren’t–” *Laughing*
Charlie: There’s no point in hiding it.
Glenn: ‘Cause you were trying to, but I was saying.
Charlie: “Crawl around like worms in the night.”
Charlie: Ah, man.
Meg: That’s such a good one.
Rob: “What is happening?”
Charlie: “What’s happening?” Nora says that.
Glenn: Yup. The classic, “What is happening?” line.
Meg: Where did the sucking thing come from? Did, was that that scripted? The sucking in and the spit?
Glenn: I think the idea is that like, a snail is just very moist, very moist creature until you salt it. You know? And so I think it was just a byproduct of that. Like just–
Meg: It’s just such a funny, weird–
Rob: No, and her talking about how her mouth tastes bad. That was, that was not in the script. But she was sucking.
Glenn: Wait a minute. There was a scene, the very first scene we ever, this doesn’t make sense. I thought the very first scene we ever shot with Mary Lynn playing Gail, was a scene where she was sitting across from somebody at a restaurant.
Charlie: Oh wait. Was there?
Glenn: And did we cut the scene?
Charlie: Yes. There was a scene where, with Frank, well no. So the, okay–
Glenn: Oh after he says–
Charlie: So there’s a scene where he takes her to Guigino’s and talks her into this, into this proposition.
Meg: Oh, before the dry hump.
Glenn: When say, “You should bang Snail.”
Charlie: Holy shit man, I forgot. Yeah.
Glenn: And I remember because, because–
Charlie: We must’ve shot that first, and then we shot the funeral scene second.
Glenn: Yes. Because she hadn’t found the character. She was like, literally we hired her, I mean it’s not like, she was a friend of ours, so she didn’t audition or anything. We were like, she’d be great and she wanted to do it. She’s so super funny. And then she showed up, and we realized that none of us really knew what the character was. I mean, we knew what the dialogue was, we didn't know how it was gonna fully manifest itself. And so I remember throughout the course of shooting that scene, she was finding it, we were finding it, we were giving her a lot of feedback. A lot of notes were like, try this. Try that. And it was a lot of trial and error throughout the course of that scene. But I don't think that I don't know that that's why we cut it we probably cut it just because it was one of those scenes where we realized like you just don't fucking need it. You don't need a scene where you set up that they're gonna go do it, you just go do it.
Charlie: And based on like, what her character was, it was like, this character doesn't seem like she needs any talking into doing this.
Glenn: Yeah, right.
Meg: She’s grown into her body. She’s not a virgin anymore.
*TIME STAMP 56:08*
Meg: I love that line.
Rob: And the original conception, was that there was 2 garbage pail cousins.
Glenn: That is correct. And I don’t, do you remember the name of the second one? There was a name.
Rob: There was a name.
Glenn: It was a boy and a girl.
Rob: It was a boy and a girl, because they were supposed to be mirror, like if Dennis and Dee were Cabbage Patch Kids, these were the garbage patch kids.
Meg: You’ve talked about this before. And you named who the other one was.
Rob: Yeah, we did. We came up with the name.
Charlie: But it never made it never made it through the script phase, right?
Rob: No. Well, we wrote it into the script, and then the script was too long. And then we just cut it.
Glenn: It was getting to fat. Yeah, and it was too many people to try and service. But yeah, that was the idea. But right, we were supposed–it was like we were the Cabbage Patch Kids and–
Rob: But we remembered it this year in the writers room.
Meg: I’ll text, I’ll text Marder and Rosell.
Rob: Yeah. We remembered it this year.
Charlie: Wow. And I barely remember that scene. But–
Glenn: What? The, the, the Guigino’s scene?
Charlie: The Guigino’s one, yeah. But we did shoot it. I do remember shooting it.
Glenn: Yeah, yeah. I just, Il only remember it because I remember us trying to figure out what the character was. And what was funny about it, and like how, like what the physicality was. And I think we were even fuckin’ around with different hairstyles and different wardrobe and shit.
Charlie: Yeah, yeah.
Glenn: Like having her dress like kind of like a child.
Glenn: I think. I don’t even know that that was in the script.
Charlie: Yeah, which kind of is in there, right? She’s just got like that, green shirt with like a cartoon character on it.
Glenn: Yeah, yeah, yeah.
Charlie: You know what–
Rob: It was definitely a garbage pail zone though.
Charlie: She was like, I had a friend and a–
Rob: Demented. Demented.
Charlie: Here’s a story. I have a story.
Charlie: Uh, I was in a bar in Providence, ah shit, I might’ve told this story. And uh–
Glenn: We’re always afraid we’re gonna get yelled at.
Charlie: Yeah, yeah, yeah. I won't name names, but one of my Rhode Island buddies were at this bar in Providence, Rhode Island. And there's a girl at the bar. Who is only wearing a Cat in the Hat shirt. And flip flops, Right? Like yeah, like she's got no, you're like, does she have pants on? And her hair's greasy and the Cat in the Hat shirt looks kind of dirty and she looks like borderline homeless. And she's like, trying to talk to us but, but she's got like a Gail the Snail vibe. And we're like, “Okay, how are you? Good see ya.” And, and then we're seeing whatever band we're seeing this bar is called the Living Room in Providence, and you could like you could get in like 18 and up you know, but then you could like get beer. And we're going through the night, we're having a good time and we look over and my buddy who I won't name is on the pool table making out with the Cat in the Hat girl, as hard as he can. They’re on the pool table going full on like Gail the Sail makin’ out. And I remember he was hammered, I remember the whole ride home all he could say was “Don't know don't care man. Don't know, don’t care.” We were giving him grief about it. But, and I remember that being the well both Margaret McPoyle Yeah, I was gonna send the Gail look, just sort of talking to wardrobe and like “Can you give me some kind of cartoon character?
Charlie: Long potentially. pantless we can't tell shirt.”
Glenn: That’s totally Margaret.
Glenn: Margaret was always wearing like the long, long shirt.
Charlie: Yeah, yeah, yeah.
Meg: I got an answer back.
Meg: Not quite Right Robin.
All: Not quite Right Robin!
Rob: That’s right!
Charlie: Oh, I remember it.
Glenn: Not quite Right Robin.
Charlie: You know, and that would’ve been really funny but, you’re right. It would’ve been like, not a lot of room for it in the episode.
Glenn: Oh, now I kinda regret it.
Charlie: Well, we could–
Glenn: Not quite Right Robin.
Charlie: We could still introduce Not quite Right Robin.
Glenn: Not quite Right Robin could just be like someone we knew in high school too. I mean, that, a character named not quite right.
Charlie: Yeah, not quite Right Robin’s pretty great.
Glenn: Yeah, that that might have to make its way into season 17. Should there be one.
Meg: We’re gonna have The D-E-N-N-I-S System and Marder and Rosell have asked to come in for that episode. So I think we’ll bring them in to talk about, that’s a favorite of theirs.
Charlie: Very good.
Glenn: Oh, yeah, yeah, yeah, yeah.
Glenn: That’ll be a good one. Okay, all right. That’d be a good one to get them in on. Yeah, we need to get them in here.
Glenn: People need to meet the infamous Rob Rosell.
Meg: I know. They were too busy writing your show.
Meg: They were too busy writing the show, um, to be in on the podcast. Somehow I found the time, but they couldn’t do it, so. We’ll bring em in now.
Charlie: I will say this. Okay, so we've been off the air for a little bit, but we've been making the show. And we've been, we're now we've filmed everything and we're in the editing room and most of it’s cut together. We’re about three quarters of the way through the editing. How are you guys feeling about the season? How did you feel about making the show this year?
Glenn: How’d we feel about making the show?
Charlie: How did you feel about the process? How do you feel about the result?
Glenn: As always, the filming of the show was an absolute blast. The writing of the show was absolute torture.
Rob: The editing has been fun. Glenn, you're, you've been gone for a little while but you're gonna you're gonna come back and which is nice, because it's good to get some fresh eyes on things.
Glenn: Yeah, we'll get fresh eyes.
Charlie: Yeah. Next week I think, we’re all kinda free to get right in there and–
Glenn: It was good. We, we wrapped and then I went straight to South by Southwest to promote the film BlackBerry, in theaters may 12.
Charlie: Mhm, Mhm.
Glenn: Uh, and then–
*TIME STAMP 1:01:08*
Charlie: Oh. Well you know, that’s when Fool’s Paradise comes out, May 12th. You know, competing films.
Rob: It’s amazing that you guys–
Glenn: That’s crazy.
Charlie: Yeah, yeah.
Rob: That you guys did a movie–
Rob: Diff–in different years.
Glenn: Completely different, like when did we shoot Fool’s Paradise?
Charlie: You shot your stuff in 2018.
Glenn: Yeah. And then, I just shot Blackberry, and they’re coming out on, they will be in theaters–
Charlie: On the same day.
Glenn: Fool’s Paradise and Blackberry will arrive on the same day.
Charlie: You could have a Glenn Howerton double feature.
Glenn: You could have a Glenn Howerton double feature.
Charlie: You could see a film that I wrote and directed. And I asked you to be in it too, you were unavailable.
Glenn: Oh, tech unavail?
Rob: That’s not true.
Charlie: That’s 100% true.
Rob: What did you ask me to do?
Charlie: I asked you to do 2 different things.
Glenn: I think you were fuck boy number 3.
Glenn: And you just didn’t want to–
Charlie: Yeah. Fuck boy 3, you didn’t wanna do it. “I’ll pass.”
Rob: I’m always tech avail.
Charlie: You weren’t.
Rob: For you, I’m always tech avail. You didn’t ask me.
Charlie: I did.
Glenn: You might’ve been, you might’ve been busy like, doing like, some kind of start up.
Charlie: Not on the first pass, on the reshoots. I asked you on the reshoots.
Charlie: On my first pass, I didn’t, you know, I had Glenn but I didn’t have too many Sunny people on. And then, when I did my big reshoot I was like, I’m using all my funny people.
Meg: David. David, also in the movie.
Charlie: David Hornsby’s in it.
Glenn: I cannot wait to see this new version of it. I’ve only seen a version of it, and I know you’ve changed so much.
Rob: Yeah. The last cut I saw was in 2020.
Charlie: You’re gonna flip out. You’re gonna love it.
Glenn: Well I loved it back then. And I told you–
Charlie: You’re gonna love it more now.
Rob: I haven’t seen a trailer, I wanna see a trailer for yours. I’ve seen the trailer for–
Charlie: By the time this airs, the trailer will have dropped.
Rob: Great. I’m excited.
Charlie: So people will be gobbling up that trailer, let’s hope.
Rob: Charlie, I saw the trailer for your movie, it’s amazing.
Rob: I love it. I’m so excited.
Glenn: Yeah. Dude, the trailer is unreal.
Charlie: Well, we’re talking about this season, this year, and how we felt about uh, the process.
Glenn: Oh, yeah, no, I was saying I was saying I was at South by Southwest and then I got back from South by Southwest and I immediately got COVID. And, so I missed the first few days of editing because of South by, and I came back and had to miss like a week because of COVID. And then I went straight to Hawaii.
Rob: Some real, really funny episodes.
Glenn: By the way, the shows coming out what, June? Sometime in early June.
Rob: I have no idea.
Glenn: So you can watch Blackberry. You can watch Fool’s Paradise. And you can watch Sunny, in succession.
Glenn: You can be–
Meg: Don’t watch Succession.
Charlie: A full dose. You could watch Succession too if you want. I mean, it’s a great shot.
Glenn: And you should watch Succession, all in succession.
Meg: And Tommy Boy.
Charlie: And Tommy Boy.
Meg: Check it out. Um, what do you guys think the effect of doing a podcast on the season was? ‘Cause this was the first season that we wrote, kind of–
Charlie: Oh I think really good. From a writing standpoint.
Charlie: ‘Cause I think it was helpful to kind of go back and just, just be so in on what our show is, and what our techniques are. And so that when we were writing something, I don't know just feeling like really close to the show in a way, because I feel like the episodes are all really strong, and feel like, throw, I don't know. I don't want to label it.
Meg: It always like, amazes me, that I, it feels like we come up with all the ideas for all of the episodes in like two or maybe three days of like blue sky. It's crazy.
Glenn: And then it takes weeks and weeks and weeks–
Meg: To write–
Glenn: To flesh it out and actually have it become something.
Rob: Well, we have one episode that came together at the very end. Because we had an incoming text from–
Meg: That’s right.
Rob: Terrence O’Brien.
Meg: There was that one.
Rob: No reason to be ash–to make it a secret.
Glenn: Shut the fuck. It was an interesting season to write. It's, it's definitely getting you know, it gets challenging to try and come up with new things each year.
Charlie: It’s always a challenge, to write the show. It’s never not been a challenge to write the show. It’s never been like, “Well that was easy.” All it is, all it is, is fixing mistakes.
Glenn: It is.
Charlie: You make a thing, and then you’re like, “All right. What doesn’t work, how can we fix it?”
Glenn: And constant continuity errors. You know what I mean? That only matter to some people, and don’t matter to others.
Charlie: Hey dude, in take one you had your hat facing that way.
Rob: Oh, we should put a challenge out to the creeps and listeners.
Rob: To maybe, if there’s any continuity issues that people have noticed, what are the ones that they’ve noticed.
Charlie: Oh yeah. Sure, sure.
Glenn: Point out any major continuity errors.
Charlie: You mean like, there’s a camera man in the shot?
Charlie: There is that in the early seasons.
Rob: Yeah. Maybe just general, well general mistakes are tricky, because we did establish certain things and then just threw–
Glenn: Intervention on us. Give it to us with both barrels. Give us a roast. Roast us guys.
Charlie: There’s narrative mistakes.
Rob: Yeah. Like, for example, Mac says the best sex he’s ever had in his life was with a woman. And then another woman.
Charlie: Yeah. You’re very straight in this episode.
Rob: Yeah. Very straight in this episode.
Glenn: But, but, but–
Rob: That’s the evolution.
Glenn: But, but the mom fetish thing. Yeah, it takes it to next to another level. You know what I mean? Like, in some ways I could, I could justify, like the fact that you were into women back in the day because it's more of a mom weird thing.
Meg: A gay man that also wants his mom to love him.
Rob: Yeah. If we can look at what things we've established, that we've evolved that's one thing, but things we've established and then just disregarded ,or if there's just strict continuity issues.
Glenn: Well, I know one thing that people are going to bring up. And, and, and it’s a big one. And we’re gonna sort that out this season. So–
Rob: Oh yeah.
Charlie: Yeah. That is a big one.
Rob: That’s fun.
Glenn: That’s gonna be fun.
*TIME STAMP 1:06:21*
Meg: Yeah, I do think this season has a lot of things, that are just like straight up gonna please fans that, of the show.
Rob: Okay, so, so let's tease out one a little bit. That, that is something we have established very early on in the series.
Glenn: Season one.
Rob: Season 1 of the show.
Charlie: A character.
Rob: A character we established that, that fans continue to bring up “whatever happened to”, “you never talk about” or “you just completely dropped” this character.
Charlie: And we'll find out.
Rob: And we’ll find out.
Glenn: This character?
Meg: Well, that’s titillating enough to go out on, I think.
Rob: Meg said “tit”.