LIVE BONUS EPISODE: 'The ’Burbs' Cast Spills Set Secrets

Summary

Podcast Summary: “LIVE BONUS EPISODE: 'The ’Burbs' Cast Spills Set Secrets”

Podcast: Baby, This is Keke Palmer
Host: Keke Palmer
Date: February 17, 2026
Recorded live at: 92NY, New York
Guests: Jack Whitehall, Paula Pell, Julia Duffy, Kapil Talwalkar, Celeste Huey (show creator)
Show: “The ’Burbs” (new Peacock series, modern remake)

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Episode Overview

This lively, laugh-filled bonus episode brings Keke Palmer and the cast and creator of Peacock’s “The ’Burbs” together in front of a live audience to swap behind-the-scenes stories, discuss the show’s themes, and reflect on the creative process. The cast delves into everything from on-set improv and character secrets to the deeper layers of comedy and found family. The creator, Celeste Huey, shares her vision for modernizing the cult classic, and the group shares both comedic and heartfelt moments about the joys (and quirks) of working together.

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Main Discussion Points & Insights

1. Building the World of “The ’Burbs”

• Secret Lives & Suspicion
  • The cast didn’t know all their character secrets from the start, enhancing suspense during filming.
  • Paula Pell (B): “We would get scripts kind of rolled out...none of us knew what our secrets were. And we would be like, I'd be laying in bed at night reading the next episode and going, holy— are you kidding me?” [02:27]
• Script Roll-Out
  • Kapil: “I was dying to figure out what happened next...I called my agent and they're like, there are no more pages. You'll have to get cast.” [06:11]
• Celeste Huey’s Vision
  • Pivoted the narrative from the original “Burbs,” focusing on the Black female experience in a predominantly white suburb and themes of isolation and otherness.
  • Celeste (E): “I really wanted to center it around a black woman in a very white suburban neighborhood being a new mother, being a new wife, and experiencing this world isolated and trying to figure out her way as she figured out her identity. And Kiki was...the only person I wanted.” [03:58]
  • Real-life inspiration: Celeste’s COVID-era neighborhood, which included an incident of neighborly violence for “added paranoia.” [04:34]

2. Casting, Characters & Chemistry

• Embracing Oddballs
  • The neighborhood is designed to be “universal but also specific,” exaggerating real suburban quirks. Everyone has secrets, and every weirdo brings something authentic. [08:10]
• Found Family
  • Celeste (E): “Found family and community can be found in the oddest of places...take care of your neighbors and band together and be community.” [05:30]
• On-screen Relationships
  • Jack Whitehall jokes about being Keke’s “TV husband” as a “delightful trial run” for his real-life upcoming marriage. [09:16]
  • Cast members recall how much laughter (and breaking) happened on set, especially during late-night shoots: “We just was constantly breaking...I would just have to say a line and then I could not look at Jack.” – Kapil [11:10]
• Improv & Ad-Libbing
  • Much of the comedy came from the flexibility of the script and the willingness to let everyone riff on their characters: “The writing was so good. But you guys were better.” – Paula [11:33]

3. Representation and Authenticity

• Handling Racial Themes
  • The show weaves in themes of racial tension and being “the outsider” with authenticity and lived experience, not as a gimmick.
  • Celeste (E): “It was important for me to put that on the show. I grew up as a mixed kid in a very white neighborhood...you don't know who to trust, who is looking at you with a suspicious eye..." [16:38]
  • Realistic touches: bonnets, Howard sweatshirt, neighborhood dynamics. [17:32]
  • Keke: “It unravels in a really great way where it's like, I want to be in this town. I don't want the murders, though…” [17:32]

4. Real-Life Suburbia Inspiring Art

• Suburban Paranoia & Nosiness
  • The cast shared real stories about their own neighborhoods, suspicious neighbors, and the fine line between vigilance and “Karening.” [14:32]
  • Paula called 911 on a suspicious man, only to learn it was a justified bust. “In this show, we have so many times where we each have a theory… Now, that's when Karening goes right!” [15:07, 15:16]
• Technology and Modern Surveillance
  • Discussion about how Ring cameras, social media, and group chats transformed nosiness into a digital sport: “Literally, last night...within three minutes, I had his LinkedIn profile.” – Celeste [23:50]

5. Comedy and Creativity: Deep Dives

• Origins in Comedy
  • Paula Pell talks about growing up in Illinois, being a vintage SNL fan, and learning how to channel awkward, dramatic tendencies into humor: “I just was always an actor and a comedy person...” [27:49]
  • Keke: “Comedy is a common language for us…” [30:56]
  • Jack Whitehall: “As a comedian, it's so important that you have breaks...because that's where you get all of your inspiration from.” [31:24]
• Writing & SNL Stories
  • Paula shares her path to SNL: “I don't know how to use a computer...I've never called myself a writer...they just want your funny. And so I had five days...and then I never left. Almost 20 years of my life.” [29:49]
• Drawing from Life
  • Julia Duffy: “Somehow when I play a dramatic role...I could always see why it could also be funny...it was an extreme version of drama to me.” [36:08]

6. Ensemble Chemistry and Emotional Resonance

• Balancing Drama and Comedy
  • The show’s resonance comes from authentic emotional grounding—drawing laughs while digging into pain and genuine emotion: “You can get away with all the heightened, fun stuff if you ground it in real emotion and real characters.” – Celeste [18:32]
• Ensemble Experience
  • Jack: “...it was so great because it was an ensemble show, so I got to actually watch it as an audience member and enjoy all the other stuff.” [41:10]
  • Julia: “We were texting like mad after we got the first episodes...I thought all along the writing was great, but...I just never got what the whole tone was until I watched it...this is going to be a hit.” [41:14]

7. Reflections on Comedy—For Paycheck vs. For Joy

• Motivation and Maturity
  • Julia: “...if the timing is good, if you deliver the thing the right way. I never thought of it as being...more satisfying. Yeah, sure. If you make money...But when you love comedy, the joke is king.” [42:23, 43:11]
  • Paula: “I've had things I've gotten very low paychecks on that are some of the most glorious comedy things...But it's nice to pay your bills.” [44:28]
  • Jack: “I've done a fair amount of comedy for the paycheck...horrendous environments in which to do comedy where it's felt pretty soul-destroying...what feels so wonderful about this...being part of an ensemble...a shared experience, which I love…” [44:39]

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Notable Quotes & Memorable Moments

• On being left in suspense:
  “I'm the worst viewer of television because I just fall for, like, every red herring going. I feel like I'm so thick...I'm still not 100% sure who the killer is. And we filmed it.” – Jack Whitehall (D) [03:12]
• On cultural authenticity:
  “There are elements of the show that I wanted to include...like, the bonnet. We have you very early on wearing a bonnet in the show. And crucial. It was crucial. It was important for me to put that in.” – Celeste Huey (E) [16:38]
• On ensemble chemistry:
  “It's a real ensemble...When you watch the show, you can tell that we really enjoyed each other. I enjoyed everyone except maybe one.” – Paula (B), joking [40:36]
• On comedy’s depth:
  “Comedy characters have so many layers of pain. And when you work with comedy people...they all have these deep wounds that go down, down, down. And a dramatic character is just kind of, you know, they're shallow...” – Paula (B) [39:49]
• On Keke Palmer’s leadership:
  “You would show up every day 110. And everyone could be tired. We would do such late night shoots and you would just bring it immediately and everyone would rise to your occasion.” – Celeste (E), echoed by the full cast [46:04]

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Timestamps for Key Segments

• [02:27] — Cast describes being kept in the dark about plot twists and secrets.
• [03:58] — Celeste reveals vision behind modernizing The ’Burbs and casting Keke Palmer.
• [11:03] — Cast struggle to get through late-night scenes due to laughter and improvisation.
• [16:38] — How the show portrays subtle racial tensions and authenticity.
• [23:50] — The cast discusses real-life online snooping and suburban nosiness.
• [29:49] — Paula Pell’s story of breaking into SNL.
• [39:49] — Conversation on the emotional layers of comedy characters versus dramatic ones.
• [42:23] — Cast reflects on motivations: joy vs. paycheck in comedy.
• [46:04] — Multiple cast and creator tributes to Keke Palmer’s professionalism and spirit.
• [49:50] — Fun closing game: “Who Done it on the Block?”
• [51:53]–[52:40] — Closing gratitude, reflections, applause, and goodbyes.

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Tone & Atmosphere

• The conversation is quick-witted, packed with inside jokes, affectionate roasting, and genuine warmth.
• Behind the laughs and playful shade is a layer of mutual respect, vulnerability, and the nuanced understanding that comedy and drama are intimately connected.
• The live audience’s energy, plus the cast’s camaraderie, makes for an engaging and heartfelt listen.

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Final Thoughts

For fans and newcomers alike, this special episode offers a comprehensive look at “The ’Burbs” through the eyes of its stars and creator: weaving real-life suburban oddities, the power of found family, authentic representation, improvisational brilliance, and the often-overlooked depths of comedy. The synergy and warmth among cast and crew shine through, creating excitement for the show and appreciation for the craft behind the comedy.

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Host sign-off:
Keke Palmer wraps with gratitude for her guests, her team, and the audience: “Thank you again to this incredible, incredible cast and the entire creative team for bringing this world to life.” [52:13]

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Listen to the full episode for more laughs, warmth, and unexpected stories from the heart of “The ’Burbs.”

Transcript

[A]

Hello. What is happening New York? Welcome to Baby. This is Keke Palmer. We are live at 92 NY talking about my new show on Peacock, the Burbs, which is a modern take on the cult classic film that comes with some unexpected twists. So we've got an incredible group of comedy legends, sitcom icons, and brilliant writers here today. Well, a brilliant showrunner, writer, creator. Love her down. Please welcome Jack Whitehall, Paula Pell, Julia Duffy, Kapil Talwalkar, and creator of the Burbs, Celeste Huey. No matter what we feeling in the car Just chilling pop on Amazon music, Sit back and listen. Life, love, sex, science, covering it all, especially the bad. Cause money always evolved no matter what it is, we gonna make it make sense Nothing else will do but kick it with the homies and kings. So grab you a Dr. Drink and a snack you enjoy and get into the vibe that only you know it's your girl. This is Kiki, Baby. This is Kiki Palma. Yeah, you guys, it seems like we were just filming the show. I'm so happy to be here with you guys in New York. How you feeling?

[B]

Oh, my God. Cold, but great.

[A]

So, yeah, what's up with this weather, y'? All?

[C]

Mm, cold.

[A]

Yes, very cold.

[B]

Cold, but warm inside. Cause we're so glad to be here.

[A]

Yes.

[D]

I'm less warm inside because I turned up tonight thinking I had a really cool look and walked into the room, and he's dressed the same as me, which is, like, my worst nightmare. No, genuinely would rather be naked right now.

[C]

Each item is, like, literally.

[D]

Just yours is like, yes. A homage.

[E]

This is so you guys.

[A]

It's so them. Well, let's dive into this because I'm so excited you guys watched the show. What did you think? Okay, so I'm posing this to all of you. Like, obviously, this show builds a suburban world that feels familiar, but it's slightly like something's off with some comedy and mystery. They live side by side, and everyone's hiding something, even if they don't really know it yet. So how did you guys kind of approach this world where everyone has a secret and no one really trusts their neighbors?

[B]

You know, I particularly enjoyed it because we would get scripts kind of rolled out. We didn't read all of them at once, so none of us knew what our secrets were. And we would be like, I'd be laying in bed at night reading the next episode and going, holy.

[A]

Are you kidding me?

[B]

Like, you know, finding out other people's secrets. And that's what I really enjoyed about having the secrets.

[F]

Yeah, I Couldn't wait for the scripts because I wasn't told everything, but it was great that way. I don't. I don't even know if you. I don't know. Did you introduce plot points after we started working?

[E]

Some of them, yeah. Once we got to know you and what you guys were bringing to the table, we would start to weave a little. Little bit of you guys in there.

[F]

Yeah.

[B]

We would corner her and be like, what's going to happen? Yeah, bad.

[D]

I'm good. I'm the worst viewer of television because I just fall for, like, every red herring going. I feel like I'm so thick. And when I read these scripts, I was like. Every time, I was like, oh, my God, they're the killer. They're the killer. And then so reading a script, like, I think I might be the killer. I fall for every single twist and turn. I'm still not 100% sure who the killer is. And we filmed it.

[E]

I would love when you would run up to me at the beginning of a day, be like, is it us? Is it me? Did I die? What is going on?

[B]

That was my favorite scene.

[A]

That is scary. To wake up and be like. And that's it. I made it to season one only. So, Celeste, I've got to ask, why this remake? Why? I mean, obviously, it's a cult classic. So what made you say, I should do this? I want to do this, and how to make it your own.

[E]

There were so many things that immediately popped up when I was approached to work on this show. And the first was, you know, the movie, if you've seen it, which is a classic, incredible movie, is about, you know, the community picking on these outsiders. But I wanted to take a look at what the outsider felt like coming in. So I really wanted to center it around a black woman in a very white suburban neighborhood being a new mother, being a new wife, and experiencing this world isolated and trying to figure out her way as she figured out her identity. And Kiki was very immediately the only person I wanted to be on this show.

[A]

Oh, my gosh.

[E]

I wrote it with her voice in mind. And I still can't believe that you did it. But also, it was coming out of COVID as well. And we all sat at home looking at our neighbors and being suspicious. And I think so one of my neighbors shot one of my other neighbors at one point, which is crazy.

[A]

You said they shot him.

[E]

They were. Shot him in the legs.

[A]

Oh, my gosh.

[E]

Old Monty shot crazy Alex in the leg.

[A]

Oh, Monty. That's the name Played by Jon Voight. Doesn't that sound like something he would do? Old Monty? Well, I mean, have you guys seen the original Tom Hanks movie, the Burbs. Okay, so you guys so obviously built around paranoia, some boredom. What did you want the center of the modern version to be? Obviously, I know you mentioned some of it now with Samira, her being black, this is a fish out of water. There's some racial stuff going on. But what really did you have in mind for people to take in from the show?

[E]

I think what we found, especially in working all with you guys, is found family and community can be found in the oddest of places. And I think it's something important very much now of take care of your neighbors and band together and be community.

[B]

Yeah.

[A]

So, guys, this is for all of you. When you first read the script, the pilot, what instantly clicked? Like, I know for me, when I read it, I just wanted to know what was gonna happen next. Like, I immediately felt this energy from the first page to the last, where I was like, I think I kind of. This is good. I guess I gotta watch the next one. I had that kind of vibe about it. So what told you, like, okay, this isn't just a remake. It's its own thing.

[C]

Well, I was just like you. I was dying to figure out what happened next. I was, you know, sitting in bed with my girlfriend and I was like, avery, oh my God, I need more pages. And I called my agent and they're like, there are no more pages. You'll have to get cast. And so I worked really damn hard and turned out great.

[B]

So I love the feeling of how we are all in this mundane world and then we get really courageous in it in every episode. And then we're kind of terrified also, like, we'll get in a place. We can't go in there. Are we going to go in there? And it's just such a specific kind of neighborhood where people are really very much cowards, but they also, when needed. And she's the most courageous one. She's like, let's go in there now.

[A]

And she should know better. Samira's a lawyer breaking all the laws.

[B]

Yeah, yeah, Crazy. But you also knew Samara knows the legal, like, little way. She's like, yes, but we're doing it this way, so we're not gonna get busted, you know, so.

[F]

Well, the rest of us were all kind of bored. I think in the cul de sac. I'm an empty nester and I'm always peeking out at things. You just Want something to happen. And I thought that that was such a great thing that we were very excited about anything that happened, no matter how bad it was.

[B]

It's like when you move to the country and you've always wanted to be quiet and be away from the city. I did it myself. And then you move somewhere where it's really quiet and you turn into Jack Nicholson. You're just like finding yourself staring off, like wanting some excitement.

[D]

Would someone please just shoot Monty already?

[A]

I love a callback. So what real life suburban quirks did you exaggerate in some of the characters to make the neighborhood feel like its own character? Celeste?

[E]

Yeah, that's a really great question. I always think about Todd Mann, who is not here. Mark. Mark Prosch, who is, as you saw, incredible in the show. I was filling out the group and I needed a man. So was Todd Mann 1d, 2ns. And I just wanted everyone to have be an oddball. And we were all weirdos and bringing our own quirks to the show and everyone having a secret and being. We all have a nosy neighbor. We all have a Lynn. Mine's Betty, who is the best and she knows every gardener's name and everything that's happening on the street. But yeah, we all have these neighbors and I feel like it's universal but also specific.

[D]

Mark isn't here because he said he'd come by recumbent bicycle and he's only made it to Arizona so far. He will be here eventually, but it may take some time.

[A]

What a Dutch thing to do. Biking everywhere. So, Jack, give me one thing that surprised you on the discovery of your character during the filming of this show. Like what? And also, let's just ask the real thing. What was it like being married to me?

[D]

Absolutely delightful. It was delightful. I'm about to get married myself and it was like a wonderful trial run.

[A]

And we happened to talk about the.

[D]

Wedding ring for the first time and we. Yeah, we were nesting together. But it was great. You were a wonderful TV wife. I enjoyed our TV marriage.

[A]

Thank you so much, Disney.

[D]

We made it three months together. That's good going in la.

[A]

Okay. Heavy on the la. So, yeah. What things about your character did you find out? I mean, I love that you stayed British.

[D]

Yes.

[A]

That gave me life.

[D]

So did I.

[A]

That wasn't so cute.

[D]

Yeah.

[A]

Somebody said yes. They like you out there.

[D]

Well, no, I also felt it was quite good for everyone else because it gave everyone else a bit of fodder. Like no one could stop doing my accent on set. And then that Sort of started as just like, you know, in between the scenes and I would be talking and then all of a sudden you'd start doing your Bridgerton accent and it goes Jamaican.

[A]

I don't know why the. It's like I'll be talking and it's like at the end of the day, like it goes to the da jig. Like I don't know why it does that, but there are a lot of Jamaicans in London. So maybe I know something.

[D]

You were sort of covering all bases. But yeah, it started off as just in real life. And then by the end of the series, it was in every other scene you were doing my accent. Kapil was doing my acc.

[A]

Oh my gosh. Speaking of Kapil, I mean, just all of us. I'm saying Kapil because you'll know when I say the rest of what I'm about to ask. But guys, we were up til like 2am together drinking coffee, tea to make sure we were alert. We had so many moments together. What are the funniest moments you can think of? And this is why I'm going into what I'm saying about you, Capille. It was me, you, Randy and Jack at that table scene. We almost didn't make it.

[C]

We did not make it.

[A]

That was the funniest day.

[C]

We could not get through that scene.

[A]

Any of our three scenes together.

[C]

We just was constantly breaking. And I was like, I would just have to say a line and then I could not look at Jack. I was like, if I look at him, this whole take is ruined. Or at you. And you would just say something off the cuff. And I'm like, hold it together. Stay in character.

[A]

We improvised a lot on this show, all of us.

[B]

Oh yeah.

[E]

Oh yeah.

[B]

The writing was so good. But you guys were better. It had little breathing areas where they would let us really just. And the more we learned who we were as characters.

[F]

And Mark playing Todd, oh my God. I mean, he was in character, which meant saying something really odd. Sometimes I would love you, Paula.

[E]

And Todd and Mark would. People would run back to Video Village to hear what you guys were ad libbing. We'd always let it roll to see what. I remember you sprinting back once.

[C]

I was sprinting because I'm like, all right. Because I was in the scene and then I leave the scene and then they have like some sort of ad lib and I'm like running Video Village. Someone give me a headphone.

[D]

When the trailer came out, I texted Celeste with just the white ladies love salad because I had not ever seen that line. And then she sent me back all of the alts that you'd done. And then months later, we were having a text conversation, and then I used one of your alts, but realized that with no context at all, just out of the blue, me sending you a message saying, do lesbians like utility belts maybe needed to be housed? In a little bit of context, the.

[B]

Answer is many do. Many do gear.

[A]

You know what I think is so randomly funny is that our hometowns, Paula, are like 27 minutes from each other in Illinois. We both Midwestern girls.

[B]

We are.

[A]

So what kind of suburb did you grow up in? Like, a cul de sac type suburb neighborhood?

[B]

I don't know if I was in an actual cul de sac. I feel like that was the little bit fancier houses. We lived in a little, very cute Midwestern house. We had one dog. It was very. The little basement with the shag carpeting. I used to watch SNL on my shag carpeting and audio tape it with a big Panasonic tape recorder. And then I'd memorize all the sketches. And I was just a little comedy geek. And I had a memory the other day about. We were talking about neighborhoods, and I had a memory of when I was in my 20s in Florida. I looked out of my window. I was probably deathly hungover. It was some morning, Saturday morning, and I looked out of my apartment in Orlando after I'd moved there, and there was a guy in a car, And I just sat there, and I just started getting. When you feel like you're in. I mean, maybe it was pot. I don't know. But, you know when you. You know when you're really paranoid and hungry and. Oh, yeah, that's right. I was completely blasted on some weed. But I was looking out, and everything he was doing was suspicious. It was like every single thing this guy did was insanely suspicious. And then it kept getting bigger and bigger, and I was like, am I being pranked? Like, he started taking those antibacterial wipes and wiping all the seatbelts and all the seat and just like. And doing all this and cleaning stuff out. And then he took a leather jacket out and walked down the street and threw it in a dumpster.

[A]

Oh, my God.

[B]

And So I called 911, and I was just shaking. And I'm just like, there's this guy, and he's down here. And no one was in the neighborhood. Everyone was at work. It was terrifying. And then they said, okay, we're gonna And I'm like, he walked away from the car. And then I'm like, he's walking back. And then I'm like, he's a traffic cop. No, he wasn't a traffic cop. And then they said, okay, we're gonna come down the street real quietly. You stay in your house. And I watched this whole thing, and this show always reminds me of that, because I was watching it, and then they came and got him, and it was a stolen car.

[A]

Oh, my gosh.

[B]

But it was so justified. Like, in this show, we have so many times where we each have a theory. You know, as this series goes on.

[A]

Now, that's when Karening goes, right? Yeah, she got that guy.

[B]

But that's what I remember. In a neighborhood where it was, like, creepy and weird. And of course, growing up, when you're in those suburbs, they are creepy. Everyone's got the perfect yard and the perfect.

[F]

I hope this guy doesn't listen to this podcast, because could you imagine? I know who busted him.

[B]

I married him.

[C]

Yeah. Yeah. I mean, growing up, we had this guy on our street that didn't, like, leave his house at all. At all. And my dad was, like, convinced he was a murderer. Turns out he just, like, worked from home. And he came out one day, like, putting, like, the artificial turf on his lawn. And then my dad, Indian dad, going, how much am I going to save if I put in artificial turf? And then he's like, son, I'm going to go talk to him. And then it was a long, animated, heated conversation, and he goes, we're buying artificial turf, and this man knows where to source it.

[B]

You never know who's gonna be your.

[A]

Friend, you know what I mean? I mean, Celeste, this show doesn't shy away from racial tensions, you know, especially with my character. Was it intentional to just let that exist and trust the audience? And then also, like, how did you balance the. I don't want to say cliche, but the obvious turn of expectations.

[E]

Yeah, no, it was important for me to put that on the show. I grew up as a mixed kid in a very white neighborhood. Shout out to Brookline. I have some childhood friends here.

[A]

I'm about to say. I never heard of Brook. The way they screamed. It was like, Queens.

[B]

Hey, y'.

[A]

All.

[E]

But that's the. It's the authentic experience. You don't know who to trust. You don't know who is looking at you with a suspicious eye and whether or not you belong and whether you are choosing to belong or people are letting you belong. But there are elements of the show that I wanted to include, like, for example, the bonnet. We have you very early on wearing a bonnet in the show. And crucial. It was crucial. It was important for me to put that in. And, yeah, those were little details, like the Howard sweatshirt, all that stuff I wanted to make sure were included and the storytelling was authentic.

[B]

I love it.

[A]

I mean, I think it's important. Obviously, a big part of the show is like, everybody is different from a different world, but it's not this thing where we are superficially beating on that as a gimmick for the show. It's just the reality that these characters are different. And we play into it with humor of, this is what you think, and this is where it could be going. But then also it unravels in a really great way where it's like, I want to be in this town. I don't want the murders, though, but I kind of want to be in the town with these. With this group of people, you know.

[E]

Hang out with everybody. And I think, you know, I mostly write comedy, and I don't ever want to treat. I love hitting dramatic themes, but always there's a little levity, there's a little laugh with it. There's a wink with everything. Yeah, we never go too, too hard into it.

[A]

I mean, and you also. I mean, you've done this really well with Dead to Me, right? Another show that you worked on that has big, heavy topics. Great show. I don't know if you guys. It's so good, you know, where you've done the same thing, where you talk about heavy topics, but you find a way to make them, I guess, able to be metabolized. I don't know if that's the right word, but, yeah.

[E]

What I learned in the. I call it the Liz Feldman, who's the amazing showrunner of the show, this school, the Dead to me school of twists and turns. You can get away with doing all the heightened, fun stuff if you ground it in real emotion and real characters who have absolute, real drives towards something and that. I think all of these characters have that heart, have that drive, and are people you want to hang out with and know. And then we can do all the hijinks around it because of that.

[B]

It's my favorite kind of show that has both. I just love there to be the depths of all those moments of despair where everyone is in despair in this at point, some. Some moment, and then the other people around them are like, I got you. I'm gonna pull you up. You know, it's just like A real connected about connection which I love.

[C]

Found family.

[F]

I love that even like every character, characters you haven't seen yet, but you will, they all have something that they aren't comfortable with. Officer Danny Daniels is underneath, so insecure. And his mother in law is Agnes. My mortal enemy who runs the HOA and the terror in the neighborhood should.

[B]

Be H O W Hell on wheels. That's what she is.

[F]

And she's so funny. And it's just great that everybody has this. They have this thing that they don't want people to really see. Officer Daniels wants to be in charge. It's very embarrassing that his mother in law is the one everybody hates. And it's that with everybody, every single character and characters that you will see coming up, every single one is, I don't know, just really different and funny and they all have a problem of some sort.

[D]

We were doing an interview earlier and we were talking about a scene that we couldn't get through because there was a line that we kept fluffing every single time. And it just came back to me in that moment. You had to say the line. Officer Danny Daniels, his dad is dead. And literally take 100. Officer Danny Daniels dad is dead. That was the line.

[A]

Officer Danny Daniels dad is dead.

[E]

Dan Daniels Sr. Is Danny Daniels dad.

[A]

I love. And you loved putting that stuff in there. Like you Jay Z, like she was always writing the line, like a rap. She loves that stuff. I'm like, girl, here we go again. Put my beatbox hat on. I love what you. I wanted to take a moment because obviously, I mean, you're an icon and I do icon, icon, legend. And I have to bring up the fact that I did get to work with you once. I think if you remember, true Jackson VP, she was.

[F]

She was 15 years old and more poised and professional than almost any adult I had ever worked with. It was intimidating that she was that far along at 15 years old.

[A]

Oh my gosh, Julia, thank you so much. I never knew you felt that way.

[F]

Oh, God, yes. I'm so glad you said it in.

[A]

Front of all these people. Remember that, guys. But I want to ask you because you have done so much work, you know, you've seen so many things. So what made you say yes to this project? And what do you look at, you know, when you're deciding to do something?

[F]

Well, I would say to work with Celeste again. We'd worked together on Palm Royale and this was a thank you. I didn't write it or anything, but it was so different from that. And also I Had to be, like, glamorous all the time on Palm Royale, which is really a drag. And I got to be a whole different person who was just normal and wore normal clothes. Well, she's not that normal, as you find out. But I just. I absolutely loved it. I loved the whole idea of it and that it was so different from that. And I wouldn't have to try to wear all of those fancy outfits. That never really worked on me in Palmer, that I can dress normally and I can work with. Celeste, who was, of course, working with and influenced by the showrunner of Palm Royale, who was.

[E]

I mean, Ava's amazing.

[F]

You can't get any better than that. Except I think I now have.

[A]

I just love your timing, your delivery. I always think about that scene when she comes up to the window. She's like, yeah, they told me, you guys. They told me you were back. I love every time. I'm like, it's just so perfect.

[F]

I did some takes where I got into the be part of the word, but I didn't want to. I wanted to let the audience.

[E]

You know, There was one time where you said, I heard you were black.

[D]

And it was amazing.

[E]

And the way you say samurai is just genius.

[F]

Samora. I couldn't pronounce it.

[A]

Excellent.

[F]

But it's so exciting, of course, to have anything different in the cul de sac. I mean, it was. I think it was more that than racism. At least that's how I played it in my head.

[A]

Genius choices, Genius choices. I mean, guys, back in the day, it was watching your neighbors out the window. Obviously, people still do that, you know, but now we can get even more technology driven with it, where it's like, you got the ring camera, you can stalk somebody on socials. We got group chats. I mean, how does suspicion and nosiness play out in your own lives?

[B]

I do stalk online, my friend.

[E]

Literally, last night was like, here's a first name. Here's where he went to college and the general area where he lives. And within three minutes, I had his LinkedIn profile. And, yeah, she's going on a date with him next week.

[B]

Oh, my.

[A]

You see what I'm saying? You see what I'm saying? What about you, Jack?

[D]

I'm not. I'm not that into online snooping.

[A]

Oh, so you just don't snoop?

[D]

No, I don't snoop.

[A]

Oh, you're just morally dignified. No.

[D]

You're just incompetent. I don't know.

[C]

Maybe.

[D]

Yeah. No, I don't think I've done much online snooping. Not for a while, anyway.

[A]

Okay, all right, all right.

[B]

I'm good at old timey snooping. Like, if somebody's had a boyfriend do them wrong, I'll go on Facebook. Like, I know how to get onto social media in a way that's very old school of, like, finding out what their last name is in their family. Then I look at all. Do they have siblings? Then I look at the siblings. Who did they follow? Oh, they followed and they posted something with him. Perhaps with a girl.

[F]

Now I know why.

[E]

If I mention.

[B]

Go down that hole, and you can just find so much out.

[F]

If I mention anyone who's even close to the world of show business, she has the whole story, and now I see why.

[A]

Kapil, I feel like you would be good at snooping.

[C]

Yeah, I'm doing a digital detox right now, but when I was on the digital, that was like, 99% of what I would be doing. So I think I was just like, I need to just breathe a little bit.

[A]

You know, let me go touch grass. Yeah, yeah, it's good to do that from time to time.

[D]

I think I will start snooping now. I think I'm gonna go online and I'm gonna try and find Kapil's stylist and snoop him so that I know what. Look, he's putting you in for the premiere on Thursday.

[C]

Oh, okay, Wait.

[B]

I kind of want a Simon and Garfunkel musical group here.

[E]

My favorite thing that's ever happened.

[D]

Stop sitting like me as well. Uncross your legs.

[E]

These guys became besties. They played pickleball like, three, four times a week.

[C]

We played pickleball like, three to four times a week. Even though Jack was like, no, we played tennis. Can you tell people we played tennis?

[D]

Don't tell people we play pickleball. That's more embarrassing than dressing the same.

[C]

Jack had a coach.

[B]

Kiki, do you need to on this podcast, I know we have a visual element, but do you need to tell people listening what these two are wearing right now?

[A]

Guys, she made the most iconic idea right now. You guys have to understand they're wearing the exact same outfit. So they got slacks on. One is light gray, the other is, like, dark gray. They've got these little boots on. Same shape, Same shape, the same cut, tapered down, the exact vibe.

[B]

One's a little butterscotch suede, the other one shiny black.

[D]

Paula and Kiki are both wearing the Chapel Rowan dress from the Grammys. If you're listening, they both turned up in the same outfit, except pulling the.

[B]

Other way to pull.

[D]

They're both onto each other's nipples.

[B]

It's lifting back. There's a weights on my back. On a string.

[A]

Weights on my back. It's crazy.

[B]

Yeah.

[A]

Paula, you are so insanely funny. I have to go back to you talking about you watching SNL as a kid on the shag carpet.

[D]

What is a shag carpet? That means something very different in England.

[A]

Carpet.

[B]

Your shag on surely is. Seen me in. That's a shag carpet. No, I'm kidding. That did happen.

[F]

Basements that had shag carpets.

[B]

Shag carpets. That did happen. It's like very long pile, as they call it here in the United States. And it just, like, it gets disgusting after a while. And you'd have a rake. You had a rake that you would rake all the shag carpet. Yeah.

[A]

So I want to know what it was like for you working on snl, how that came into your life. I mean, you being a fan since being a kid and then being one of the most iconic people to have ever worked on the show.

[B]

Thank you. I don't know about that, but thank you.

[A]

Yes, absolutely.

[B]

Yeah. I just. I was always an actor and a comedy person and everything, and I got my degree in theater, and then after college, I went home to Orlando and I worked at the theme parks, and I met all these people that did this improv group. And I never did improv, but I would go to their theater in Orlando and do nights of, like, sketch comedy. And I would just come on as a character. They'd say, can you write five minutes as a character? And I'd come on with a wig, and I'd do some bad character each time. And they decided to do a pilot, and they did this pilot. And then that pilot found its way to snl. And then I got a call in the green room of the theme park, and my agent at the time, it was all corded phones. That's how old I am. And they were like, are you sitting down? They said, lorne Michaels saw this. They saw this pilot, and they want you to come meet them. It was 1995, and I flew up there, absolutely, like, diarrhea, terrified. And they didn't say it was an aud. He said, it's not an audition, but just in case, I put, like, funny glasses in my purse. And I got there, and he said, we're completely rebooting the whole show. You know, it's when they got rid of almost everyone and they started anew. And he said, we need one more writer and a Female writer. And we want you to write. And I said, I don't know how to use a computer. I don't know how to write for other people. I've never. Cause I'd never called myself a writer, even though I wrote short stories and different things my whole life. And he was like, you'll learn. Because that's the way that place is. If they want you to do it, they'll teach you the other parts, but they just want your funny. And so I had five days to give my mom my dogs and fly up and be terrified. And then I never left. And it was almost 20 years of my life. It was incredible.

[A]

Wow. I mean, it's really not easy there. It's not. I hosted, and it was hard as a host, but, like, to see how the writers have. They're constantly having to come up with this material. And it's like you wanted to get. You gotta do four or five, and then maybe one of them get picked for the show. Big thing. I know you created Debbie Downer.

[B]

Yep. With Rachel Dretch. Yeah.

[A]

Now, what was the inspiration for that character?

[B]

I think Rachel had an inspiration for that character. She went on a vacation, and there was a Debbie Downer type woman on the vacation. And they were on this cruise and like this little tour, and they were looking at some place they were getting information about or whatever. And this woman just kept going, like, sadly, due to climate, you know, and everyone was like, oh, God, Carolyn, shut the up. And so it just became. And we also had occasionally people that worked for the show that would come in. Just when you're at that table trying to. You're really exhausted and you're trying to make a sketch funnier, and you're really trying to get it up for it. And then somebody comes in and is like, did you guys see the news? It's just like somebody that's always wanting to be the breaking news, like, to come out and tell you the grim thing. And it's just like, just hold it. Please. Press pause. So. But it resonated because everyone apparently works with a Debbie Downer. They would always say, like, I work with a Debbie Downer.

[A]

I mean, I feel like we all come from such different backgrounds, but obviously comedy is a common language for us. And I remember that being one of the main things that when I found my groove with Jack very early on was just like, the romance and the intimacy. It comes from the joy and the laughter that they can share together. Like, I think that's such a beautiful thing. I always. Anybody I'M around. They gotta have a sense of humor because that's how I process life. So, I mean, when you think about comedy, do you source your inspiration from your experiences?

[D]

Yeah, I think 100%. Yeah. That's that. That's why as well as a comedian, it's so important that you have, like, breaks from it. So you go off and you have real life because that's where you get all of your inspiration from. And I find it's like so hard because you just burn through so much stuff. So you need to take these gaps where you just go away and you sort of live your life and then you can return to it and you've accumulated all of this life experience, which is then your sort of inspiration. So, yeah, that's how I've always approached comedy.

[B]

Those breaks are vital, especially with comedy, is you have to go meet people and you have to have experiences. You have to go have a holiday with family. You have to go be it sitting in a weird diner. You have to just be in a beauty shop.

[A]

I love a weird diner.

[B]

You just have to know what humans are and how funny and weird they are. And then you go, I'm gonna put that in a movie or I'm gonna put that in a show.

[D]

Yeah, Stand around your dad, wait for himself.

[F]

Can you say something about Jack? I don't know if everybody here watches as much British TV as I do. I really should just be given a passport at this point. I watch so much. I have seen you, as you know, on all of the panel shows that I watch when you were, I don't know, 12. How old were you when you started? He was so young, and he's with these experienced, awesome comedians on a panel show where there's no script. And he was incredible from the beginning. I think I saw some of your earliest.

[D]

Yeah, you remembered. Some panel show appearances that I'd forgotten I'd even done when we first spoke. It was amazing.

[B]

Yeah, you.

[D]

You have.

[F]

Well, we rewatch them when there's nothing else to watch. They're so good.

[D]

Yeah. Oh, that's amazing.

[A]

You have a great deal of confidence, and it's great to see you're really able to be bold. I imagine that's something that you. You have to have in order to get in front of folks and do standup. I'm curious, have you ever gotten in trouble with your fiance by bringing some of yalls life to the stage?

[D]

Oh, yeah, constantly. I mean, in the end, I've sort of. Now I sort of ask for forgiveness rather than permission. Because the worst thing is having the difficult conversation where you're gonna do a routine about something quite personal and you have the difficult conversation and you sort of rip the band aid off, and then you go to a comedy club and you try it for the first time and it doesn't land. That was a complete waste of an argument. So now I always just road test it once just to make sure there's some promise there, and then I'll have the difficult conversation. But yeah, I mean, it's. It's terrible being, like, married to a comedian because nothing is sacred, and whenever you say anything, it's likely to end up in your stand up routine.

[A]

So now that you guys are getting ready to get married soon, I feel like we're gonna get a lot of material from this wedding.

[D]

There's gonna be a lot of material from the wedding. I'm sort of waiting for my daughter to start, like, giving me material as well, because obviously that's one of the great things about having kids is then that you've got this whole new lease of life and this whole new lease of comedy.

[A]

You are telling the truth.

[D]

Yes.

[A]

All my son says, you the bad mama. Oh, you the bad. Get back from me. And it's like, what is this baby language that you do? Get back from me. What is all of this?

[B]

Think about.

[A]

Kids are crazy, so they definitely give some good material. Now, Capille, you said that your grandfather taught you a joke that you used to tell, like, with house guests all the time. What did that moment unlock for you with comedy? And do you remember the joke?

[C]

You know what? I didn't realize at the time that it was a dirty joke. And I just knew that everybody. I was like nine and everyone was laughing and I was like, this is fun. And I just say these words in this order and then people laugh. And I think it was, like, really cute. And my grandfather, he was an actor in India and a very funny man, and he kind of just. I don't know, I think he just inspired me a lot to sort of just go out there and be myself.

[F]

We're not going to hear the dirty joke.

[A]

Exactly.

[C]

How dirty is it, man? To be honest, like, it's like I have to translate it. It doesn't. It's not in English. Not in English.

[A]

Okay. Boom. I get it now.

[C]

Yeah.

[A]

While you were saying that, okay, but.

[B]

It was all ladies have the same part, even if it's in an. Just say the word.

[A]

Must be hard to translate. I totally get it. Well, how has your relationship changed with comedy guys? Because I feel definitely that mine has over time. You know what I mean? Starting out sitcom comedy to getting into sketch and digital and then getting into it as math, as you put it, like, just seeing the timing and the rhythm of things, which I also look at with drama as well. But just how has your relationship changed over the years of how you understand comedy as a part of your life?

[F]

I was going to grow up to be a dramatic actress like Julie Harris. I hope that isn't a really old. You know who she is. All right. Incredible dramatic actress. When I was growing and that's what I was going to be, and I was very serious about it. And yet. And yet I never missed Carol Burnett on the Garry Moore Show. And I sat and I had the opportunity to tell Carol this, like, this far from the TV to watch her. And my mother would say, you know, I think you're going to do comedy. Mothers know. She didn't know anything about show business, but somehow she got that. And I was insulted because I was going to be a great dramatic actress. And I went to acting school. I did the whole thing. I've done lots of drama. And I was an ingenue forever. And as I said the other night, Celeste, my role on Palm Royale is my final ingenue role. I have decided that it's time. It's past time that I stopped playing ingenue. But somehow when I play a dramatic role, when I was an ingenue, which I was forever, I could always see why it could also be funny. I mean, I just thought Entre Neues could always be funny. And I absolutely adored watching people like Bob Newhart and wished I could work with them someday because I got it. Like, I got what they did. I got their kind of comedy. I would watch Sid Caesar. I would get videotapes of your show of shows. And all of it mattered to me so much. And finally I realized there was a difference between comedy and drama. But it kind of became the same thing for me. It's hard to explain, but it was very important to me. And to me, it was almost when you're playing a comedic character deeper than a dramatic character, like, they had to be so upset or so this that I don't know how else to say it, but it was an extreme version of drama to me.

[A]

You said it perfectly and beautifully in a way that, I don't know that people always understand comedy to be. I really don't know. And it's okay that they don't, but the way that I look at it is exactly how you look, the places that you can go, the things that you can make people feel, the way that you can communicate urgency. It's like a magic trick. And it does require you to go very deep within yourself. You know, I love it.

[B]

I have a journal, a diary that I wrote at 13 that actually inspired the movie Sisters. And I wrote in it so dramatically that I would say, I shall never forget this day. I got confirmed by Bishop Vanish at church.

[A]

What a lovely man.

[B]

I shall never. And I would say all this, and then I'd say. I'd say depression hasn't been frequent in weeks. And then I would say I have a very strong sense of humor and I'm unfortunately a heavy build. Like, I would say the craziest. And yet I was always doing shtick. Like, then at the end I'd go, like, I have to pounce on the Posturepedic. And I was always doing puns and bits. But it was that wounded. It's like the Tears of a Clown. There was a song back in the day, the Tears of a Clown is that. You said it perfectly. Comedy characters have so many layers of pain. And when you work with comedy people, you know, they all have these deep wounds that go down, down, down. And a dramatic character is just kind of, you know, they're shallow. They're shallow and self involved. Yeah.

[E]

Not all, like, the best dramatic actors can't necessarily be funny. That was what was so fun about casting all of you, is you're all brilliant comedic actors and were able to bring such pathos to all these characters and make real moments where I was crying on set. And then there are moments where you guys make each other laugh so hard. And that's why, like, you guys were such a perfect pair. I remember one time I went in to check on you. There was a creepy holding room in the back lot that everyone would hang out in. And I went in to kind of check on you guys. And the big room where everyone sat, it was empty. I was like, where the Is everybody? We've lost the actors. And I heard a giggle and they were all. They had all pulled their chairs into the little room on the side and were all playing shadow puppets and making each other laugh. And it was like the most. It was the most amazing thing you get. Just beautiful.

[B]

It's a real ensemble. Like, we. When you watch the show, you can tell that we really enjoyed each other. I enjoyed everyone except maybe one.

[D]

Wow.

[F]

See if you can guess.

[D]

I actually genuinely enjoyed watching, and I don't enjoy watching a lot of the Things that I'm in because I'm in them. And this was so great because it was an ensemble show, so I got to actually watch it as an audience member and enjoy all of the other stuff.

[B]

Oh, my God, there were so many scenes I had. I wasn't in them. And then.

[D]

So lovely to see you.

[B]

Like, we weren't in each other's scenes sometimes, so you got to see it as, like, an audience.

[F]

I know we all said this to each other. We were texting like mad after we got the first episodes that we could watch, and I. It's like, I had no idea. I thought all along I thought the writing was great, but somehow I just never got what the whole tone was until I watched it. And I just. And it was. My daughter and her boyfriend were sitting there, Millennials. And I didn't know who. You know, they're very particular, and they loved it. And it was Thanksgiving. I mean, we were tired. We'd had the dinner that. That I made. I was exhausted. We watched the three they sent to us all in a row. They kept saying, no, we've got to see the next one. And I thought, this is going to be a hit. I just knew.

[D]

Did the millennials in agree?

[F]

Millennials.

[D]

Millennial. We sure.

[A]

This is a quick one? I just want to know, because this is something I think is entertaining, as we always have to ask ourselves, but what is the difference? You think being funny for a paycheck and being funny for joy, Y' all like that.

[F]

I mean, in our house, you know, you get props if you. If the timing is good, if you deliver the thing the right way. So I never thought of it as being. It matters to me all the time that the comedy is good. I will correct my husband if he could have had slightly better wording for the joke, because I just say it's funnier this way if you say it that way. I never thought about it being more satisfying. Yeah, sure. If you make money doing that. Yeah, that's better. That's not a hard question to answer.

[A]

No, but I totally relate to what you're saying, because what you're saying is, like, I'm just being me. I'm just being, quote, unquote, I'm just doing the thing. And. And that it's become something that I can make money off of. But I would be that even if I didn't. So it kind of doesn't change the temperature.

[F]

Because when you love comedy, the joke is king. Nothing is more important than the joke. I mean, you should try working with Bob Newhart and Tom Poston. Nothing mattered but the joke. It didn't matter if it hurt anyone. Nothing mattered. But the joke was everything. The joke was worshiped above the person making the joke. The joke was the important thing, not the person who made it.

[A]

Anybody else.

[B]

I feel like I'm at an age now where I have a no policy, like, very strict. And so I.

[D]

Thanks for making an exception, though. I really appreciate it.

[A]

Because I have.

[B]

A crush on you. But I'm 3% straight, so it's like once a year. I feel like I have gotten to a beautiful era of knowing before I get into any comedy project or anything, where it's going to be comedy, that I will have joy because I don't allow the other part to get in. I've had things that I've gotten very low paychecks on that are some of the most glorious comedy things I've ever done in my life. But it's nice to pay your bills.

[A]

Yeah.

[B]

And it's nice to treat other people and put money out in the community and so cough it up, Hollywood.

[D]

I mean, I feel like I've done a fair amount of comedy for the paycheck in my past. A lot of gigs and corporate events and award shows and just horrendous environments in which to do comedy where it's felt pretty soul destroying and it's felt like, yeah, you're doing a job and you sort of have to almost go to a fugue state and just get through the 30 minutes and just get out of there. And yeah, it doesn't feel great. But what feels so wonderful about this and also so wonderful about this, compared to like, any form of, like, stand up comedy is sort of stepping into this, this, this world of being part of an ensemble and being part of a group and it being a shared experience, which I love so much. It's so wonderful when so much of my career has been so solitary and you go on and you do the gig and it's your own experience and you can't relate to anyone when you step off the stage with this. We were all in it together. We were all there like, you know, really generous performers working with each other. You know, it just felt like the camaraderie of it is just, just you can't.

[B]

You know, when you have that first night where you're all laughing together really hard and you go home and you're just like, this is gonna be such a fun project.

[E]

Can I give a little praise to Kiki, though? You would, you would show up every day 110. And everyone could be tired. We would do such late night shoots and you would just bring it immediately and everyone would rise to your occasion.

[F]

Absolutely unbelievable. Yeah. And with a two year old.

[B]

Yeah, with a two year old, you.

[D]

Were the star of the show and you set the whole tone as well. The energy that you brought to it and how kind and generous you were to everyone on set, from the actors to all of the cast and all of the crew. It does, you know, it trickles down and it set an amazing tone for everything. And the way you work is amazing.

[B]

Kiki would be getting her hair and makeup done in the trailer while doing a interview like this, while scheduling her music video that she's got choreography she's got to learn for Saturday when we're all going to sit on our asses and have a day off. She's incredible and an incredible mother.

[A]

Guys, that really is so kind of you.

[E]

We are so lucky.

[A]

I honestly just feel so happy. Like I've been in the industry for so many years and it's just so good when you have something like this where you go to work with people that you love and enjoy. And that doesn't, that's not about everybody else was terrible, but it's just, this is special, you know, we're better. You're better. You are. I mean, I'm with Paula when she's right and she's right, you guys are amazing. And it was so joyful to come there and just be a human and talk and hang out and get into it and create something that we loved and enjoyed. And that's why I was so happy to be out here with you guys again and rehash it all and go back down memory lane because it really, it marked a different tone of my life for sure. This is like a. This is the tone. I'm with you. No more. No more bull. Right? I'm done with it.

[B]

And life is way too short for that.

[F]

But you know, Kiki, with all you have going, I hear you on the phone with your agent. I mean, first of all, the way she conducts business is so impressive. I've talked to you about this before. When you would take a phone call, it was like, you better do what Kiki says because clearly she knows the best way to do whatever it is she's talking about. With her age, it's impressive. I mean, you're still so young, but it didn't matter if it was 2 in the morning. You were just somehow at a level that we all had to be at as if none of this was bothering you at all. The other things you had to do and how late it was and all of that. And there's a baby in your trailer. And, you know, it was very impressive.

[B]

Yeah.

[C]

Just an unbelievable amount of experience showing up to set in the small things, you know, that add up small things of like, what is this person I'm acting with need? Does he need to get opened up a little bit? Let me give some of the fire of Kiki in here. Or, you know, should I just shut up a little bit and lean back and give this person space? All these little things add up, and we see it and we notice it, and we really love you.

[F]

You make it look so easy.

[B]

We love you guys. Thank you.

[D]

If you think she's good in the burbs as well, wait till you see her remake of Apollo 13. She's gonna do the whole Tom Hanks canon now. And that's the next one out the gate. It's amazing. Complete reimagining on the moon. She lands on the moon. She lands on the moon in heels. It's incredible.

[A]

Guys, you are amazing. Can we get a round of applause for the burbs cast? I mean, they told me I'm out of time. I'm just gonna try to do this game, okay? I play games with all my guests, and I really want to be able to do it with.

[D]

Bring out the shag carpet. We're now gonna really bond.

[A]

But, guys, where are all my. I only have one of my pointers. If any of my team knows, okay?

[D]

No, we got them.

[A]

Great. You've all got your pointers. Oh, yes, baby. It's time. I forgot about this. All right, now, we spend a lot.

[B]

Of time together, you guys, right?

[A]

It's like this, though. So we gotta get into how we actually. How well we actually know our neighbors. Okay, this game is called who Done it on the Block? And here's how it goes down. I'll read a scenario, and you'll use one of these pointers to call out who's most likely to do it. Get ready and don't be afraid to throw a little shade. Okay? Okay. Who's most likely to hang a please leave by nine banner at the wine night? A please leave by nine wine banner.

[B]

A please leave by nine.

[A]

Definitely Julia. She said, get out my house. Okay. Bring Tupperware to take home leftovers from set. We got a lot of this. There's a lot of us here. It's all of us, actually. I mean, who wants to waste good food? Can we talk about how good the food was on our show?

[E]

Spa water, too.

[A]

Crafty was eating.

[D]

Crafty was amazing.

[A]

Eating up Catering. Catering ain't had nothing on Crafty. The competition going on. Okay, who's most likely to get inside the kids bouncy house at a party? I mean, is that all of them fun? Yeah. Y' all know I'm in there with the kids.

[E]

I almost died in a bounce house once. I'm not doing that.

[A]

We actually had a day where we had the big picnic outside kind of Memorial Day situation. I literally brought my son and was like, have fun, boo. It's on the set. Okay, who is most likely to accidentally reveal a plot twist? Definitely Kapil. Why y' all playing?

[C]

Yeah, I almost did it, like, three times today to impress.

[B]

Yeah.

[D]

To be fair, I think I did it during this show.

[B]

You did?

[D]

Danny Daniels. Dad, he may not be dead. He may not be dead. You watch it. He could be alive.

[A]

Daniel Daniels don't even have a dad.

[D]

Yeah.

[A]

Okay, last one, Last one, because I.

[B]

Know I gotta go.

[A]

Who's most likely to pretend they didn't see you? Wave to avoid talking. I'm gonna reveal something.

[C]

Whoa.

[A]

Oh, my God. I didn't even see you, girl. How you been?

[B]

Well, I'll remember that when you try it on me. Oh, my God.

[A]

Sometimes it gets awkward. Okay, guys, I hate to go, but I thank you so much to our New York City audience for making tonight such a special experience. Make sure you guys check out the book on Peacock if you want to see more of this. And don't miss an episode of Baby, this is Keke Palmer, wherever you get your podcast and on YouTube, of course. Thank you again to this incredible, incredible cast and the entire creative team for bringing this world to life.

[F]

So, Kiki, now I know something else. You're brilliant at hosting.

[B]

Hosting.

[F]

You're amazing.

[A]

Thanks, Julia. I love you guys. And we love you guys. Thank you again. Baby, this is. This is kiki. Baby, this is kiki palma. Yeah.