182. Fred Armisen Returns: Is He Joking?

Summary

Mike Birbiglia's Working It Out — Episode 182

Guest: Fred Armisen
Date: August 25, 2025

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Episode Overview

In this episode, comedian, musician, and actor Fred Armisen returns to "Working It Out" with host Mike Birbiglia. The two friends riff, reminisce, and “work out” new material, mixing discussions of punk rock, creative process, SNL, impressions, music nerdery, and the experience of being misunderstood. They analyze comedic choices, collaborate on new bits, and share plenty of insight for fans, comics, and creators.

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Key Discussion Points & Insights

The Portlandia Origin Story & Punk Rock Roots

• Portlandia's anarchic, rules-breaking sensibility stems from Fred's punk band days.
  • “A lot of the basis of [punk rock] is like, what if we didn’t follow the rules of anything?” — Mike (03:14)
  • “It was more like, let’s just see how far this gets.” — Fred (03:35)
• Portlandia began as ThunderAnt, sketches Fred and Carrie Brownstein posted online for fun—no audience expectations, no plan for success (03:52).

SNL Auditions and Impressions

• Fred describes his unconventional SNL audition: blending characters with musicality and impressions (05:56).
  • “I did a self-defense expert, Felicito, a Venezuelan timbali player… Sam Waterston from Law and Order, and Vin Diesel.” — Fred (06:00)
• He demonstrates how he keys in on impressions by glomming onto distinctive flourishes—Birbiglia’s list-making, Nick Kroll’s agent-banter, the varying approaches to stage entrance (07:07–09:14).

The Magic of Collaboration & Creative Surprises

• Fred finds real joy in unexpected input from collaborators:
  • “I love when someone comes up with something that I never did. Didn’t occur to me. And it just haunts me in the moment.” — Fred (12:14)
• The "Californians" SNL sketch began as a simple idea about LA directions; James Anderson's “What if it’s a soap opera?” twist was a breakthrough (12:23–13:49).

Writing & Performing: Navigating Risk and Comfort

• On the nerves of presenting new or untested sketches to friends and cast members at the SNL table read (14:07–15:19).
• Fred’s stage persona is slightly alien–a la David Byrne (“Hi, I’m not from here”)–keeping him fresh even before familiar crowds (10:09).

Advice for Writers and Performers

• On sketch writing:
  “Let go of things you’ve heard before. If you think it sounds like sketch comedy, that might not be good.” — Fred (11:48)
• On musicianship for comedy:
  “All instruments… are supposed to be for fun… screw it.” — Fred (23:11)

Impressions and Stagecraft

• Fred shares tricks for impressions: focus on idiosyncratic habits rather than perfect mimicry (08:09–09:08).
• Deconstructing Birbiglia’s list-joke pattern and subtle on-stage ‘in progress’ energy (07:34–09:14).

Being Misunderstood: Is He Joking?

• Fred lives with the regular confusion over his sincerity:
  • “People have told me they don’t know if I’m joking, and it comes off as insincere.” (26:46)
  • Mike confirms: “That is definitely my experience with you, where I don’t always know.” (27:09)
• They reflect on how this ambiguity can be fun and even illuminating in long-term friendships (27:09–27:42).

Artistic Envy

• On artistic jealousy, Fred admits, “Sometimes, Seth Rogen… He gets to do really cool things.” (28:35)
  • Not jealousy for fame but respect for “complete, well-presented, thought-out” projects.
  • Mike observes this is a recurring theme among comedians—citing Kumail Nanjiani’s similar answer.

Playing Music, the Right Amount of “Skill”

• Fred encourages musicians for comedy not to worry about perfection or virtuosity (23:11–24:03): “Don’t worry about it, really... There’s just so many guitar players who weren’t great, who were such a big part of our lives.”

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Notable Quotes & Memorable Moments

• On letting go and success:
  “The principle for me is to let go. The more I wrestled with music, the more we got nowhere.” — Fred (05:19)

• On creative collaboration:
  “For every bit of advice I could give, someone’s gonna have an absolutely brilliant counterexample.” — Fred (11:57)

• On being misunderstood:
  “I always think it’s so obvious. I’m like, this is clear that I’m doing a joke.” — Fred (26:59)

• On the joys and awkwardness of liking obscure music:
  “The taste that I have… is just like this guy from who grew up in New York… I love it so much… I turn to my partner and I’m just like, are you—you like this? Meaning me.” — Fred (39:42)

• On afterlife vs. afterparty:
  “I view afterlife the way I view the afterparty. Not going. If it’s not gonna happen at the party, I’m going home.” — Mike (47:18) “That’s a great tag because it is far. The afterlife is far.” — Fred (48:17)

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Timestamps for Highlight Segments

• Portlandia & Punk Approach: 03:03–04:28
• SNL Audition Story: 05:56–06:46
• On Collaborators/Sketch Writing: 12:08–13:49
• On Entering Stages/Impressions: 07:34–09:14
• On Musical Comedy: 22:34–24:03
• Fred’s “Strumming Around the World” Guitar Bit: 20:03–21:54
• Uncertainty Over Sincerity: 26:46–27:42
• Being Jealous of Seth Rogen: 28:35–31:32
• “Afterlife is the afterparty” Bit: 47:17–48:39
• Charity pick (“Letters to Santa”/letterscharity.org): 49:26–50:05

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Fresh Material & New Bits (Workshopping)

• Mike’s “we need a husband” joke:
  “In every relationship, one person should understand heating, electricity, and plumbing. We don’t have that… We’re currently seeking a third… We need a husband.” (37:22–38:14)

• Fred’s “museum video room body language” premise:
  Observational, physical comedy about everyone acting unnaturally quiet and reverential when watching art videos at museums (42:09–44:11).

• Mike’s Los Angeles Pool Bit:
  On feeling like the only person who actually swims in LA hotel pools, and alien urban rituals (45:36–46:42).

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Quick Hits, Red Flags, and Relationship Talk

• Relationship dealbreaker?
  “Being mean to the waitstaff. Happened to me twice. I remember thinking of it as a deal breaker.” — Fred (33:31)

• Favorite and least favorite things people say about Fred:
  Favorite: his creativity/collaboration; Least favorite: uncertainty if he’s joking (26:46–26:59).

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Action & Giving Back

• Featured non-profit:
  letterscharity.org (“Letters to Santa” provides direct assistance to families facing urgent financial hardship in Chicago. Fred’s a longtime supporter.) (49:26–50:05)

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Tone & Style

The tone is loose, collegial, gently absurd, and often meta—the two comics analyze themselves and each other, sometimes breaking the fourth wall about the nature of the show, their performance tics, and stand-up mechanics. Patterned “bits” are woven seamlessly with earnest talk.

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Final Reflection

A rich, funny, and revealing episode, perfect for artists, writers, and anyone fascinated by how comedians think and create.
Fred’s presence, his playful evasiveness, and his sincere, sometimes ambiguous humor provide depth beyond the laughs. For fans of SNL, Portlandia, punk, or honest comedic process, this is an essential listen.

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For Further Exploration

• Fred Armisen: Instagram @sordociego, album 100 Sound Effects (out September 26)
• Mike Birbiglia: birbiglia.com for upcoming shows

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“Working It Out”: Conversations where creativity is the punchline—and the process is the point.

Transcript

[A]

What's the strangest thing that gets served to you video wise in your algorithm?

[B]

Plane crashes. Plane crashes filmed by civilians.

[A]

Oh, God.

[B]

I'm like, nope, stick to musicians and people making weird art and stuff. So all of a sudden, by the way, it's been happening a lot. Oh, God. They're all this like, hey, she got the way.

[A]

Oh, no.

[B]

Oh, whoa.

[A]

That is the voice of the great Fred Armisen. You know Fred Armisen, Saturday Night Live in Portlandia and Wednesday, which just had its second season premiere on Netflix in the last couple weeks. He was on the podcast a few years ago. He is back. He has a new album called 100 Sound Effects, which is exactly that, 100 Sound Effects. It is so funny and unique and very Fred Armisen. There's nothing like it. I was just on tour with Fred. We had a four city tour in support of John Mulaney's tour right now, which we're actually doing one more in September. We're doing Vancouver. It's just, just this like little run of dates with me and Fred Armisen and Nick Kroll in support of John Mulaney's tour, which is so, so good. We are in Vancouver September 13th at Stanley park at ticketsirbigs.com Also, I have to announce Jenny and I, my wife Jenny and I are doing a show at Joe's Pub called Jokes and poems. It is September 7th. It's a really fun little show we do sometimes. I do jokes, she does poems. We have special guests. It is September 7th at Joe's Pub in New York City. This is a great chat with Fred Armisen. I love Portlandia. We talk a lot about that. We talk about music, we talk about punk rock. Fred talks about his audition for snl. He plays Uncle Fester on the show Wednesday. We talk about that. If you have a chance to see him on tour right now. He has upcoming dates in addition to our show together in Vancouver. He's going to be in Yucca Valley, California. Santa Ana, California. San Luis Obispo, California. San Rosa, California. Monterey, California. Madison, Wisconsin. Bloomington, Indiana. Grand Rapids, Michigan and more. So funny. Such an original live performer. I couldn't recommend it more highly. Enjoy my conversation with a great Fred Armisen. I was thinking about Portlandia because I was just such, like, I remember when Portlandia came on. I remember where I was. I lived in the Upper west side with my wife and I remember seeing it and just going like, nothing's like this.

[B]

Oh, nothing is like this. Thanks. And I was thinking about it today.

[A]

I was like, it must Be related in some way to your punk rock roots, because you were in punk bands before you were even in comedy.

[B]

Yeah, yeah.

[A]

And I feel like, correct me if I'm wrong, but punk rock, a lot of the basis of it is like, what if we didn't follow the rules of anything?

[B]

Yeah. And also, like, there's also an element of, what if there's no big goal? What if there's no. Like, we have to do this to do that? What if it's just. This is it.

[A]

Yeah, yeah, yeah.

[B]

So with me and Carrie, it was like, let's just put this online, you know? And then from there, it graduated to let's put this on ifc. But there was no feeling of like, we're gonna. It's more like, let's just see how far this gets.

[A]

So that's how it started. Like, you were just like, let's just make some sketches. And then. Did you put them online?

[B]

Yep. We had it up on a website that was like. I think we called it Thunder Ant because there was a. We wanted to call it Thunder Egg, which is like an Oregon reference. And there was a band called Thunder Egg, and we asked for their permission or it didn't work out or something, because we called it Thunder Egg.

[A]

It's important that you get Thunder Egg.

[B]

Like, why we concerned. But. And then we just put it up on a site with. No. There was, like, no monetary system for it. It was just up. But for us, it was a thrill. And I was already on snl, so it was a kind of nice diversion.

[A]

What's funny is one of the questions we ask on the show typically is, did your life go as you planned or as you thought it would? And yours is a great example of, like, you couldn't have.

[B]

No. It was a huge, amazing surprise all the way through.

[A]

Yeah.

[B]

Like a gift. It makes me amazed at life, that life turns out that way at all. I'm like. And it keeps unfolding, like, things keep happening where I'm like, I cannot believe this is happening.

[A]

Right.

[B]

And I don't mean it like. Cause I'm just a guy from the streets. Or like. I don't mean, like that. I just mean that, like, the specificity of the heroes that I had and, you know, the ambitions that I had, that's what. It's just really nice.

[A]

You think there's a guiding principle behind it.

[B]

The principle for me is to let go.

[A]

Yeah.

[B]

Like, the more I wrestled with music, the more we got nowhere. And the more I sort of started to let go.

[A]

Yeah.

[B]

Then there's like things kind of.

[A]

But there must be an interplay of letting things go but also showing up.

[B]

Sure.

[A]

Like, it's gotta be a push and pull.

[B]

Yeah. It's the showing up part or it's sort of like openness and the kind of, you know, acceptance of the way things are. Like for snl, that it was an audition. I was like, well, I gotta get ready for this audition. I can't totally be a hippie about it.

[A]

What was your audition?

[B]

I did two characters and two impressions.

[A]

Yeah.

[B]

I did a self defense expert. I did Felicito, this Venezuelan timbali player.

[A]

Yeah, I did you play drums for it?

[B]

I did.

[A]

You brought a drum first?

[B]

Yep. Timbales. First thing I ever did. So drums are always like. I love that. They were in my life, you know.

[A]

Yeah.

[B]

Then Sam Waterston from Law and Order and Vin Diesel. Vin Diesel was like a last minute one where I was like, let me do someone different or in pop culture.

[A]

In the real, like, you know, in the zeitgeist.

[B]

Yeah.

[A]

Can you do that again? What would that be?

[B]

Oh, Vin Diesel, he had like a. He had a vocal quality that I. And I only. I didn't say very much. I just did a couple things and.

[A]

Yeah.

[B]

And then, you know, my life changed.

[A]

You and I are doing shows this week with John Mulaney, Nick Kroll.

[B]

Yeah.

[A]

And you and me. And that's the lineup.

[B]

Yeah.

[A]

If all of us don't show up, except you, would you do an impression of all of us?

[B]

Oh, my God. I could do Nick pretty well.

[A]

Yeah.

[B]

I could just do Nick doing bits. He's very, you know, like, hey, I'm your agent. What? You know, he's like. He kind of leans in to you and I very much cannot do John Mulaney.

[A]

You can't?

[B]

No. And I've seen people do them.

[A]

Yeah, I've seen it too.

[B]

And I'm like, I don't have that muscle of Mulaney's whole thing. I'm like, I don't. I'm not there.

[A]

Your version of me is. You do me counting off things, listing things.

[B]

Yeah. With the third thing being a surprise. So it's kind of like we bought milk, we bought bread, bricks. And then the bricks. You're like, what's. There's like a sort of. Sort of, you know, like a surprise. That's. Your whole thing is like you think it's going one way, you think it's. And then there's like a surprise.

[A]

Yeah.

[B]

Yeah.

[A]

How do you key in when you do impressions? Like you just try to find one. Do you try to find one thing that sticks out?

[B]

No, I think of the overall, like, it's like a Polaroid. So it's almost like if I was describing you to someone, it'd be like that. And someone was like, what is Mike Birbiglia like? And I'd be like, he does the kind of thing where he's like. And with the lists and stuff.

[A]

Right.

[B]

I saw Hayter's impression of you was great. And it was different than.

[A]

It is different.

[B]

Yeah, his is.

[A]

But it was my car, which, again, my wife does for me.

[B]

Sometimes the way you enter a stage gets a good trick where it's like. It's almost like you were already talking. You enter, you enter, you enter. It's like by we. It's almost like saying, I haven't started the show yet.

[A]

Right.

[B]

To me, it's. You're like. And then you're sort of in it already, as opposed to, you know, there's some performers who are like. You know, someone once told me a story that if it's not that entrance.

[A]

Yeah.

[B]

It's almost like you're like, hey, we know each other already. We already know each other. It's interesting.

[A]

I never thought about it that way specifically, but I think that that's part and parcel with how I do think about the show, which is that when people show up, I know we're on the same page. We all know what we're doing here.

[B]

Yeah.

[A]

You saw some of the other specials. You maybe heard the podcast. We can just kind of get into it. We don't have to go through the niceties of it. Maybe I'll. Thanks for coming.

[B]

Yeah, yeah.

[A]

You know.

[B]

Yeah.

[A]

Do you have that, though, with your crowds? Like, when you're. You're. You're probably like, oh, yeah, you know.

[B]

What we're doing majorly, like, yeah, it's. It's. That is definitely. That's a. You know, that is a given.

[A]

Yeah.

[B]

But I still. When I begin, I still try to act as if they've never heard of me before. I don't know why. It just serves this. Like, I. Like a beginning that's a little, like, alien.

[A]

Yeah.

[B]

Or to make it. To take away that, you know, description. I would say that, like, I copy David Byrne the way David Byrne is sort of like, hi, I'm not from here. You know, I try to do that sort of like, you might not know who I am.

[A]

Yeah. You know, that makes sense.

[B]

It helps me just sort of greet everyone and say, hi, you know, When I start. But I'm not saying that like it's a home run. I'm not saying, like, hey, I know how to enter a stage. I'm saying for the shows that I've done, I try to keep it a little like that. God, Mulaney's great when he goes on too. Geez.

[A]

He goes big.

[B]

Yeah. Okay.

[A]

We're gonna get right to it immediately. Yeah, yeah.

[B]

I remember he played Madison Square Garden and I texted him, I was like, what is that?

[A]

What are you doing?

[B]

What. How does. How do you hold the microphone?

[A]

What do you do?

[B]

And he said, he stays very still. It's like your instinct is to really move around to fill the stage. And he was like, you know, I hope I didn't give that away. If you're a comedian out there, please credit. If you're about to play Madison Square Garden, please credit John Mulaney.

[A]

Please credit John Mulaney. If you're about. If you're watching this podcast, you're moments away from playing Madison Square Garden and.

[B]

You were about to, like, run around the stage and you stay still.

[A]

That's not Fred and it's not Mike. That's John.

[B]

That's John Mulaney.

[A]

What would be your advice? That's your stand up comedy advice. What's your sketch comedy advice?

[B]

Whoa.

[A]

People are writing a sketch. They're at home wherever they are. They're in Tulsa, they're in Santa Fe with their sketch group.

[B]

I would say, like, let go of things that you've heard before. If you think it sounds like sketch comedy, that might not be good.

[A]

Yeah.

[B]

You know, I mean, that said, for every bit of advice I could ever give, someone's gonna have an. You know.

[A]

That's great advice, though. What do you think is a quality in the collaborator that you enjoy?

[B]

Oh, man. It's the best feeling in the world.

[A]

Yeah.

[B]

I love when someone comes up with something that I never did. Didn't occur to me.

[A]

Yeah.

[B]

And it just haunts me in the moment.

[A]

Yeah.

[B]

Like, it just keeps. You know, I'm like, oh, man. And like, this is. This sounds like such a. Almost like, for something. For, like, a book about snl. But this really did happen for the Californians. I was like, I just want something with, like, directions where people are talking to each other and they're talking about directions. And that's like, the crux of it. And. And James Anderson, who I wrote it with, was like, right in the moment was like, what if it's a soap opera? And then it. So it's like this. It's in front of my face. Like, oh, man.

[A]

Yeah.

[B]

Damn it. That's exactly right.

[A]

So that's where it came from. Something with direction.

[B]

Yeah. Something I was like, well, just sort of like, every time I go to la, it's always a lot of. You know, there were many things that fell into it. And, like, I would always do at the. At the table where I would read the sketches. We would actually be like, I was just in la, and little by little, joke around about. Like, it was over on Barham, and Bill Hader would chime in and Andy and Keenan. So we were all. We'd all do this as a kind of bit. So it just came from that.

[A]

Yeah, yeah.

[B]

And then for someone to say, what if it's. I never would have thought, yeah, well.

[A]

What if it's a soap opera?

[B]

Never. And also.

[A]

So you're basically saying, you're talking, like, in this accent. California.

[B]

Ish.

[A]

Ish Accent. About directions.

[B]

Yeah.

[A]

And then someone's like, you could take that. And what if that's in a soap opera?

[B]

Yes.

[A]

It's like a mashup of two ideas.

[B]

Or feelings and without much thought. So James wasn't like, let me think about your idea.

[A]

Yeah.

[B]

It really was midnight, and I don't know, what if it's a soap opera? It's almost like, let's be done with this.

[A]

But how do you know when you're in the room there? Because you didn't do it in front of an audience. No, before you did in front of an audience, where you're like, is this gonna work? Is it? Were you wondering or were you like, nah, it'll work.

[B]

No, you wonder all the time. In fact, you lean more towards, like, look, this isn't great, but the table reads tomorrow.

[A]

Yeah.

[B]

And I don't have many things, so, like, let's just do this and then we'll be done. It's almost like, I'll have something for the table.

[A]

But are you stressed? You have some level of stress of like, ooh, I'm worried about the Californian sketch.

[B]

No, no, that happens, like, sort of after. If it gets picked to go into production, then you start to worry and go, like, is there enough? Yeah, but for the table, it really does feel like, will my friends at the table find it entertaining? Is Bill gonna like it? Some of the writers. It's kind of more like that, like, because it's a long day and it's more about, let's just get through this table read. Let's make this entertaining. Yeah, we're here.

[A]

Right. We're performing for these people.

[B]

Absolutely.

[A]

Yeah. Because the show is for these people. These people at the table.

[B]

Yes.

[A]

Because when the writers and the cast members on snl.

[B]

Because when the opposite happens, when you've written something that's like death, it's your friends, and they're, like, all sitting there devastating. And it's so long, it's like there's a stack of sketches, and it's just not nice.

[A]

Right.

[B]

And I feel terrible.

[A]

It's like 11 pages, probably a sketch.

[B]

We got to a place where we had to keep it at 10.

[A]

Yeah.

[B]

And even then, you started to feel it. And earlier in my time at snl, I remember putting people through sketches that were, like, too long, and I'm like, why did I do this? It's a real lesson of, like, cut it down. It's so funny. We never had a beginning to this, but we just got into it. But then here we are. But should we start now? We'll start now.

[A]

We. Yeah, we're gonna start.

[B]

Welcome.

[A]

Welcome to the podcast. Working It Out. I'm your host, Mike Birbiglia.

[B]

And I'm Fred Armisen.

[A]

Here we are. So we're not gonna use any of that.

[B]

No, we were just chatting. That's also my tone when I chat. When I talk about snl, I'm at this volume.

[A]

This is like a whole different version.

[B]

I wonder if it is. I wonder if you go back and look at any interview that I've done about snl. If my. If you're telling volume and tone. I bet it does.

[A]

You pitch. You pitch up.

[B]

Also because it's so such a big institution that I can't be making big statements about it just because there's so many people involved. So you have to have this sort of like.

[A]

So let's play that. So, Fred, when you did the Californians, was that an idea you came up with or someone else.

[B]

That was James Anderson and I.

[A]

Relax. We're going to take that again. Just relax. Because I noticed this thing. Whenever you. Whenever I talk about snl, you always get a little uncomfortable. So just try to relax like we were earlier. So when you were cast on snl, what did you audition with?

[B]

A bunch of stuff.

[A]

And this is too low.

[B]

I wish I was that disconnected. I don't know.

[A]

Yeah, I don't know.

[B]

Just some stuff I didn't know. I didn't realize I was doing it that day.

[A]

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[B]

Yeah.

[A]

Can you do like one or two for me?

[B]

Sure. So strumming around the world. Australia. Australia. They play really hard and they Go from minor chords to major chords in quick succession. So Australia's like. That's Australia. Canada's like. And then Korea is like. USA Is major chord. And then I. I noticed that Americans like to pretend like they can't sing a note.

[A]

Okay.

[B]

Purposefully off. Off the note a little bit.

[A]

So it's like.

[B]

I told you I was wanting to dance. You.

[A]

I went home.

[B]

Dance a waltz again. Again and again. Let's see. Central America.

[A]

That's great.

[B]

Some of them. This. Do you.

[A]

Can you play any of Wine and cigarettes. Do you remember it?

[B]

I think that was on piano.

[A]

Oh, it was on piano. Okay.

[B]

But what was it?

[A]

That's. That's right.

[B]

Standing there, dressing gown.

[A]

S.

[B]

Forgot the next question. Wow. I forgot what the next part is. But yeah, that's the beginning of it. Something like that.

[A]

It's great.

[B]

Yeah. Just.

[A]

I want to play. I want to play guitar. I play guitar on my first special 20 years ago. And then what happened is I got really intimidated because I reached a point where I was like, like embarrassed.

[B]

I was like, what am I doing?

[A]

I. I'm not a good enough guitarist to be playing on film and on. On recording.

[B]

No, no.

[A]

But you know what I mean. I got suddenly self conscious and I was like, odd. Yeah. But I've been doing it lately again. I've been playing. I haven't done it on stage, but I've been playing a lot on my own.

[B]

Okay, good.

[A]

How good do you think you have to be for a comedy song?

[B]

Not. Don't worry about it, really. I think all instruments is like. They're supposed to be for fun.

[A]

Really.

[B]

Yeah. This whole thing of, like, I've gotta be good, screw it. Like you.

[A]

But what if you're not striking the chords clean and like, the audience. It's like, gotta be painful for the ears of the audience or something.

[B]

Yeah. But if it's, you know, working for the joke or whatever, for the bit, I'm like, there's just so many guitar players who weren't great, who were such a big part of our lives that I'm like, you know.

[A]

Yeah, that makes perfect sense.

[B]

Yeah.

[A]

Right. Not everybody's Eddie and Helen.

[B]

Right. And so then the ones who, like, can't do all that stuff we still love.

[A]

Yeah.

[B]

And it's just an instrument. It's just supposed to accompany you.

[A]

So I think sometimes we look at those guitarists, whether it's Hendrix or Van Halen or someone like that, where they're. Where the gymnastics of the fingers are so crazy.

[B]

Right.

[A]

That you just go like, well, What? What am I doing?

[B]

Yes. Or flamenco players or stuff like that.

[A]

Yeah.

[B]

Can yes be discouraging? But by all means, please.

[A]

So you are on the show Wednesday, which.

[B]

Yeah.

[A]

Which just dropped the next season. Yeah. Yeah, yeah, yeah, yeah. Do you feel nervous about it? Excited about it?

[B]

Excited.

[A]

Yeah.

[B]

It's without a doubt the biggest thing I've ever been a part of.

[A]

It's huge.

[B]

Huge. And I could feel it. Yeah.

[A]

And you play Uncle Fester, and it's like. You're nothing like that, knowing you. No.

[B]

No. But it still fits. Like, when I have the outfit on.

[A]

Yeah.

[B]

It really. It's. It makes complete sense to me.

[A]

What's the part you relate to. To Uncle Fester and what's the part you don't relate to? To Uncle Fester?

[B]

Oh, wow. The part I relate to is that he always seems to be kind of, like, giggling, you know, like, he's sort of laughing and stuff. I'm like. Yeah. I feel like I enjoy life like that. But he's like. He does, like, bank robberies and stuff. Like, he's a criminal. Yeah, that's implied.

[A]

Right.

[B]

And I'm like, I was always scared.

[A]

Of doing stuff, like, of bank robberies.

[B]

Yeah.

[A]

Of doing bank robberies.

[B]

Because as much as we've all thought about bank robberies, like, they have cameras.

[A]

Yeah.

[B]

And since you're, you know, it's a violent act, and I'm against bank robberies. I just gotta say I'm against them. It's violent. It's not your money. Yeah, that's right. These poor people working in a bank. And also the customers. You're getting in the customer's way. You think I'm stopping at a bank because I have extra time on my hands?

[A]

You're stranded on an island with Steve Buscemi and Jenna Ortega from Wednesday. Who would you team up with to get off the island?

[B]

Do I have to.

[A]

Yep. That's. You walked in the door. You're on the podcast. You have to answer.

[B]

To get off the island.

[A]

To get off the island. Who do you team up with? Who's your alliance?

[B]

I gotta say, Jenna, because Steve and I probably think alike.

[A]

Mm.

[B]

And that could be our demise.

[A]

Mm.

[B]

That we would get in our own way of, like. Well, you can't go under this kind of. I think that, like, our limited. Sort of, like, I don't know, too neurotic. Too old.

[A]

Too old.

[B]

Both of us. Yeah. Just like, you know. No. And then. So you need someone young to be, like.

[A]

You need some young energy.

[B]

And. Yes. To a different Brain.

[A]

Okay, this is the slow round. What are people's favorite and least favorite thing about you?

[B]

I think people have told me that sometimes they don't know if I'm joking, and it comes off as insincere.

[A]

And so how do you feel about that?

[B]

I always think it's so obvious. I'm like, this is clear that I'm doing a joke.

[A]

Right. When you're doing a joke, you wink.

[B]

For example, I wink and I say, that was a joke.

[A]

The thing about you not people not knowing whether something is a bit or not is definitely my experience with you, where I don't always know. And I'm trying to make sure that I get it right. Are we in a bit or are we not in a bit?

[B]

I know. I feel that's on me that I didn't make it clear.

[A]

No, it's not. It's fun, though. It's fun because you don't always know it's fun.

[B]

We've known each other long enough that I'm like, if it, you know, if the messages get crossed.

[A]

Yeah, great.

[B]

Then we see each other next time and go, well, this is what I meant.

[A]

Yeah.

[B]

You know, I like that I've known you this long.

[A]

Yeah. So long. Probably 20, 25 years.

[B]

Yeah.

[A]

Yeah.

[B]

So then it's. I'm not, you know, I'm not dismayed by that. I'm like, oh, well, we'll figure it out.

[A]

You ever have it where you're trying to be sincere with someone and just like, no. No one understands. And you're like, this is pretty high stakes for them to not realize, or.

[B]

They are like, that sounds so fake. And I'm like, it's not fake.

[A]

Right.

[B]

I. I, you know, love your record or whatever it is.

[A]

You have that with a specific band that you don't want to say.

[B]

Oh, no, no, no. Usually with, like, sort of dem. With the equivalent of demos.

[A]

Oh, right.

[B]

I'm gonna send you the song. And I'm like, I do something, you know, most of the time think, oh, great. You know, you put a song together, and it's never long enough for me to be like, oh, this is horrible.

[A]

Yeah. Yeah. You know, who were you jealous of?

[B]

Um, this is gonna sound like a joke, and this is not a joke sometimes. Seth Rogen.

[A]

Mm.

[B]

Because I love. I am very happy with my life and my career. And I'm like, man, he gets to do really cool things.

[A]

Writes, directs, acts.

[B]

Yeah.

[A]

I'm like, does it all.

[B]

He does it all. And, like, jealous is a hard. That's a Tough word, you know? Cause I don't mean, like, jealous. Yeah, yeah, yeah. But when I see Seth Rogen, I'm like, man, he just really, like, his projects are complete.

[A]

Yeah.

[B]

They're not like, I don't know what I'm doing. And I hope they're all, like, well presented, thought out. And I'm like, that's great.

[A]

I think this is the second time we've had Seth Rogen as an answer. The other one was Kumail Nanjiani a couple weeks ago. I think this is a recurring theme.

[B]

Well, that says something about both of them.

[A]

Something's happening with Seth Brogan. You know what I think it is? I said this to Kumail, too. I think there's something about it where he makes this. He makes a bunch of great movies. You know, he makes super bad. He makes funny people all these great movies. Some of them he acts and collaborates, etc. But, like, he's in part of these great things. Then he makes the studio, which is completely making fun of him, lampooning the entire system that he's been a part.

[B]

Of the whole time.

[A]

You're like, oh, you just did it. You just fully did it.

[B]

But he has the license to do it because I think he's that kind of likable where, like, it doesn't come off as bitter. Not to me.

[A]

I was like, it's not an angry piece of.

[B]

Like, I told them.

[A]

Yeah, yeah.

[B]

It's like, wow, he depicted this thing.

[A]

Yeah.

[B]

And also, like, he never looks like he's worried about failure. Nothing is like, hey, guys, please check out this new movie. Please. I'm trying to get people out there. It all looks like.

[A]

That's what I'm like, all of us are like that.

[B]

But something about him, I'm like, he's. It's almost like he already knows the future. He's like, no, this one works out great.

[A]

No, you're absolutely right.

[B]

He's like, yeah, the studio's gonna. This is gonna work. And I'm like, oh, it does work.

[A]

Yeah.

[B]

Nothing ever seemed. Anyway.

[A]

No, that's a great one. Yeah, I love that. I actually kind of love that that's repeated in episodes because it does indicate a certain thing where, like, it's a pattern. And the pattern isn't because of kind of. You know, it's not because he has massive fame, success, notoriety. It's actually an artistic envy of, like, wow, you really went for it and it worked.

[B]

Yep. It's artistic. Absolutely. Yeah, absolutely. That's really funny. I've never been Asked that. Yeah. I can't believe I answered honestly. That's the kind of thing you just. You don't want to answer. And by the way, that's not even saying that, like, I want to be him or that. No, of course it's not like, oh, that's my place. I'm more like, man, yeah, he did it. Well done. Project after project.

[A]

I know.

[B]

All taken care of.

[A]

What's the time you were caught in a lie?

[B]

Oh, my God, A billion. There been so many. But I remember one time I worked at a. But this isn't a lie, but this is bad. I worked at a card shop and money went missing and.

[A]

A card shop.

[B]

Yeah, it was, like, down in St. Mark's Place. Like, there's posters and cards and stuff.

[A]

Okay.

[B]

Greeting cards. Yeah. Or like, you know, Eiffel Tower, you know, and me and this other woman were working, and she was from somewhere, but the boss spoke Spanish.

[A]

Okay.

[B]

So I told her something in Spanish that was like. To the tune of like. Just so you know, I did not take the money. It's just sort of like, okay. Like, hey, man. And she understood Spanish. She was like, I heard what you said, and I. That. I'll never forget that feeling of like, I got really caught.

[A]

Yeah.

[B]

I had no way to defend it or go like, no, that's not what I meant.

[A]

Yeah.

[B]

That was like.

[A]

Do you have any relationship deal breakers?

[B]

Oh, wow. Wow. Relationship deal breakers.

[A]

You don't have to answer. We can do another one.

[B]

No, that's all right. Cause I was gonna say smoking, and then I'm like, no, fully.

[A]

You're good with smoking?

[B]

No, no, more that. Like, I've dated.

[A]

Oh, yeah. Some smokers.

[B]

Some smokers.

[A]

Yeah. Yeah, for sure.

[B]

Man. Deal breakers. I think anger, like, if there's like a sort of. Oh, I do know. A deal breaker early on. Being mean to the waitstaff.

[A]

Brutal.

[B]

Being mean. It's happened to me twice, and I remember thinking of it as a deal breaker. I'm like, I don't like that. It's the worst. And there was one.

[A]

Let that be a lesson.

[B]

Yeah. Yeah. Oh, yeah.

[A]

I'm trying to avoid being. Doing a deal breaker thing. Yeah, I completely agree.

[B]

That's a really. It's very, like, unfair. I'm like, what are you doing? And it's. I feel embarrassed. Like, sorry.

[A]

Right?

[B]

I'm sorry.

[A]

I. Yeah. And you're trying to convey it with your eyes.

[B]

Yeah, Terrible. Terrible.

[A]

Yeah, that's a good one. Good answer. Do you. Are you on Instagram? Do you go on Instagram. What's the strangest thing that gets served to you video wise in your algorithm?

[B]

Plane crashes.

[A]

Plane crashes.

[B]

Filmed by civilians.

[A]

Oh, God.

[B]

And I'm a little bit like. First I was like. And I feel like I don't linger on it, but like, right.

[A]

Because lingering is how it ends up in your algorithm.

[B]

But I'm like, no. Stick to musicians and people making weird art and stuff. So all of a sudden, it's. By the way, it's been happening a lot. And they're all this like, hey, check out the way.

[A]

Oh, no.

[B]

Oh, shit. Whoa. And it's a fireball, a fight. Like, really, like, terrible Terr. And I'm a little bit like, why do you.

[A]

Why do you think?

[B]

Why do you think? I don't. I promise you, I don't want this. And it's been happening more and more. A lot of like, this is too good. And it used to be like, this month in Boston, this happened. Now it's starting to go like, did you know that in 1991.

[A]

Support for working it out comes from Mint Mobile? It is summertime. Let's go over your guest list for your big summer barbecue. Friends, family, neighbors, your old wireless bill. No way. Not invited. Get out of here. Old wireless bill. Don't let your old expensive wireless bill crash your summer party. Switch to Mint Mobile. Save some cash. With Mint Mobile, you can get the coverage and speed you're used to, but for way less money. And for a limited time, Mint mobile is offering three months of unlimited premium wireless service for 15 bucks a month. This year, skip breaking a sweat and breaking the bank. Get this new customer offer and your three month unlimited wireless plan for just 15 bucks a month at mintmobile.com, that's mintmobile.com Burbigs upfront payment of $45 required, equivalent to 15 bucks a month limited time. New customer offer for first three months only. Speeds may slow above 35 gigabytes on unlimited plan. Taxes and fees extra. See Mint Mobile for details. I have just a couple jokes for the material section. Just things. They're actually. These are early, early birds. This is a joke because, like, I'll show you. This is. This is me at the comedy seller this week because I just filmed a special. I don't have any material, really. Right. So it's like. So it's like me just essentially, people can see this on YouTube but can imagine it listening to it. I'm holding up my notebook. This is just a bunch of jokes, okay? And then me attempting to put them in an order. Okay, that makes some kind of sense.

[B]

All right.

[A]

I did this actually on the Rami episode, and he gave me a tag. And then since then, I wrote another tag. So it's kind of like a work in progress, which is like, I think in every relationship, you should have one person who understands heating and electricity and plumbing. And we don't have that.

[B]

That's great.

[A]

Yeah, yeah, we don't have that. And so we're currently seeking a third. We're recruiting at local technical colleges because we've realized that we need a husband. That was Rami's tag, was we need a husband. And then lately I've been adding this thing, which is. But I'm insecure about admitting that to you, the audience, because my fear is that if we find a husband, we may realize we don't need that first husband. Because if this guy is so good with a wrench, he might not be so bad at sex either.

[B]

Yeah.

[A]

His shoulder might not quiver when he's on top of. Or whatever thing might happen to an elderly man making love. So. Yeah, that's a. That's great. That's a topic I've been. I've been breaking into lately is like that realization of, like, what. What do I have to offer in this thing?

[B]

Yeah.

[A]

We're talking about red flags. And so.

[B]

Yeah, yeah, yeah.

[A]

It's like. Well, I don't. What the opposite of that, I guess, is the green flags, but I don't. Do I have that even?

[B]

Yeah. Green flags. Yeah. Do we even.

[A]

Do I have that? What's the appeal?

[B]

I'm way with you. Yeah.

[A]

It's a weird feeling.

[B]

I go through the same thing where I'm like, are you sure?

[A]

Yeah, it's weird.

[B]

Yeah.

[A]

I think we all do. Right. Like, everyone is kind of second guessing what their own value is in a relationship all the time. I think that's. What if I'm gonna open out the bit, I think that that's maybe where it should go.

[B]

I. For me, like, the way that I love the bands that I do, I think is. Could sometimes be, like, really boring.

[A]

Oh, interesting. Like, you're such a nerd. Like, you're such a music nerd that is off putting.

[B]

It's just boring. Meaning, like. Cause nerd is almost a compliment. Like I'm, you know.

[A]

Right. I'm a cool nerd.

[B]

It's such a predictable suburban. Like, the taste that I have is just like this guy from. Who grew up in New York and it's like very, like, it's this one genre.

[A]

Right.

[B]

And I love it so much.

[A]

Right.

[B]

And think about it all the time. That I turn to my partner and I'm just like, are you. You like this?

[A]

Right.

[B]

Meaning me.

[A]

I'm like, what are the bands that you would list as your five bands that you think of all the time?

[B]

I think about the Damned.

[A]

Yeah.

[B]

Who's Could Do.

[A]

Okay.

[B]

I think of the Stranglers. I think of xtc.

[A]

Okay.

[B]

And I think of Devo all the time.

[A]

Okay.

[B]

All the time.

[A]

I knew two of those five. Oh, really? XCC and Diva. Yeah, yeah, yeah. Devo, Right.

[B]

Yeah.

[A]

Okay.

[B]

I just think it to such a degree where I'm like, this poor person is with me. And, like, there's, you know, what.

[A]

Okay. Of those, like, of those bands.

[B]

Yeah.

[A]

Is there. Is there an album you listen to front to back?

[B]

God, yes.

[A]

Which one?

[B]

The Damned Strawberries.

[A]

Okay.

[B]

Front to back.

[A]

Okay. Still do after all these years.

[B]

Oh, yeah. I like listening to albums in full.

[A]

Okay.

[B]

And it sounds like it sounds fake.

[A]

Yeah.

[B]

But I like it simply because it relaxes me.

[A]

Yeah.

[B]

So it's not like, yeah, yeah, yeah. It's more like, yeah.

[A]

And then the other one that I do sometimes, and I'll probably do it this weekend. I usually do it with crowds where the people don't know me. They. Maybe they came to see Mulaney.

[B]

Yeah.

[A]

They don't. Maybe they don't know me. I go, it's okay. Like, it's okay if you don't know me. Like, most often when people come up to me, they'll recognize me, but they don't know from where.

[B]

Okay.

[A]

They'll go, hey, like the cafe the other day in my neighborhood, guy goes, hey, what are you in? I'm like, I'm in the worst conversation of my life. What are you in? Like, I'm in that, too. I'm like, you cast me.

[B]

Yeah. Yeah. That's good.

[A]

I try to break the ice with something. Do you have a break the ice bit, like, when you feel like they might not know you?

[B]

No, I just. If it's icy. Yeah.

[A]

Yeah, yeah, yeah.

[B]

What do you do if it's.

[A]

If. If it's icy? Like, what. If it keeps being icy?

[B]

Then I'm like, I guess it's an icy night. You know? Sometimes I think I'm like, oh, it's not my problem, you know?

[A]

Right. That's the.

[B]

Like, this is what I do. And if this isn't working for you, well, let's, you know, that's how the night is.

[A]

Right. Do you have any things you're Working on that are kind of half premises or stories or seeds of things.

[B]

Ooh, I hope I do this sometime soon. I've never done this before.

[A]

Okay.

[B]

There is a body language for when you go to an art museum. There is a video room. Like, there'll be, like a sort of black box room. They're showing a film, sort of 15.

[A]

Minute film right there with you.

[B]

And every time I go in, I feel intimidated by everything where I am extra quiet. So there's usually four benches, really pretty. There's usually four benches, really pretty benches.

[A]

Yeah. Yeah.

[B]

I'm so still and careful walking. And I watch the film and I don't want to disturb anyone. And there's this way that's unnatural that, like, I can't even connect with the film because all I think you're thinking.

[A]

About your own behavior and my body.

[B]

And everyone else and what I'm trying to prove to everyone is, like, I also understand and appreciate. So whatever it is, it's like noise. Like.

[A]

Yeah, yeah.

[B]

And it's this. Careful. And I want to be invisible. And then I leave the same way. So I hope I can figure out a way to do it right.

[A]

Like, it's more like it's more about you than it is about the film at that point.

[B]

It's set up that way where I was like, no one can enjoy this because we're all terrified of looking like, hey, what is this?

[A]

Yeah.

[B]

So you're like, right.

[A]

You don't want me to be the loser who doesn't get it.

[B]

No, yeah, I get it. Yes.

[A]

Oh, I'm cool.

[B]

I'm at an art museum.

[A]

Oh, I'm gonna be super quiet.

[B]

Yes.

[A]

I'm gonna be super delicate. Cause I totally understand that this is a very important video.

[B]

This is how we watch.

[A]

This is how we watch a video at a museum.

[B]

A video at a museum. This. I'm comfortable here. Yeah. This is where I'm meant to be.

[A]

Yeah.

[B]

And then escape.

[A]

Supposed to be here. I'm gonna leave seven minutes in.

[B]

Yep.

[A]

But I know why.

[B]

Because. Yeah.

[A]

It's not because I don't like it.

[B]

No. But that's appropriate amount of time.

[A]

Also, like, I think maybe it's worth pointing out that whenever there's a video exhibit, you just go, yeah, I could watch this at home.

[B]

Yep.

[A]

I mean, what are we doing?

[B]

What are we doing?

[A]

You have an artifact. Is there an artifact for this? Because I don't have the artifact at home, but I have the video at home.

[B]

Yep. And they've got a whole thing set up and Everything.

[A]

Yeah. And we're like, you could just give me the barcode.

[B]

Yeah.

[A]

And I'll watch it.

[B]

Happy to watch it. Yeah.

[A]

And I'll even do it quietly at home.

[B]

Yep.

[A]

Just, like, delicately.

[B]

They build the whole structure and everything. But I do.

[A]

I think that's a worthwhile observation in the mix of, like, when they show you a video at a museum, you're like, come on. I have this.

[B]

Yeah, I have this. Yes, yes. I guess ideally, if I was able to bring props, I'd bring one of those benches if it's light enough. You know what I mean? Just to show, like. Just to say, as part of the joke, like, by the way, it's always these benches, and it's those ones that are like this.

[A]

Yeah, yeah. And it's like, oh, yeah, yeah, yeah, yeah. It's the. Yeah, it's the rectangular benches. Yeah.

[B]

And there's like four of them in a row.

[A]

Yep. Half the. Half a rectangle bench. It's almost like an obelisk or something.

[B]

Yeah.

[A]

It's like. I'm trying to think of what you'd even call that. Yeah, that's great. I love that. I. And then I wrote this is a half of a thought. When I visit Los Angeles, I feel like I'm the only person swimming in the pools and walking on the roads.

[B]

Oh, great.

[A]

People look at me like, hey, why are you swimming in that pool? I'm like, I thought it was a pool. Isn't it a pool? And I'm like. And I show. I show up at a meeting, and they'll be like, I heard you were walking on the road. Isn't that what the roads are? The roads?

[B]

It's exactly.

[A]

I thought the whole thing was that they were roads.

[B]

No. That's really good.

[A]

No one fucking swims in pools. No, you're the crazy person. If you swim in a pool, as.

[B]

You'Re telling me, I'm picturing you telling me that in la. And I'm like. I would.

[A]

I'd be like, is Mike okay?

[B]

Did you. Would you bring a bathing suit?

[A]

It's crazy. And what it is is I. I don't know. People. It's at, like, my hotel, when I'm there, people, they sunbathe, I guess they eat lunch at the pool. They don't swim.

[B]

No, it's noticeable because there'll be one person bobbing around, maybe like, yes. Yeah.

[A]

Oh, right. And one person in the pool. And then you're like, oh, they. They. They want some attention.

[B]

Yeah. But you're right. Very rare.

[A]

I Don't know what to do with that bit because it's also like a local bit. Right. It's like a little bit of Los Angeles local. I suppose, I suppose. You know.

[B]

Yeah, I suppose.

[A]

I don't know.

[B]

But then if you presented it like you did just now.

[A]

Yeah.

[B]

And say, I'm gonna do this in la, I think people would like it. They'd like to sort of, hey.

[A]

Oh, right, right.

[B]

We're part of his process.

[A]

Right. We're making, we're gonna make fun of another city. Yeah, that's true.

[B]

Yeah. Yeah.

[A]

And also maybe if it was a part of a chunk of stuff about Los Angeles.

[B]

Yeah.

[A]

That. Yeah, yeah. They could be something. And then I was. I'm interested in religion, but whenever a religion has an afterlife, it loses me.

[B]

That's great.

[A]

Yeah. It just loses me because I view afterlife the way I. I view the after party. Uh huh. Not going. Oh, wonderful. If it's not gonna happen at the party, I'm going home. Dude, I didn't even want to come to the party. I barely came to the party.

[B]

This is genius. That's great. That's a really good. I think a lot of people might agree with you.

[A]

Really?

[B]

Yeah.

[A]

The follow up is when you get kidnapped, you're never supposed to go to a second location.

[B]

That's great.

[A]

That's how I feel about after parties. It's the second location.

[B]

Yeah. And after.

[A]

Anything can happen.

[B]

Yeah.

[A]

I'm not interested.

[B]

Not interested.

[A]

It feels dangerous to me.

[B]

As you're asking me, my answer is already no. Are you going to, Are you going? Like we're going to have this fake conversation. Oh, maybe never. Never. I never go.

[A]

Maybe.

[B]

Oh yeah, maybe. Where is it? It's far from here.

[A]

Yeah.

[B]

Yeah.

[A]

Oh, that's. Oh yeah. Yeah.

[B]

It's driving to some other thing.

[A]

That's a great. That's a great tag because it is far. The afterlife is far. That's a. That's a worthwhile thing to point out.

[B]

Yeah. It's never. That's right.

[A]

Oh, it's, it's sort of nowhere that you could understand.

[B]

Yeah, yeah. Somewhere in. Yeah.

[A]

Oh yeah.

[B]

Staten Island.

[A]

Yeah, yeah, yeah. I think it's far. It's actually further than Jersey.

[B]

Yeah. You're going, right?

[A]

Yeah, yeah. I'll probably see you there.

[B]

I'll see you there.

[A]

That's a funny digression for it too. It's like, I don't want to admit to people I'm not gonna be at the afterlife. I'm playing it cool.

[B]

Yes.

[A]

You're gonna be at the afterlife. Yeah, yeah, you bet. Yeah, I'll be at.

[B]

I believe in what you believe.

[A]

Yeah, we believe the same thing.

[B]

I'll be at the afterlife 2:00am.

[A]

That okay, that's better.

[B]

Oh, that's great. That's really great.

[A]

I think there's something there. The final thing is just working it out for a cause. Is there a non profit that you like to contribute to? And then we will contribute to them and link to them in the show notes.

[B]

Oh, that's so nice. There's a charity in Chicago called Letters to Santa.

[A]

Letters to Santa.

[B]

And I think it might have changed official names.

[A]

Okay.

[B]

But I'll get you all that information. But it's a charity that like raises money for poor people in Chicago and on Christmas they deliver cash and gifts to poor families. And I've been. I've gone with them.

[A]

Oh, that's great.

[B]

To deliver these gifts. And it's great.

[A]

It's called letterscharity.org that's the one. And it's Letters Charity provides direct assistance to families facing urgent financial hardship. That's great.

[B]

Yeah, it's great.

[A]

We'll contribute to them.

[B]

Thank you.

[A]

Link to them in the show notes. Encourage people to contribute as well.

[B]

Yeah.

[A]

And thank you, Fred Armisen. This has been so wonderful.

[B]

Thank you. Working it out because it's not done.

[A]

We're working it out because there's no. That's going to do it. For another episode of Working it Out, Fred is on Instagram @sordoc I e g o. You can get his album 100 sound effects from Drag City Records on September 26th. You can see me, Fred, Nick and Mulaney September 13th in Vancouver. You can watch the full video of this episode on my YouTube channel, Ike Birbiglia. Subscribe if you're there because we're going to be posting more and more videos. Check out birbiglia.com to sign up for the mailing list and to be the first to know about my upcoming shows. Our producers of Working it out are myself, along with Peter Salomon, Joseph Birbiglia, Mabel Lewis and Gary Simons. Sound mix by Shub Sarin. Supervising engineer, Kate Belinsky. Special thanks as always to Jack Antonoff and Bleachers for their music, the intro and outro music. Special thanks as always to my wife. The poet J. Hope Stein will be at Jokes and Poems at Joe's Pub and our daughter Oona, who built the original radio fort made of pillows. Thanks most of all to you who are listening. If you enjoy the show, please rate it and review it on Apple Podcasts, which is really helpful for people because we've done, at this point, over 180 episodes, all free, no paywall. You can go back and listen to them all and then write. In the Apple podcast thing, what is your favorite so people know where to begin? Last week we had Joe Firestone. We've had Chelsea Handler, Alex Edelman, Bob Odenkirk, Kumail Nanjiani. Which one was your favorite? Thanks most of all to you who are listening. Tell your friends, tell your enemies. Let's say you're at a podcast museum and they're showing video of the Mike Birbigli Working now podcast. You could point out to everybody you don't need to be at the museum to watch the video. You can go home and watch it on YouTube at your apartment. Thanks, everybody. We'll see you next time. We're working it out.