Chloe Troast and Mike Answer Your Questions About Improv and Sketch

Summary

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Mike Birbiglia's Working It Out

Episode: Chloe Troast and Mike Answer Your Questions About Improv and Sketch

Date: August 10, 2026

Guest: Chloe Troast
Host: Mike Birbiglia

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Episode Overview

In this lively episode, comedian and host Mike Birbiglia sits down with comedian and actor Chloe Troast for an audience-driven conversation centered on improv, sketch comedy, and the intricacies of finding one’s comedic voice. They reminisce on their experiences in the sketch and improv world, answer a stack of listener questions (ranging from the practical to the whimsical), and share honest thoughts about career highs and lows, notably Chloe’s departure from SNL. The episode is filled with insight, banter, and vulnerability—showcasing the real and messy side of comedy creation.

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Key Discussion Points & Insights

1. Chloe’s Solo Show & The Indie Comedy Hustle (00:20–03:40)

• Chloe describes her solo show:
  • Originated by playing a "Broadway legend of yesteryear"—an over-the-top character, often in odd DIY locations.
  • Example: “And drive with, like, a bunch of boys to Connecticut to, like, shoot it at this, like, church.” (01:11)
• The reality of indie sketch:
  • Locations and props are dictated by what’s available for free—“It really is, like, what do we have? We have a kitchen. So we're gonna do a sketch about a character who cooks.” (01:33)
  • Both Chloe and Mike embrace these constraints as creative catalysts: “I think it’s the best equation for, like, really trying to figure out what’s funny in anything.” (01:59)

2. College Scene & Comedy Friendships (03:41–06:18)

• Discussing college improv and sketch at NYU:
  • Chloe recalls the group dynamics: “At NYU, it’s sort of silly how the comedy groups kind of feel like the fraternities of campus.” (04:13)
  • Highlights the “bumper crop” of successful comedians from her NYU years: “Is it me or is it like this crazy bumper crop from your group of years who are super successful in comedy?” (04:30)
  • Emphasis on competitive yet supportive environments: “It’s not necessarily, like, intrinsic…everyone just like, lights a fire under each other's ass.” (05:15)

3. Improv Group Chemistry & Audience Questions (06:20–09:46)

• Plug for Chloe’s show:
  • Tickets at “pepperslit.com—We got the URL. No one else had it.” (06:28)
• Listener Q: Does Martin Herlihy (Please Don’t Destroy) get nervous doing improv?
  • Chloe: “Martin…yeah, he gets nervous before I do.” (08:00)
  • Mike: “He apologizes over text and then every now and then, he'll admit to me...I don't know if I like doing improv.” (08:13)
• Banter about group dynamics and the comfort of improv friendships.
  • Mike pays Chloe the ultimate improv compliment: “When I’m on stage with you, I feel entirely safe. I’m like, you will fix this. You are a wizard of improv.” (08:44)

4. The Art of Screwing Up & The Blooper Ethos (09:46–14:27)

• The "fixer" vs. "wild card" archetypes in improv.
  • Chloe: “I was so obsessed…with the sort of fixers or…wild card vibes.” (09:59)
• Cultural moment: Growing up on YouTube blooper reels and DVD extras.
  • “Everyone in my, like, cusp generation…spends so much time on YouTube watching videos that…were DVD extras.” (10:41)
• The genuine value of real mistakes on stage (versus forced “bloopers”).
  • “Bloopers in the pure, I think are beautiful. I think, like, when it's a little bit pushed. Nothing worse.” (11:11)
  • Chloe: “It’s actually funnier to see, like...just end there and then all of a sudden, people are going like, I can’t talk.” (12:00)

5. Laughing At vs. With—Comedy Philosophy (12:31–14:25)

• Chloe’s preference:
  • “I like when people laugh at me. Not with me. I like...that character is, like, delusional…there's laughing at you.” (12:35)
  • Debates the oft-told advice not to be the butt of the joke—celebrates the blurring line between “laughing at” and “with.”
• Mike highlights comedy legends:
  • "If you look at some of that Chris Farley vintage stuff, it's like. It's blurry in the best way." (13:21)
• The principle of “follow the laugh”—a core improviser/clowning tenet.
  • "That’s super formula for, you know, sketch people...follow the laugh. That, like, clowning thing." (14:14)

6. Finding Your Comedic Voice & Surviving SNL (18:24–27:08)

• Q: Is finding your voice ongoing?
  • Chloe: “I hope it's ongoing…my sense of humor came a lot from…my brothers…boy humor…then found things I disliked about it and was like, I'm throwing that away…” (18:24–19:26)
  • Mike: “So you're cherry picking from the patriarchy.” (19:27)
• Q: How did leaving SNL change your relationship with comedy?
  • Chloe describes the emotional fallout: “I felt like there was a moment where I had to go, Damn, I might not do this again...if I'm humiliated like this, how will I feel comfortable getting on stage?” (20:06)
  • Mike comforts with industry context: “The best cast members got fired from SNL. It's like Sandler and Sarah Silverman...so many of the best cast members got fired.” (21:08)
  • Chloe’s awkward post-SNL casting meeting: “I was a cast member...for like, how many episodes? About 21 makes a full season.” (26:05)

7. When Comedy Feels Most Alive (27:21–28:36)

• Q: When do you feel most alive when performing?
  • Chloe: “Probably if I'm laughing or making other people on stage laugh...it feels like living room couch vibes.” (27:27)
  • Mike expands: “The way in which comedy is just a sleepover that you're at.” (27:56)
  • Chloe also identifies “dire straits” as the most alive: “When it’s dire straits, like when it’s like a cold sweat...cause nothing’s making sense on stage.” (28:14)

8. Handling Long-Form Improv That Loses Its Way (28:36–31:15)

• Q: What to do when long form loses the plot?
  • Chloe: “Some people really let things fester...it'll come back around.” (28:54)
  • Mike: “Well, what's the pattern of the losing of the plot...it’s a great exercise for any art form.” (30:07)
  • Chloe adds: "It's good for conversations...Imagine if you and a friend were conversing, and then all of a sudden you stopped having an idea of what to say." (30:44)

9. Improv Group Personalities & Humorous Listener Questions (31:55–32:51)

• Q: Is Ben Marshall (Please Don’t Destroy) really tall, or is he "lying tall"?
  • Chloe and Mike riff on the absurdity—joking Ben had “shin breaking surgery,” and “the scars are brutal.” (32:15)
• Playful roasting of fellow comedians and their quirks.

10. Dream Improv Partners—Famous Non-Comedian Celebrities (32:51–36:43)

• Q: Which three non-comedian celebrities would you want to try improv with?
  • Chloe: “Daniel Day Lewis…because it’s like someone who has phenomenal commitment.” (33:20)
  • Mike: “Jeremy Strong…Meryl Streep…I want Michael Jordan in our improv scenes.” (35:52)
  • They debate whether serious dramatic actors or unsure athletes would be more fun—and agree on the joy of commitment over comedic skill.

11. Favorite Move to Make Scene Partners Laugh (37:11–38:01)

• Chloe: “Sometimes my body goes out before my mouth opens or my mind knows what I’m talking about...chest first, ass second.” (37:11)
• She notes it relaxes her co-improvisers and lets them know “she’s doing one of these.” (38:01)

12. Favorite Nonprofit—Giving Back Through Comedy (38:01–39:04)

• Chloe highlights Jenny’s Rescue Ranch, a dog rescue in the South:
  • “I love my dog. She is so crazy and weird looking and she is perfect...a lot of dog rescues in the South especially, because a lot of people don’t get their dog neutered.” (38:16)
  • Mike commits Working It Out to support: “We’ll contribute to them. It’s JennysRescueRanch.org.” (38:51)

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Notable Quotes & Memorable Moments

• On indie sketch making:
  • "It’s just like, what did you get for free? And then where can we go?" (Chloe, 01:32)
• On group creative synergy:
  • “Everyone's just, like, lights a fire under each other's ass." (Chloe, 05:15)
• Chloe on feeling secure with her improv partners:
  • “You will fix this...You are a wizard of improv.” (Mike, 08:46)
• On real vs. fake mistakes:
  • “It’s actually funnier to see...Just live in the mistake. Be embarrassed.” (Chloe, 12:00–12:31)
• On comedic philosophy:
  • “The silliest people don’t know that they’re doing a joke.” (Chloe, 13:15)
• On post-SNL emotional struggles:
  • “If I'm humiliated like this, how will I feel comfortable getting on stage?” (Chloe, 20:19)
• On audience connection:
  • “It feels like living room couch vibes that people are somehow, like, opening the screen to.” (Chloe, 27:30)
• On handling improv gone awry:
  • “It'll come back around if you…cause then everybody’s relaxed. Nobody’s, like, thinking that someone’s gonna, like, swipe.” (Chloe, 29:08)
• On commitment over comedy:
  • “That’s all it takes for me. To be in. It doesn’t have to be funny at all.” (Chloe about Daniel Day Lewis, 33:41)
• On her physical approach to improv:
  • “My body goes out before my mouth opens or my mind knows what I’m talking about…chest first, ass second…” (Chloe, 37:11)

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Selected Timestamps for Key Segments

| Topic | Timestamp (MM:SS) | |----------------------------------|----------------------| | Chloe's show & indie sketch | 00:20–03:40 | | Improv at NYU, comedy groups | 03:41–06:18 | | Audience Qs: Martin & improv | 07:11–09:46 | | Fixers & wild cards in improv | 09:59–14:27 | | Bloopers and real mistakes | 10:29–14:27 | | Finding your voice & SNL | 18:24–27:08 | | Most alive moments on stage | 27:21–28:36 | | Handling lost long-forms | 28:36–31:15 | | Ben Marshall’s “height” debacle | 31:55–32:51 | | Dream non-comedian scene partners| 32:51–36:43 | | Favorite improv move | 37:11–38:01 | | Nonprofit shoutout | 38:01–39:04 |

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Takeaways

• The best comedy often arises from constraints and making do with what you have.
• Both vulnerability and joy drive great sketch and improv—embracing the flop and laughing at oneself is part of the job.
• Group chemistry and a supportive creative community are crucial to comedic growth and weathering rough patches (including public setbacks like an abrupt SNL exit).
• The line between laughing at and with a performer is blurry and sometimes the best laughs come from that ambiguity.
• Commitment, rather than innate funniness, could make even a non-comedian a great improv scene partner.
• There’s a universality to the struggle and triumph in comedy—whether making sketches in a friend’s kitchen or weathering high-profile rejections.

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For more about Chloe’s show: pepperslit.com
Chloe’s nonprofit pick: jennysrescueranch.org

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Transcript

[A]

I'm here with my friend Chloe Trost. Thanks for coming.

[B]

Thank you.

[A]

We're answering questions today from the listeners and viewers and that we. We sourced on Instagram. And also we're talking about your show.

[B]

Yeah.

[A]

Will you explain your show? Because I was online, I was like, oh, this is interesting, because it's like. It's like, intimate. It's an intimate solo show. And as far as I understand it, you're playing a character and it's interactive.

[B]

It first came to be because me and my friends, who were all in a sketch group together, in one of them, they were like, oh, could you play, like, a Broadway star, legend, person of yesteryear, and come in and just kind of like, sing a medley of songs?

[A]

Yeah.

[B]

And just act bizarre. Because I had been doing the voice of this character.

[A]

I love that. That's the cue.

[B]

Yeah.

[A]

Well, it's, like, so oddly vague.

[B]

And it's like, we need you to

[A]

come in and be a character of yesteryear.

[B]

Yes.

[A]

And you're like, sure.

[B]

And drive with, like, a bunch of boys to Connecticut to, like, shoot it at this, like, church.

[A]

That's funny.

[B]

It was kind of always stuff like that where it's like, okay, we're gonna all drive to Great Neck.

[A]

Yeah.

[B]

Because we got this library for free for the weekend.

[A]

And so isn't that everything?

[B]

Yeah, it's odd. It's just like, what did you get for free?

[A]

Yeah.

[B]

And then where can we go?

[A]

And we get so much of filmmaking and indie, you know, shorts and all this kind of stuff is like. It really is. Like, what do we have? Yeah, we have a kitchen. We have our friend's kitchen.

[B]

Yeah.

[A]

So we're gonna do a sketch about a character who cooks.

[B]

Who cooks and, like, ran out of ingredients.

[A]

And I asked what that's like, everything.

[B]

Yeah.

[A]

But I kind of love that too.

[B]

I think it's the best equation for, like, really trying to figure out what's funny in anything. So it's like, okay, well, we have a kitchen. All right. Kind of just start. And then if we make each other laugh. Yeah, that's probably something.

[A]

Oh, I completely agree. I remember, like, years ago, when I was starting out, I remember talking to Dimitri Martin about writing process, and he would just be like, I'll take whatever object is in a room, and I'll just be like, I'm writing jokes about that thing, whatever. And it's like, that's a fun exercise.

[B]

It's like the same exercises that your, like, third grade writing teacher gave you.

[A]

It's all about your Third grade writing teacher.

[B]

Everything you learned in third grade writing is how to be a comedian.

[A]

Yeah, I think that's right. And you and I know each other through improv. Just improvising with the. Please Don't Destroy boys.

[B]

Yeah.

[A]

Who you, like, went to college with and then. And did improv with in college, right?

[B]

Yes. And sketch. They were part of those kind of, like, films that we would do together.

[A]

Yeah.

[B]

And we all kind of would, like, take the helm of one of them. Like, oh, oh, we're gonna shoot Martin's thing this weekend. And then, oh, you know, Sam has a thing, so John and Ben are gonna be in it with us. And it would just be like, oh, whose thing are we doing?

[A]

That's so fun.

[B]

It was really fun. And it was. Kind of ended up being my life. It's one of those things where it's like, if you end up being free on a weekend.

[A]

Yeah.

[B]

When they need someone.

[A]

Yeah.

[B]

You might not ever leave. Like, you might just.

[A]

You're done.

[B]

Yeah. You might just have your weekends.

[A]

Yeah.

[B]

Planned for kind of the rest of time. And that's a little bit what happened in terms of meeting them.

[A]

Yeah.

[B]

And I met. I met Ben and John first because they were in the sketch group at my school, but I was in the improv group. And it was kind of like at nyu, it's sort of silly how the comedy groups kind of feel like the fraternities of campus.

[A]

Is that true?

[B]

Well, it's certainly not as cool, but it was like each improv group and sketch group had their own kind of feeling and personality.

[A]

Yeah.

[B]

And they would collect people, like, every year. So it's like, oh, you're part of After School, or you're a part of Danger Box, or you're a part of Hammer Cats or.

[A]

Yeah.

[B]

Part of Fear. And it was like that kind of gave you something. It was like the different houses.

[A]

Yeah. Is it me or is it like this crazy bumper crop from your group of years who are super successful in comedy? Isn't it? Because it's those guys.

[B]

Yeah.

[A]

Please don't destroy.

[B]

Yeah.

[A]

And it's. Isn't like Rachel Sennett and I.O. and aren't they all from that group, too?

[B]

Yeah. Yeah. Well, we were all a part of, like, the same sort of spanning four years, give and take.

[A]

Yeah.

[B]

So we all were in college together and all in different groups, which was like the fraternity of it all. It is really sort of an insular kind of system that I think really does happen when everyone put, like, lights of fire under each other's ass.

[A]

Yeah. Yeah, sure.

[B]

I don't think it's necessarily, like, intrinsic. Like, oh, wow. Like, all of these really special people got together at the most special time. I think that generally happens when it's. Everyone's just, like, lights a fire under each other's ass.

[A]

No, I think that's. That's the Malcolm Gladwell outliers theory, which is, like, groups of people inherently make each other competitive with each other in ways that aren't overtly competitive, but everyone just sort of gets better.

[B]

Yeah.

[A]

Whether it's a hockey team or, you know, academics or whatever.

[B]

Yeah. Well, the Knicks. Where's the name? The Knicks, for example, From Villanova.

[A]

Sure.

[B]

I do feel like that's, like, not to be like that. We're the Knicks.

[A]

We're the Knicks.

[B]

Not at all. But. But remember hearing that there was, like, a cluster. Yeah. Came together, like, moved up together and stayed in one team. And I was like, they're gonna win.

[A]

Yeah. There's something to it.

[B]

Yeah. They're gonna win. I don't know.

[A]

Yeah.

[B]

It's always fun.

[A]

We're gonna answer questions from the audience. But where can people get tickets to your show? And where. Where is the show?

[B]

Pepperslit.com.

[A]

nice.

[B]

We got the URL. No one else had it.

[A]

Lower third. Pepperslit.com.

[B]

it would be awesome if we were like, damn, we got to pay someone off to get this.

[A]

Or.org or you had to.org get it and just add everything. Everything goes to nonprofit.

[B]

Yeah. Pepperslit.com.

[A]

it's a sketch comedy. Nonprofit.

[B]

Yeah.

[A]

You just support sketch groups that, like, trying to figure something out.

[B]

That's kind of like a. What is it? Redundant.

[A]

Exactly.

[B]

Nonprofit. Sketch.

[A]

Yeah. Yeah. Sketch group sketch. Yeah. Toxymoron.

[B]

Yeah. So that's where you get tickets. And so far, playing till mid August, but hopefully more.

[A]

Nice. I'm looking at the questions from the audience, and I'm laughing because I'm like, the first question is the first question, does Martin Hurley. He get nervous doing improv? Is that the question?

[B]

They're not in the order.

[A]

Like, I'm, like, looking at this.

[B]

I love being, like, their PR reps.

[A]

I mean, that is an outrageous question to ask you.

[B]

Well, but you have no idea how many questions I get asked about. There were much more than that. That is absurd ones for this conversation. But wait, I do. I want to answer this. I'm going to answer this honestly. Martin. Martin. Yeah. He gets nervous before I do.

[A]

You do.

[B]

Martin, why don't you show up a little bit more?

[A]

I know he doesn't show up whenever we do our please don't for Biglia shows. He does not show up. He. He apologizes over text and then every now and then, he'll admit to me. I. I don't know if I like doing improv. Yeah.

[B]

Yeah.

[A]

But he's very good at it. Actually.

[B]

No, he is. I mean, we, We. Yeah, he does. He does love doing improv. You know what? I gotta drop in the comments if you want to see Martin Moore in our. In our shows, because I do. I love Martin.

[A]

We'll send those his way.

[B]

Yeah.

[A]

You're improv, by the way. I feel this is like the highest compliment I think I've ever. Like, when I'm on stage with you, I feel entirely safe. I'm like, you will fix this.

[B]

Whoa, that's so nice.

[A]

You're like, you are a wizard of improv, in my opinion. I'm like, you can make anything work and have full commitment and full. Just like all my favorite qualities of improvisers, like your full commitment and your full support.

[B]

Damn. That's very cool. Thank you. I like, I was so. I was so obsessed with, like, those types of people. When I would, like, watch improv shows, the sort of fixers, or there's like two opposing ones where it's like, it's a fixer. Somebody who's like, trying to like, sort the mess kind of that's been put out, which is so fun. And then there's also like wild card vibes where it's like, if something's kind

[A]

of like you're also wild card vibes,

[B]

just start going like this. Like, what do people come out with as like a walk on to sort of just either like, destroy everything that's been built or like, just take it to like a. I don't know, just bizarro new place.

[A]

Two other people like that are like, Connor Ratliff. I love funny like that.

[B]

Yes.

[A]

And Tammy Sager is funny.

[B]

Oh, yeah. Well, I love. I mean, I love them and I've been watching them and of course I've been watching you for forever, like, you know, do improv and like, do comedy and stuff. And I remember, like, watching them years and years ago when I first went to UCB shows and I remember watching like, John Timothy and like Chelsea Clark and oh, yeah, Willis and all these people who. I guess, like, the only version of it that I like, loved of improv was like, watching like, bloopers, you know, like bloopers from movies when you'd like.

[A]

Yeah. Watch people, like, from Judd's movies or. Yeah, yeah, yeah. From Knocked up or whatever.

[B]

Yeah. I feel like everyone in my, like, cusp. Generation.

[A]

Yeah.

[B]

Spends so much time on YouTube watching videos that, like, were DVD extras that were just, like, essentially put on YouTube

[A]

so you can kind of re.

[B]

Watch them.

[A]

Yeah.

[B]

Of like the Office bloopers or, like. Or I guess before that, too. Like. Yeah. Like anchorman bloopers or, like, things like that. You know, stepbrothers.

[A]

And my only ding on bloopers is bloopers in the pure. I think are beautiful. I think, like, when it's a little bit pushed.

[B]

Oh, yeah.

[A]

Nothing worse.

[B]

No, no, no. I mean, it's unwatchable.

[A]

When people are trying to lean into the bloop, it's like, what? No, like, when they're. Do you follow what I'm saying?

[B]

Like, when. When people so upset.

[A]

No, like, no, but I'm just like, is this. Am I crazy? Am I crazy to point this out? Like. Like there's a certain type of actor where they're like, yeah, there's like, no, I don't think that was a bloop.

[B]

No, that wasn't a blooper. I also, like, there's something that happens and this happens like, outside of bloopers, but kind of just like everywhere. If someone messes up saying something, this is like a huge pet peeve of mine. But it's when they go, like, when they're like, I'm trying to do bloop,

[A]

blah, blah, blah, blah, blah, blah, blah, blah.

[B]

What am I saying?

[A]

I hate it.

[B]

Like, I'm like, why continue? Like, why continue? Just like, eat what you did is actually funnier. It's actually funnier to. It's funnier to see, like, I'm trying to skill my glooper reel.

[A]

Yeah. Yep.

[B]

You know, it's just like, end there and then all of a sudden, people are going like, I can't talk.

[A]

Yep.

[B]

It's like, yeah. So hard to watch. Yeah. Nobody's doing real blooper reels anymore.

[A]

Let's bring it back. Let's bring it back. No, because I. I agree with you. Just live it.

[B]

Just live in it.

[A]

Live in the mistake. Be embarrassed.

[B]

People laugh. I like when people laugh at me. Not with me. I like the. People laugh at me.

[A]

Yeah.

[B]

When they go like, damn, that's. She's being so stupid. Or like, yeah. Oh, that. That's like that. That person or that character is, like, delusional or something, and it's like, they're laughing at. They're laughing at you. They always say, don't you know, you always heard that thing. It's like, you know, you'd rather have people laugh with. Don't have people laugh at you. Have people laugh with you. Yeah, and that's always. That's always like, the smart people know when the joke is coming, so then they can laugh with everyone. But it's like the silliest people don't know that they're doing a joke.

[A]

Oh, I think you're right.

[B]

And then when people are laughing at them, I was like, that's just like, pure, joyful, agree comedy.

[A]

I think it's also like, the people who are sometimes, like, transcendently funny, their laugh at with becomes a blurred line. Like, I think if you look at some of that Chris Farley vintage stuff, it's like. It's blurry.

[B]

Yes. Yes, exactly.

[A]

In the best way.

[B]

Yeah. I think, you know, they're so expert at, like, flop. Like, it's. It's kind of like someone who's, like, insanely funny, like, that has flopped so many times or whatever that, like, getting out of, like, the bomb sweats or whatever. And, like, do whatever you can.

[A]

Yeah.

[B]

Essentially is like, I'm gonna fart and then roll and then. And then, like, take my stomach out and, like. And, like, like, do a stupid face. Just to get anyone to, like, laugh at you.

[A]

Yeah.

[B]

Even if they're not laughing at the things you, like, created.

[A]

Yeah.

[B]

And I don't know, I think that's kind of the. That's super formula for, you know, sketch people is that it's like, figure out. Follow the laugh.

[A]

Follow the laugh.

[B]

That, like, clowning thing.

[A]

Yeah, yeah, yeah.

[B]

There.

[A]

Is that a principle of clowning? Follow the laugh.

[B]

Yeah, yeah, There's. I'm not an expert in. In clowning. Although I, like, you told me off

[A]

air that you were right and.

[B]

Well, of course I lie, like, on my resume that every day. Trying to move right now and lying out my ass right now. I work. I work all the time. I work full time, and I work for a salary job. And my boss, his name is Dexter Krinkle.

[A]

Dexter Krinkle.

[B]

Yes.

[A]

How do you spell that?

[B]

Dexter Krinkel.

[A]

Q.

[B]

Sorry, Dexter. D, E, X, T, R, Crinkle. Q U, R S, Q U, L.

[A]

I'm gonna look that up.

[B]

No, no, no. He doesn't have.

[A]

Actually.

[B]

There's no paper trail.

[A]

Can we look that up?

[B]

He's sort of a Luddite, so.

[A]

Okay.

[B]

Yeah. You cannot call him, cannot text him. Mostly just, like, you have to know him. Yeah, yeah.

[A]

Right, right, right. Dexter's sort of like to know him is to understand him.

[B]

Yep, exactly. And that's. Yeah, that's. Those are the lovely little lies that I. That I feel like I need to say.

[A]

On the right crinkle is spelled how.

[B]

Sorry, I think I said it already. So if you want to just cut that. Who's editing this?

[A]

I think I said it already. Support for Working it out comes from a Warby Parker Believe it or not, everyone on the Working it out staff wears Warby Parker glasses. We didn't plan it that way. That's just how it went down. And glasses, by the way, are expensive. The prices on prescription glasses and sunglasses are exorbitant. But at Warby Parker prescription glasses start at just $95. We got this Warby Parker discount just for you. Why not use it to get a backup pair of glasses? Ooh, so smart. Backup glasses. I'll tell you the best part about Warby Parker. For every pair of glasses they sell, they also give a pair to someone in need. Warby Parker has distribute over 20 million pairs of glasses to people in need through its Buy a Pair, give a Pair program. Right now, buy one prescription pair and get 20% off any additional prescription [e-mail] brebigs that's 20% off additional prescription pairs when you go to w a r-by parker.com Brabigs support for working it out comes from Helix. I've had my Helix mattress for six years now and I love it. I'm going to go ahead and tell you what kind of mattress I have, which is very personal. We talk about personal stuff on the podcast, so here goes. I've got the Helix Midnight Luxe. It's a medium feel, not too firm, not too soft, just the right amount of support. If that doesn't sound like a fit for you, don't worry because Helix has so many different kinds of mattresses for all kinds of sleepers and sleep preferences. We are so lucky to be living in the time that we are in. Imagine back when there was only one kind of mattress. Hay. Do you think the merchants in medieval times making hay mattresses cared if you were a back sleeper or a side sleeper? No way. But Helix does. There you have it. I'm comfortable sharing with you what kind of mattress I have. And you know what else? I'm going to share an exclusive discount for Working it out listeners. Go to helixsleep.com burbigs for 27% off site wide, which is exclusive for listeners to this podcast. Working it out that's helixsleep.com burbigs for 2027 off site wide. Helixsleep.com. So the next question is from Des Bateman. Des Bateman, how long did it take to find your voice? Or is it an ongoing thing, your comedy voice?

[B]

I hope it's ongoing.

[A]

Yeah, me too.

[B]

Yeah. I don't want to, like, have a voice and then. And then, you know, have that thing happen where it's, like, later down the line, people are like, that shit isn't funny anymore. That old shtick. Yeah. Also. Yeah. I feel like my sense of humor also came a lot from, like, my family.

[A]

Yeah.

[B]

My brothers and, like, my older brothers. They would listen to, like, comedy specials in the car, and we would, like, drive to school or put on shows that they wanted to watch. And so a lot of it was, like, the sort of boy humor that I was, like, kept abreast of and took note of and then found things that I disliked about it and was like, I'm throwing that away, but I want to take, like, these things that I really love.

[A]

Yes.

[B]

And then mixed with, like.

[A]

So you're cherry picking from the patriarchy.

[B]

Yeah.

[A]

Right.

[B]

Yes. I like this quote.

[A]

I like this part of the patriarchy, but I don't like this part.

[B]

But I would actually prefer to eliminate that. Yeah. So kind of a lot of that.

[A]

Yeah. All right, here. Here we go. Bruce Page says, how did leaving SNL change your relationship with comedy, if at all?

[B]

A lot. Yeah. God, a ton. A ton. A ton.

[A]

Yeah.

[B]

That I felt like there was a moment where I had to go, Damn, I might not do this again.

[A]

Oh, wow.

[B]

Not on my terms, but just in the, like, if I'm humiliated like this, how will I feel comfortable getting on stage? How will I feel comfortable in rooms? How will I feel comfortable going to these meetings where it's like, the first question out of everyone's mouth is, like, what happened? How are you?

[A]

Right.

[B]

What are you gonna do now? And I felt like all of that was so hard.

[A]

Yeah.

[B]

And I dreaded. Dreaded the idea of, like, going up at a show again.

[A]

Yeah.

[B]

Cause it was just. It felt humiliating. Yeah. Felt humiliating.

[A]

I would say, what's up? In truth, I always think when people get fired from snl, it's like, the best cast members got fired from snl. It's like Sandler and Sarah Silverman, and, like, literally, like, all, like, so many of the best cast members got fired.

[B]

And I appreciate that.

[A]

Chris Parnell was another one, undoubtedly.

[B]

And also there's so many that you

[A]

don't remember who got fired.

[B]

Yeah, of course. And that's what I put into my head.

[A]

Yeah.

[B]

Of like. Of what?

[A]

If I'm those.

[B]

Yeah. And it's not like it's any kind of, like, huge. It's not like their life doesn't matter or anything, but I was like, oh, I was so close to maybe being one of these types of SNL people, but now I'm one of these. And then it's like, you're either gonna be like, damn, it was all for the best. That's the best thing that could have happened to her. Or they're like, wait, you were on the show, Right.

[A]

I'm laughing. I have this memory of seeing, like, an interview where some, like. I think it was Sandler talking about. I think he found out they were. He was fired from Farley. Do you ever see this story?

[B]

I might have seen this.

[A]

Like, he shows up at the office and he's like. Like, sandman. Like, we got fired.

[B]

They were at the office?

[A]

I think so.

[B]

Oh, they don't do that anymore. Yeah, we're. They don't let you come in the door. They don't let you near the place.

[A]

Oh, my God.

[B]

No, but I mean, like, yeah, I,

[A]

I, But I think he did. I almost. I don't want to be apocryphal, but it's like, I, I, I think Sandler found out from Farley.

[B]

That's hilarious. Yeah.

[A]

Yeah. So that's a great example, by the way, of, like, it ain't. It ain't funny necessarily.

[B]

No.

[A]

Like, it's not a funny quotient.

[B]

Yeah.

[A]

That they got fired for. Those guys were hilarious.

[B]

Yeah. Well, you know, it's kind of crazy because I. When I knew that I was, like, about to get fired, I was on hold for six weeks, and it was, like, a week before the season started, and people were already in office and stuff. But I just, like, was the last holdout.

[A]

Right.

[B]

And I got a call from somebody, and they were like. They were like, you know, people usually fare better if they don't really talk about their experience.

[A]

Oh, my God. Oh, my God.

[B]

So that was like, in that moment, I knew, all right, this is over.

[A]

Wow.

[B]

And another thing that they said was, like, you know, it's great on the resume, though.

[A]

Oh, my God.

[B]

And I was like, if I had that on a resume, they'd be like, you're lying.

[A]

Right?

[B]

Like, why are you. Why are you, like, here with your resume? Who's doing that? Like, I don't know. And then my last credit was Customer bridges for one year Saturday.

[A]

Oh, my gosh.

[B]

It is funny because it's like, some people know that I was there for a year, and then some people don't, and they just know me from other stuff. And I'm like, great, fantastic. But now it feels like a little bit of time has passed where it's like, some people might know and some people might not. But right at the end, right after my season ended, I got a meeting with, like, a crazy, like, casting person who I knew just from, like, knowing their name.

[A]

Yeah, yeah, yeah.

[B]

I was like, they wanna have a meeting with me. Oh, okay. And so I, like, you know, went in, had, like, you know, made sure to, like, double deodorant. Cause you get, like, so nervous for those kinds of meetings. And I was like, whew.

[A]

Okay.

[B]

Like, I'm gonna meet the big guy. And I sat down with him, and he was like, oh, you've been doing a lot of stuff. And I was like, yeah, yeah. You know. And he was like, and you're friends with, like, the. The police. Don't destroy guys. And I was like, yeah, yeah, they're my, like, good buddies. And he was like, you should, like, do stuff with. And I was like, yeah.

[A]

Oh, my God.

[B]

Yeah, I do.

[A]

That's a great idea.

[B]

And then he was like, no, I mean, like. Like, you should, like, be in their videos.

[A]

Yeah.

[B]

And I was like, I am. No, I am sometimes. Sometimes. And he was like, no, no, like on. On, like, snl.

[A]

Yeah, yeah.

[B]

And I was like, I am. And he's like, no, no. I mean, this is exactly, like, verbatim. What? He's like, no, no. I mean, like, you should be, like, on the show.

[A]

Yeah.

[B]

And I was like, I am. And he was like, they still continue on. He goes, no, no, no. Like a cast member. Like, even at that point. He was like, surely she PA or something. And then I was like, no, no, I. I was a cast member. And he was like, oh, my God, for, like, how many episodes? And I was like, about 21 makes a full season. Yeah, about 21 rounded it out. Yeah. First, you know, from season, you know, opening the season to finale. Yeah. And he was like, oh, my God, I'm so sorry. I guess I wasn't aware. And I was like, why am I here? Like, otherwise, I have, like, no credits.

[A]

So I was like.

[B]

I was like, what? Like, I was whacking my brain after it, too. I was like, then what was the credit that he was, like, bequeathing me?

[A]

Right, right. All right, let's get Back to some questions. Nicole Pascaretta says, when do you feel most alive when performing?

[B]

Ah, probably if I'm laughing or. Or making other people on stage laugh.

[A]

Yeah.

[B]

Like. Especially if, like, we're not supposed to or something.

[A]

Yeah.

[B]

And then all of a sudden, it feels like, you know, living room couch vibes that, like, people are somehow, like, opening the screen to, and they're getting to see kind of what happens, and we're all just, like, chilling and laughing.

[A]

And that's a running theme on the show lately. Talk to Chris Fleming about that. Talk to Leva Pierce and Jane Wickline about that. From Dukes. About, like, the way in which comedy is just a sleepover.

[B]

Yeah.

[A]

That you're at.

[B]

Yeah.

[A]

And, like, there's an audience there.

[B]

Yeah.

[A]

And if, like, you can. If you can, like, channel that on the stage. That's crazy.

[B]

Oh, that's definitely when I feel happiest.

[A]

Yeah.

[B]

I don't know. What was the word?

[A]

Alive. Yeah. Alive.

[B]

Yeah. Alive maybe is when I am most fearful, is when I'm like. I feel like I feel. Every goosebump on my body is like, maybe when I feel most alive, which sometimes is when it's dire straits, like, when it's like there's a cold sweat going down my back. Cause nothing's making sense on stage. And I've misnamed, like, the third person in a row.

[A]

Totally. All right. Dan Wonderlick says, what do you do when a long form seems to have lost the plot or gotten confusing? We're laughing preemptively because I feel like this is every bail, every show.

[B]

Oh, yeah.

[A]

At a certain point feels like that.

[B]

Yeah. I mean, it's different feeling, like, probably the. You know, there's different st. People have different standards for things going cold on stage.

[A]

For sure.

[B]

You know, some people really let things fester.

[A]

Yeah.

[B]

And they're like, it's gonna come around. Yeah, it's gonna come around. Especially if you have few people.

[A]

Yeah.

[B]

You can maybe let something sort of, like, get cold on stage and, like, lose its momentum. And it'll come back around if you. Because then everybody's relaxed. Nobody's, like, thinking that someone's gonna, like, swipe, and everyone's gonna. To swipe on a. Like, inhale from the audience, where it's, like, where you're doing a scene and then someone swipes, and basically the audience. You just hear the audience go, like. Like, no laughs.

[A]

Right. Right. Well, that's an audience that's really attuned to improv and probably studies improv. Right.

[B]

Yeah. And That's a lot of improv audiences, which is why you, like, you can sometimes really have them in the pocket when you're doing stupid, stupid, st. Stupid stuff.

[A]

Yeah. I always say, like, Liz Allen's been on the show a bunch. She t. I, like, literally met her. She taught in Chicago in. When I. When I was in college. And then she taught this improv group for Don't Think Twice. Oh, yeah, yeah, yeah. So, like, we've known each other for, like, years and years and years and years. She's an amazing improv coach. But I always tell people, even if you did, like, coaching with her, like, on zoom or something, just as an exercise, it's so interesting because exactly the thing that this person is asking, which is like, you've lost the plot. It's like, well, yeah, that's okay, because you can just examine, like, well, what's the pattern of the losing of the plot and. Which is a great exercise for, like, any art form. Like, that's good for writing. It's good for plays. It's good for painting.

[B]

It's good for conversations.

[A]

It's good for conversations.

[B]

Like, imagine if, like, you and a friend were conversing, and then all of a sudden you stopped having an idea of what to say.

[A]

Yeah.

[B]

You're just gonna be. You're just gonna get up and go.

[A]

Yes.

[B]

You're gonna find something to say.

[A]

That's right.

[B]

Like, something. So it's. I feel like it's completely helpful. I mean, God, I gotta get some of the people that I've gone on dates with. Like, take an improv class.

[A]

That's right.

[B]

Tell ya.

[A]

Can you.

[B]

I'm. I'm on a losing streak.

[A]

Just write down their emails here. Yeah.

[B]

Oh, you want to teach them?

[A]

Oh, yeah. I'll put them in touch with Liz.

[B]

Okay. Okay.

[A]

All right, I will send them.

[B]

So it's a lot. It's a long.

[A]

It'll be a link. Yeah.

[B]

And of course, I have all of their emails.

[A]

I prefer I put down their URL.

[B]

Yeah. I prefer when I go to a bar.

[A]

Of their blog.

[B]

Yeah, of their blog. And when I go to a bar, I ask for people's emails. It's just safer. It's just safer.

[A]

It's just safer.

[B]

Wait, this pen is so fun.

[A]

It's just safer. This is insane. Kyle Jones, 01. Is Ben Marshall really that tall or is he lying tall? Yeah, he is tall.

[B]

How would he be lying? Like being on stilts.

[A]

Yeah. Like what? What kind of question is that?

[B]

Well, he did get the surgery.

[A]

He got the Tall surgery.

[B]

He broke both of his shins.

[A]

That's right. He did do the shin breaking surgery.

[B]

And basically it's kind of why like he always wears pants is because.

[A]

Yes. Well, he doesn't want to peel it. When people see the scars.

[B]

Yeah, it's, I mean. And the scars are brutal, dude. It's like you don't want to see him. You get nauseous because they're open still. It's like torching all my friends. Martin gets nervous before improv. And Ben isn't actually tall fucker. And John. Don't get me started.

[A]

Deidre Jean says, who are the three non comedian celebrities you would want to try improv with? That's a really hard question.

[B]

Because it'd be so bad.

[A]

I feel like it'd be bad.

[B]

I feel like it would be really fun to do it with people who like, would have no clue what was going on. I don't know. I mean, like people that are just serious. Serious. Daniel Day Lewis.

[A]

Daniel Day Lewis would be, is an amazing idea.

[B]

I'm sure he'd be.

[A]

No, he'd be sickening. No, no, he'd be, he'd be great.

[B]

Sickening.

[A]

No, I think like, actually that's the perfect answer. Daniel Day Lewis. Because it's like someone who has phenomenal commitment.

[B]

It, it, that's all it takes for me.

[A]

Yeah.

[B]

To be in.

[A]

Yeah.

[B]

To be like if we start and all of a sudden it doesn't have to be funny at all. But he's, he's there and he's some, you know, crazy guy.

[A]

Non comedian celebrities.

[B]

Who would you say?

[A]

I mean, that I'm. Now I'm trying to think in that vein of what you're saying, like Daniel Lewis. That's the thing that SNL does that's interesting is like they'll have like athletes on and you're like, oh, sometimes they rock, sometimes they rage. Sometimes it's not so great.

[B]

Sometimes it's not so great. I think it's not so great when there's, they've, if they've ever been told that they're like the funny one.

[A]

Yeah.

[B]

If something's, if something's not going well, I'm like more reassured by that than if it is. And if someone's going in there being like, I know I'm going to crush.

[A]

Yeah.

[B]

There's like a feeling of like, oh, you just really shot yourself in the foot here. No, completely hubris.

[A]

It's like if we, we showed up at the ice rink with the Olympic skaters and we're like, Well, I do do a couple tricks.

[B]

You have not seen me on the ice, Mike.

[A]

Are you. We do.

[B]

I'm actually awful on that side.

[A]

We do a couple of our tricks first.

[B]

But, yeah, we were like. We do want to show you that we're good at something.

[A]

Yes.

[B]

Might not be this.

[A]

Yeah. Something. Okay, now I'm trying to think like. Okay. Like Michael Phelps. I'm trying to think like, man. You know what I mean?

[B]

Like Shaun White.

[A]

Shaun White's an interesting one.

[B]

He seems fun, right? Carrot Top. I mean, I don't mean the comedian. I mean him as a kid. I was thinking, too, like, someone on the news. Somebody serious on the.

[A]

Don Lemon.

[B]

Don Lemon.

[A]

Don Lemon would be a good improviser.

[B]

Brian Walters. Wait, is that who I'm thinking of?

[A]

Brian Williams. That Brian Williams. But Brian Williams, he's too funny. He's another one in that space of, like, he. Whenever he's doing a comedy event, he's actually pretty funny.

[B]

Yeah, we don't want that.

[A]

We don't want funny.

[B]

I actually. Yeah, I want.

[A]

We want Daniel Day Lewis and other people. Like Daniel Day Lewis. Maybe other serious actors.

[B]

Jeremy Strong.

[A]

Yes. Yeah, yeah. Jeremy Strong is one.

[B]

Yes.

[A]

Jeremy Strong. Meryl Streep. I mean, like.

[B]

Oh, an old person.

[A]

An old person.

[B]

Not Meryl Streep. I mean, like, someone old. Old.

[A]

Right. Like, I was gonna say, an Roth is 90 or 92. The customer.

[B]

Who are like, all those old guys who always play Gandalf.

[A]

Ian McKellen's a great idea. Yeah, we've nailed it.

[B]

Yeah. Ian McCallen. Daniel Day Lewis.

[A]

Yeah. Ian McKellen. I actually, I. I stand by Meryl Streep, actually.

[B]

And Meryl Streep. Jeremy Strong and Shaun White supergroup.

[A]

And Michael Jordan. Yes.

[B]

Yes.

[A]

No, I think, honestly, like, I want Michael Jordan in our improv scenes, because,

[B]

honestly, what we would actually, he would really make.

[A]

What we would do is we would set up a lot of basketball scenarios where he would be forced to do scenes, like, authentically.

[B]

Yeah. And he. Yeah, I feel like he's, you know, he's. He's tried to stand a little bit at acting.

[A]

Oh, right. And finally, this is from Blaze. Joe Santi. What's your favorite move in an improv scene to make your scene partner laugh?

[B]

Oh, God. Oh. Well, I feel like the one that my friends will say is that, like, sometimes my body goes out before my mouth opens or my mind knows what I'm talking about, and it really is like, chest first, ass second, and I'm going in with, like, a curved back like this. So my chest is front and my. And my. And something about that.

[A]

To imagine what that is. Okay.

[B]

Yeah. Something about that is it comforts them. People that know me on stage. I feel. I feel as though that shape of that allows them to relax and go, oh, she's doing one of these.

[A]

Working out for a cause. Is there a non profit you like to contribute to?

[B]

Oh, wow.

[A]

Or do shows for or benefits for.

[B]

I got my dog rescued. Rescued from the south from Jenny's rescue ranch.

[A]

Oh, that's great.

[B]

I love my dog. She is so crazy and weird looking and she is perfect. And yeah, there's a lot of dog rescues in the south especially I think because a lot of people don't get their dog neutered.

[A]

Oh, interesting.

[B]

So there's lots of like dogs that mate and then create a lot of dogs.

[A]

What are you saying about people from the South?

[B]

I am. Well, okay. So yeah. So basically I wanted to get a huge opinion out there of my absolute disgust. No, no.

[A]

Yeah, that sounds great. It's. We'll contribute to them. It's Jenny's Rescue Ranch. Yeah.orgJenny with an I J E and I. Jenny's Rescue Ranch.org will contribute to them.

[B]

Okay.

[A]

We'll link to them in the show notes. Chloe Trost. I mean such a joy. Could do this for hours.

[B]

Let's do it marathon.

[A]

Let's keep going. Just write down your boss's name and we will be in touch.

[B]

I thought I avoided this.

[A]

Dexter. It was Dexter.

[B]

Dexter.

[A]

Right, Dexter.

[B]

Dexter.

[A]

And it was Quizlet. It was Quizlet. Yeah, I think it was Quizlet Dexter.

[B]

Quizlet of the quiz of Quizlet fame. Do you know that Quizlet? Yeah. Sort of like Quizlet.

[A]

Yeah, definitely.

[B]

Yeah. Okay. And so this is his name.

[A]

Thanks for. We'll be in touch.

[B]

Yeah.

[A]

Thank you so much for being here.

[B]

Thank you.