Fred Armisen: Is He Joking?

Summary

Podcast Summary: Mike Birbiglia's Working It Out

Episode: Fred Armisen: Is He Joking?

Date: July 6, 2026
Guests: Mike Birbiglia (Host), Fred Armisen (Guest)

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Main Theme & Purpose

Mike Birbiglia sits down for a free-flowing, joke-writing session with Fred Armisen, renowned comedian, musician, and former SNL cast member. The episode explores Fred’s distinctive comedy style, his collaboration on Portlandia, roots in punk rock, process for impressions, experiences on SNL, thoughts on music and comedy, and the blurry line between sincerity and performance. The two test out new stand-up material, share candid advice on creativity, and reflect on collaboration in comedy and life.

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Key Discussion Points & Insights

1. Origins and Philosophy of Portlandia

• Punk Rock Influence: Fred credits the ethos of punk—no rules, no ultimate goal—as the template for Portlandia's experimental, organic beginnings.
  • "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." — Fred (03:33)
• Starting as Web Sketches: The show began simply, under the name "ThunderAnt."
• Unexpected Success: Fred describes his career as “a huge, amazing surprise all the way through.” (04:37)

2. Creativity and Letting Go

• Guiding Principle: Fred’s creative mantra is “to let go.” The more control he tried to exert, the less fruitful things became (05:17).
  • "The principle for me is to let go. The more I wrestled with music, the more we got nowhere, and the more I started to let go, then things kind of..." — Fred (05:17)
• Preparation vs. Openness: There’s a balance between “letting go” and showing up ready to work, especially for things like SNL auditions (05:35).

3. SNL Audition and Impressions

• Audition Characters: Fred performed a self-defense expert, a Venezuelan timbale player (drummed live), Sam Waterston, and a last-minute Vin Diesel at his SNL audition (05:54–06:32).
  • "Vin Diesel was like a last minute one where I was like, let me do someone different in pop culture." (06:18)
• Philosophy of Impressions: Rather than focusing on one trait, Fred treats impressions like a “Polaroid”—capturing the vibe or behavior, not perfect mimicry (08:06).
• Impersonation Among Friends: Mike and Fred riff on impersonating fellow comedians like Nick Kroll and John Mulaney (07:03–07:21).
  • "I could just do Nick doing bits...I very much cannot do John Mulaney." — Fred (07:05)

4. Performing for Familiar Audiences

• Onstage Familiarity: Mike discusses entering a stage as if “we already know each other,” fostering immediacy. Fred agrees but, when performing, acts “as if they’ve never heard of me before"—an intentionally awkward, outsider stance, inspired by David Byrne (09:53–10:07).

5. Sketch Writing & Collaboration

• Advice: "Let go of things you've heard before; if it sounds like sketch comedy, that might not be good." (11:46–11:55)
• The Californians Sketch: Originated as a running bit about LA directions. James Anderson’s “what if it’s a soap opera?” twist crystallized it. Real-time, collaborative ideation (“It really was midnight... What if it’s a soap opera?”) (12:12–13:34).
  • "And then for someone to say, what if it's a soap opera?... It was midnight, and I don't know, 'what if it's a soap opera?'" — Fred (13:29)

6. The Line Between Sincerity and Performance

• Is He Joking? Fred is often told people can't tell if he’s joking—it can seem insincere (26:43–27:27).
  • "Sometimes they don't know if I'm joking and it comes off as insincere... I always think it's so obvious. I'm like, this is clear that I'm doing a joke." — Fred (26:53)
• Navigating Real Sincerity: Sometimes even his genuine praise or feelings are mistaken for bits (27:50–28:10).

7. On Music, Comedy, and Self-Doubt

• Blending Talents: Fred showcases worldwide guitar styles and lightly parodies American self-deprecation in singing (20:01–21:36).
• Advice for Musical Comedy: Technical proficiency is overrated—fun is key; you don't have to play well to be funny (23:09–23:49).
• Self-Consciousness: Mike shares getting intimidated about playing guitar onstage; Fred reassures that joy and presence beat skill (22:55–23:49).

8. Acting on “Wednesday”

• Uncle Fester Role: Fred discusses connecting to the character’s childlike glee, but not to his criminality. He jokes about being "against bank robberies" due to their violence and cameras (24:42–25:34).

9. Absurd Algorithm Rabbit Holes

• Instagram Algorithm: Fred’s feed is overloaded with civilian-filmed plane crashes, despite having no interest in such videos (34:31–35:43).
  • "Plane crashes filmed by civilians... I'm a little bit like, why do you think—I don't want this." — Fred (34:31/35:01)

10. Jealousy and Admiration

• Seth Rogen Envy: Fred (and other comedians) admire Rogen’s artistic completeness—writing, directing, acting, and lampooning the very industry he thrives in (28:36–31:30).
  • "Sometimes SETH ROGEN. Because he gets to do really cool things...his projects are complete." — Fred (28:36/29:17)

11. Relationship Deal Breakers

• “Being mean to waitstaff” is cited as a non-negotiable red flag by Fred (33:07–34:05).

12. Material Workshop: Jokes-in-Progress

• Mike’s “Husband” Bit: The need for a third partner who understands basic utilities, fearing he’d be replaced by a more competent “husband” (39:30–40:50).
  • "We need a husband...But what if this guy is so good with a wrench, he might not be so bad at sex either." — Mike (39:47–40:32)
• Fred’s “Museum Video Room” Bit: The awkward, performative quietness in museum video rooms, where self-presentation trumps art appreciation (44:16–47:01).
• Mike’s “Afterlife/Afterparty” Bit: The afterlife is like an afterparty—he’s not going, doesn’t want a “second location” (49:24–50:55).
  • "I view the afterlife the way I view the after party. Not going." — Mike (49:27)

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Memorable Quotes & Moments

• "The principle for me is to let go." — Fred (05:17)
• "I always think it's so obvious. I'm like, this is clear that I'm doing a joke." — Fred (27:01)
• "Sometimes SETH ROGEN. Because he gets to do really cool things...his projects are complete." — Fred (28:36/29:17)
• "The afterlife is like the afterparty. Not going. If it’s not gonna happen at the party, I’m going home." — Mike (49:24/49:36)
• "Let go of things you’ve heard before. If you think it sounds like sketch comedy, that might not be good." — Fred (11:46)

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Timestamps of Important Segments

• Portlandia & Punk Roots: 03:00–04:43
• Letting Go in Creativity: 05:14–05:53
• SNL Audition Stories/Impressions: 05:54–08:34
• Discussing Performance Style/Entrance: 08:51–10:07
• Advice on Sketch Writing: 11:36–12:18
• Writing and Collaboration – The Californians: 12:18–13:55
• Sincerity v. Joke Persona: 26:43–28:10
• Musical World Bits: 20:01–21:36
• Advice for Comedy Musicians: 23:09–23:49
• Instagram Algorithm Tangent: 34:31–35:43
• Working Out New Material: 39:24–50:06
• Afterlife/Afterparty Bit: 49:24–50:55
• Fred’s Chosen Charity: Letters to Santa: 51:34–52:13

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Notable Segments

• [03:00] Portlandia’s DIY roots and punk attitude
• [05:17] “Let go” as a creative approach
• [06:07] SNL audition and bringing drums onstage
• [08:06] How Fred develops impressions—“like a Polaroid”
• [12:22] The genesis of “The Californians”
• [20:01] Fred demonstrates global guitar sterotypes
• [26:43] The challenge of Fred’s comic sincerity
• [29:02] Fred and Mike’s good-natured envy of Seth Rogen’s career
• [33:45] Relationship deal breakers: “being mean to waitstaff”
• [44:16] Fred’s “museum video room” observational bit
• [49:24] Mike’s “afterlife/afterparty” analogy

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Closing

The episode, true to “Working It Out”’s spirit, is a warm, honest, and often hilarious glimpse into two comedians’ minds as they tinker with ideas, joke structures, and their relationships to art, music, sincerity, and each other. Highly recommended for anyone interested in how new comedy is born.

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Fred’s Charity Pick

• Letters to Santa / letterscharity.org – Provides direct assistance to families facing hardship in Chicago.

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For more episodes, subscribe to "Working It Out" on your favorite platform or watch full videos on Mike's YouTube.

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, shit. Whoa.

[A]

That is the voice of the great Fred Armisen. We are re airing one of our favorites today. Fred Armisen. So funny. I was on tour with him recently with John Mulaney in Oregon and Colorado, and it was a riot. Fred is like, literally like one of the funniest people on the planet. We're so lucky to have him on the podcast. This was his second appearance on the podcast. He just released this really fun album of sound effects called 100 sound effects. He of course, has a special on Netflix called Stand up for Drummers, which is singular and hilarious. He was on Sirent Live for many, many years. Arguably one of the greatest cast members of all time. Love this episode. We work out a bunch of jokes. Fred has a very yes and spirit. By the way, thanks to all the Working it out premium subscribers. If your least favorite thing about this podcast is the ads, have we got a plan for do? It's $4.99 a month. You get no ads and then you get bonus episodes. We had Pete Holmes, we had Liz Allen talking about improv. There's an episode where we work out your jokes. There's other episodes where we work out more of my jokes. Also, it's worth noting that this full episode is on YouTube. The video is also on Spotify, and apparently the video is also coming soon to Apple podcasts as well. So stay tuned for that. If you prefer the video version, check out all my tour dates on burbigs.com I'm actually going to be in Kansas City with Fred in support of John Mulaney in August. Oh, that should be really. Check out all my tour dates on burrbigs.com, sign up for the mailing list. Text Burbiggs to 917-444-7150 to be the first to know about upcoming shows. I think you're gonna love this chat with Fred. It's. I of course, have been a huge fan of his work on SNL on Portlandia, which we actually talk about quite a bit today. We talk about music, punk rock, where music meets comedy. Because I've been trying to write more comedy songs lately. Fred talks about his audition for Saturday night Live. He also plays Uncle Fester on the show Wednesday. That, too. Fred is an absolutely singular comedic talent. I love talking to him. Enjoy my conversation with the 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.

[A]

And I was thinking about it today. 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 it called it Thunder Egg.

[A]

Really important that you get Thunder Egg.

[B]

Like, why we're 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. 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. It 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. Yeah, I did.

[A]

You play drums for it?

[B]

I did.

[A]

You brought a drum first?

[B]

Yep. Timbali's first thing I. I ever did. So. 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 in 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. 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]

Can you. If all of us don't show up. Except you could. 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 into you and I very much cannot do John Mulaney.

[A]

You can't?

[B]

No. And I've seen people do them and

[A]

I. Yeah, I've seen it too.

[B]

And I'm like, I don't have that muscle of the 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. 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's like, what is, like, perfectly alike. 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. Yeah, his is. 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. But 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. Interesting.

[A]

I never thought about it that way specifically, but I. 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 say 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 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.

[A]

Geez, 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 a microphone?

[A]

What do you do?

[B]

And he said, he stays very still. He's like, your instinct is to really move around to fill the stage. And he was like, you know, 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, 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.

[A]

I never would have thought, what if it's a soap opera?

[B]

Never.

[A]

And 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? 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?

[A]

Yeah.

[B]

But for the table, it really does feel like, will my friends at the table find it entertaining? Is Bill gonna like it?

[A]

Right.

[B]

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.

[A]

Yeah. We're here, 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. 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.

[A]

If you're tone.

[B]

Volume and tone, I bet it does.

[A]

You pitch. You pitch up.

[B]

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

[A]

So let's play that. So, Fred, when you. 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 gonna take that again.

[B]

Okay?

[A]

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]

I'm a bunch of stuff and this is too low. 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]

Support for working it out comes from Article I love this Article furniture. Article has so many great desks. Really like awesome, elegant design. If you need a new desk for your office or your apartment, maybe a writing desk, check out Article. If you go to the article website, that's article.com, you'll find a section called Ideas and Inspiration. It's exactly what it sounds like and I love it. If you're looking to redesign a space, refresh your bedroom or your kitchen or your outdoor patio, you'll find great design options and examples. Sometimes that stuff can get overwhelming, but with Article can be fun. I feel like if you went on the Article website, you could spend hours there. It's just great stuff. They have a thoughtful design approach that makes it incredibly easy to mix and match, helping you create a space that feels cohesive as well as stylish. By the way, Article is offering our listeners $50 off your first purchase of $100 or more. To claim, visit Article.comWIO and the discount will be automatically applied at checkout. That's article.com wio for $50 off your first purchase of $100 or more. Support for working it out comes from Mint Mobile. There are things in life that you don't want to be transparent, like your swimsuit or your search history. But when it comes to your wireless bill, transparency is everything. That's why Mint Mobile wireless plans have no gimmicks, no gotchas, just high speed data and reliable coverage on the T Mobile 5G network. Right now, all plans are $15 per month, even unlimited. Mint Mobile took what's wrong with wireless and made it right. Choose from 3, 6 or 12 month plans and say goodbye to the monthly bill. To get your new wireless plan for just 15 buc a month, go to mintmobile.com/bigs. That's mintmobile.com/bigs. Cut your wireless bill to 15 bucks a month at mintmobile.com/bigs. That's it. There's no catch. Upfront payment of $45 for three months, $90 for six months, or $180 for 12 months. Plan required. $15 per month equivalent taxes and fees. Extra initial plan term only. Greater than 50 gigabytes. May slow when network is busy. Includes up to 20 gigabyte hotspot capable. Device required. Availability, speed and coverage varies. C mintmobile.com how about that voiceover work? I did the fast voice and everything. One of our producers saw you at Largo a few months ago and you did a bit about how every culture in the world plays guitar.

[B]

Yeah.

[A]

Can you do like one or two for me? Sure.

[B]

Let's see. 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. Australia. Canada's like. Walking around barefoot in the forest. 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. So it's like 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.

[A]

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

[B]

I think that was on piano.

[A]

Oh, he's on piano. Okay. That's. That's right.

[B]

I forgot what the next word.

[A]

Wow.

[B]

I forgot what the next word 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 a. 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]

Sure you were.

[A]

No, no, 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 got to 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. Yeah, but.

[B]

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 Halen.

[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 something 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.

[B]

Yeah.

[A]

Yeah, yeah, yeah, yeah. Do you feel nervous about it?

[B]

Excited about it? Excited, yeah. 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.

[A]

Yeah. And you're. You play Uncle Fester, and it's like, you're nothing like that, knowing you.

[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 at 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. It's a violent act. And I'm against bank robberies. I just got to say I'm against them. It's violent. It's not your money.

[A]

Yeah.

[B]

And that's.

[A]

Right.

[B]

These poor people working at a bank. And also the customers.

[A]

Yeah.

[B]

You're ruining. 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, and that could be our demise. 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 just like, you know, no. And then 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.

[B]

I know.

[A]

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. 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.

[B]

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

[A]

Right.

[B]

I, you know, love your record or

[A]

whatever it is you have that with a specific man that you don't want to say.

[B]

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

[A]

Oh, right.

[B]

I'm going to send you the song. And I'm like, I do some. 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 are you jealous of?

[B]

This is going to sound like a joke, and this is not a joke sometimes. Seth Rogen. Because I love. I am very happy with my wife and my career. And I'm like, man, he gets to do really cool things.

[A]

Rights, directs, acts. Yeah.

[B]

I'm like, does it all. He does it all. And, like, jealous is a hard. That's a tough word, you know? Cause I don't mean, like, jealous.

[A]

Yeah, yeah, yeah.

[B]

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.

[B]

Yeah.

[A]

With Test Brogan. You know what? You know what I think it is? I said this to Kamal, 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 and lampooning the entire system that he's been a part

[B]

of the whole time.

[A]

And 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. I was like, it's not an angry piece. And then I told them, yeah, yeah. 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, 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.

[B]

All of us are like that. But something about him, I'm like, he's. It's almost like he already knows the future is like, no, this one works out great new.

[A]

You're absolutely right.

[B]

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

[A]

Yeah.

[B]

Nothing ever seemed. Anyway.

[A]

No, that's a great one.

[B]

Yeah.

[A]

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. 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.

[A]

Yeah.

[B]

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, like, 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. Okay. Greeting cards. Yeah. Or like, you know, Eiffel Tower, you know, and me and this other woman were working, and she. She was from somewhere, but the. The boss was. 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 a sort of like, okay, like, hey, man. And she understood Spanish. She was like, I heard what you said, and 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. Yeah, that was like, do you have

[A]

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. Because I was gonna say smoking, and then I'm like, no, Felik, you're good with smoking. No, no, more that. Like, I've dated.

[A]

Oh, yeah. Some smokers.

[B]

Some smokers.

[A]

Yeah. Yeah, for sure, man.

[B]

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 at all.

[B]

Yeah. Or. Yeah.

[A]

Or 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? 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 on. In your algorithm?

[B]

Plane crashes.

[A]

What?

[B]

Plane crashes 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, nope, 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. Oh, God. 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, Terrible. And I'm a little bit like, why do you. Why do you think? 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 hap. Now it's starting to go. Like, did you know that in 1991,

[A]

Support for working it out comes from Quince? One thing I love about summer is how easy everything feels. Like the days are a little more relaxed. I find myself reaching for the same comfortable go anywhere pieces again and again. That's why I keep coming back to Quints. They focus on well made essentials that naturally become those everyday staples you actually live in all season long. Quince's 100% European linen pants and shirts are breathable, easy to throw on in the summer. Upgrade your rotation needs. Starting at just 34 bucks. Their tees are soft enough to live in all day, and the lightweight cotton sweaters are exactly what you need when summer nights cool down. Everything at Quint is priced 50 to 80% less than similar brands. They work directly with ethical factories and cut out the middlemen. So you're paying for exceptional quality, not brand markup. Make your summer wardrobe easier. Go to quince.comburbigs for free shipping on your order and 365 day returns. Now available in Canada too. That's Q U I n c e.com BRBIGS for free shipping and 365 day returns. Quince.com BRBIGS support for working it out comes from Helix. We talk a lot about Helix mattresses on this show. It's a huge topic over here. Helix is offering discounts on their Luxe and Elite mattresses. What's the difference, you ask? Well, the Luxe is their best selling signature mattress crafted with deluxe lumbar support and premium comfort to relieve back pain and enhance your sleep. And the Elite is the ultimate investment in your sleep, designed to deliver exceptional comfort, advanced cooling and unparalleled support for years to come. Let's talk about Helix mattress toppers. Helix has five different mattress toppers to choose from. So even if you're not in the market for an entire mattress, you can upgrade your current a Helix mattress topper. They even have one called Dual Comfort. It's very cool. It's a mattress topper where one side is plush and one side is firm. It's like two mattresses in one. Go to helixsleep.com burbigs for 20% off site wide. 25% off luxe mattresses, 30% off elite mattresses. That's a great deal. That's helixsleep.com burbigS for 20% off sitewide 25% off luxe mattresses,. 30% off elite mattresses. Helixsleep.com burbigs support for working it out comes from Warby Parker. If you listen to this podcast, you know how much we love Warby Parker. The glasses are great, the prices are great, the virtual try on is a game changer. But let me talk to you about something else. 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. How often have you just skated by on one single pair of glasses? With Warby Parker, there's no reason to do that because the glasses are affordable. You know, one of our producers, Peter, recently got new glasses from Warby Parker and the price was so good he got his first ever backup pair of glasses. True story, everybody. He tells that at parties. Now he doesn't need to worry if someone breaks his glasses while editing this ad. He's got a backup pair right there. Thanks To Warby Parker. Right now, buy one pair of glasses and get 20% off any additional [e-mail] for Biggs. That's 20% off any additional pairs when you purchase one pair at W A R B Y parker.com for Biggs. I know one person who's going to use this code. Peter. I have just a couple jokes for the material section. Just things I'm. They're actually. These are early, early ver. This is a joke. Cuz, like, I'll show you. This is. This is me at the comedy seller this week because I just filmed a special, so 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. And can imagine it listening to it. I'm holding up my notebook. This is just a bunch of jokes.

[B]

Okay.

[A]

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. 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. Yeah, he, you know, his shoulder might not quiver when he's on top 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 do. What do I have to offer in this thing? Like, we're talking about red flags and

[B]

it's like, 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.

[A]

Yeah. Do I have that? What's the appeal?

[B]

I'm way with you.

[A]

Yeah, it's a weird feeling.

[B]

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

[A]

Yeah, it's weird. Yeah, 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, because. Because 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. It's like very. Like, it's this one genre, right. 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 Cordo?

[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 know I knew two of those five.

[B]

Oh, really?

[A]

XTC and Diva. Yeah, yeah, yeah, yeah. Devo, Right.

[B]

Yeah.

[A]

Okay.

[B]

I just think 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 out, 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, blep.

[A]

Yeah. And then the other one that I do sometimes, and I'll probably do it this weekend. I'd 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. I go. It's okay. Like, it's okay if you don't know me. Like. Like, most often when people come up to me, they'll. They'll recognize Me. But they don't know from where.

[B]

Okay.

[A]

They'll go, hey, like the cafe the other day, my neighborhood guy goes, hey,

[B]

what are you in?

[A]

I'm like, I'm in the worst conversation of my life.

[B]

What are you in?

[A]

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, yeah, yeah, yeah. 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 in and I watch the film and I don't want to disturb anyone. And there's this way that unnatural, that like, I can't even connect with the

[A]

film because all I'm thinking about your

[B]

own behavior, my body and everyone else. And what I'm trying to prove to everyone is like, I also understand and appreciate. So whatever. It's like noise, like. Yeah. And it's this. Careful. And I want to be invisible.

[A]

Yeah.

[B]

And then I leave the same way. So I hope I can figure out a way to do it.

[A]

Right. 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, no. Right.

[A]

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

[B]

No.

[A]

Yeah, I get it. Yes. 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.

[A]

Yeah.

[B]

This is where I'm meant to be.

[A]

Yeah.

[B]

And then escape.

[A]

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

[B]

Yep.

[A]

But I know why

[B]

it's not.

[A]

Cause 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 really, you could just give me the barcode.

[B]

Yeah.

[A]

And then I'll go. I'll watch it.

[B]

Happy to watch it. Yeah.

[A]

And. And I'll even do it quietly at home.

[B]

Yep.

[A]

Just, like, delicately.

[B]

They build the whole structure and everything.

[A]

I.

[B]

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.

[B]

And it's like, oh, yeah, yeah, yeah, yeah.

[A]

It's the. Yeah, it's the rectangular benches. Yep.

[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. 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, it's. I thought it was a pool. Isn't it a pool? And I'm like. And I show. I show up At a meeting, they'll be like, I heard you were walking on the road. Isn't that the road? Are they roads?

[B]

It's exactly.

[A]

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.

[B]

They don't swim. 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 want some attention.

[B]

Yeah.

[A]

But you're right.

[B]

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, I suppose.

[B]

I suppose.

[A]

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]

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

[A]

Oh, right, right. We're talking about.

[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, that.

[A]

Yeah.

[B]

Yeah.

[A]

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 the afterlife the way I view the after party. Not going.

[B]

Wonderful.

[A]

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.

[A]

And afterlife, 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 to. Like. We're gonna 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 always. Yeah, yeah, it's far.

[B]

We're driving to some other thing.

[A]

That's a great tag. Cause it is far. The afterlife is far.

[B]

It is far.

[A]

That's a worthwhile thing to point out.

[B]

Yeah, it's a 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. Yeah, it's.

[B]

You're going, right?

[A]

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

[B]

I'll see you there.

[A]

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

[B]

Yeah. 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 her 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.

[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. 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]

We'll 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. Cuz it's not done. Working it out.

[A]

That's going to do it for another episode of Working it Out. Fred is on Instagram @so rdoc I e g o. You can get his album 100 Sound Effects from Drag City Records on September 26th. You can watch the full video of this episode on my YouTube channel @Mike Birbiglia. Subscribe if you're there because we're going to be posting more and more videos. Check out birbiglitz.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 Bitch by Shub Sarin Supervising engineer Kate Balinsky. Special thanks as always to Jack Hansonoff and Bleachers for their music, the intro and outro music. Special thanks as always to my wife, the poet J. Hope Stein, author of Little Astronaut, and of course our daughter Una, who built the original radio fort made of pillows. 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 out 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.