Laid

Summary

Pop Culture Happy Hour – Episode: Laid
Release Date: December 23, 2024
Host: NPR’s Pop Culture Happy Hour Team (Linda Holmes, Glen Weldon, Stephen Thompson, Aisha Harris)
Guests: Christina Tucker, Margaret H. Willison
Duration: Approximately 18 minutes

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Introduction to Laid

In this episode of Pop Culture Happy Hour, host Glen Weldon introduces the Peacock series Laid, describing it as a "very dark rom-com." The show stars Stephanie Hsu as Ruby, a young event planner in Seattle who discovers that all of her exes are dying under mysterious and often bizarre circumstances. Determined to understand why, Ruby conducts a "sexual audit," aiming to warn everyone she’s ever been intimate with that they might be next to die. Glen adds, “It’s funnier than that sounds and may make a good holiday hangover binge” (00:23).

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Panel Discussion: First Impressions and Character Analysis

Christina Tucker begins the discussion by expressing a generally positive stance on Laid, noting its "deeply acerbic but really gonzo world building and tone." She appreciates the show's ability to remain engaging despite featuring an unlikable protagonist, stating, “It's been a long time since we've had someone so unlikable on and I kind of miss that” (04:54).

In contrast, Margaret H. Willison shares a more nuanced perspective. She admits struggling with the protagonist’s characterization, describing Ruby as "monstrous" and questioning whether the show effectively conveys just how terrible the main character truly is. Margaret compares Ruby to characters from other series like It's Always Sunny and New Girl, suggesting that Laid lacks the "steadiness in that characterization" that makes such characters endearing or relatable (05:07).

Glen Weldon counters by emphasizing the importance of humor over likability in a comedy: “It's not about likability, it's about funny. And this is a comedy. All anybody cares about is funny. And I think this show is funny” (06:00). He praises Stephanie Hsu's performance, asserting that her portrayal of Ruby makes the character likable in her own right despite her flaws.

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Humor and Dialogue: Striking the Right Balance

The panel delves into the show's humor, particularly its dialogue. Glen Weldon appreciates how both Stephanie Hsu and Zasha Mamet deliver jokes effortlessly, though he admits there are moments of "overwritten jokes." Christina agrees, highlighting that the dialogue mirrors real conversations among friends, which might be a double-edged sword: “But it does in feel like how I talk with my friends, which is 100%” (07:38).

Margaret H. Willison draws a parallel to critiques of John Green novels, where dialogues are often perceived as unrealistic, despite teens affirming their authenticity. She praises the show's media references and guest stars, noting, “Kate Berlant. A little bit wasted. John Early. Perfectly deployed. Everything about that was flawless” (14:13).

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Character Dynamics and Guest Performances

A significant strength of Laid, according to Margaret and Christina, is the dynamic between Stephanie Hsu and Zasha Mamet’s characters. Margaret underscores, “The strongest thing about the show is the dynamic between those two actresses and the dynamic between those two characters” (08:24). Christina echoes this sentiment, describing their interactions as "easy and breezy and breathless" and highly enjoyable to watch.

The panel also commends the guest stars, particularly John Early and Kate Berlant, for their flawless performances that enhance the show's overall quality.

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Plot and Tone: Navigating the Absurd and Surreal

Margaret brings attention to a pivotal scene in the first episode where Ruby belts out "Graceland" in the car with her deceased ex-boyfriend’s family. She finds this moment jarring and questioning the character’s humanity: “But this feels like they're letting her sparkle use the show rather than using her sparkle for the show” (10:15). Glen responds by highlighting how this scene signals the show’s shift into a more surreal and absurd territory, making him more engaged as he anticipates what’s to come (13:29).

Glen further compares the tonal balance of Laid to shows like Search Party and Call Me for Accounts, suggesting that Laid fluctuates between different tones without fully committing to one, which can be disorienting for viewers seeking consistency (15:21).

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Mystery and Future Prospects: Season Continuity

The conversation turns to the overarching mystery of why Ruby’s exes are dying and how the show handles this plotline differently from its Australian predecessor. Margaret references the original Australian sitcom, noting subtle differences in how the mystery unfolds (16:00).

Christina feels compelled to watch Laid to potentially support the creation of a second season, remarking, “I guess I do have to say you guys need to watch it. So thus I can get a second season” (17:13). However, Glen expresses concern that advising listeners to wait for a second season might hinder the show’s initial viewership, ultimately supporting its continued watching and enjoyment: “I certainly think this is worth watching. I think this is a lot of fun” (17:23).

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Conclusion: Final Thoughts and Recommendations

In wrapping up, the panelists offer their final recommendations:

• Christina Tucker advocates for giving the show a chance immediately to support its success and possible continuation.

• Margaret H. Willison encourages viewers to embrace the show’s unique qualities and the potential for future development, despite its challenging moments.

• Glen Weldon reiterates his support, emphasizing the show's humor and media-savvy references as key attractions.

The discussion closes with a mutual appreciation for the performances and the show's distinctive approach to blending comedy with dark, surreal elements, leaving listeners with a comprehensive understanding of Laid and its place within the current pop culture landscape.

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Notable Quotes

• Glen Weldon on humor over likability:
  “It's not about likability, it's about funny. And this is a comedy. All anybody cares about is funny. And I think this show is funny.” (06:00)

• Margaret H. Willison on characterization:
  “Like, this is not quirky. This is monstrous. Yeah, that was a hard time for me.” (05:53)

• Christina Tucker on dialogue authenticity:
  “But it does in feel like how I talk with my friends, which is 100%.” (07:38)

• Glen Weldon on Stephanie Hsu's performance:
  “I think Ruby is likable because Ruby is played by Stephanie Shue.” (07:06)

• Margaret H. Willison on the pivotal scene:
  “But this feels like they're letting her sparkle use the show rather than using her sparkle for the show.” (10:15)

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Final Recommendations

Laid presents a unique blend of dark humor and surreal storytelling, anchored by strong performances from Stephanie Hsu and Zasha Mamet. While the show's fluctuating tones and challenging character portrayals might not appeal to everyone, its clever writing and engaging mysteries make it a worthy watch, especially for those seeking something offbeat and media-savvy for their holiday viewing.

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Produced by: Liz Metzger and Lennon Sherburne
Edited by: Mike Katsif
Supervising Producer: Jessica Reedy
Theme Music Provided by: Hello. Come
Contact: Find us on Facebook

Transcript

[Sponsor Announcer]

Support for this podcast and the following message come from Autograph Collection hotels with over 300 independent hotels around the world, each exactly like nothing else, Autograph Collection is part of the Marriott Bonvoy portfolio of hotel brands. Find the [e-mail].

[Glen Weldon]

The new series Laid is a very dark rom com or sort of rom com. It stars Stephanie Hsu as a young woman who discovers that all of her exes have started to die under mysterious, sometimes freakish circumstances. This causes her to conduct a kind of sexual audit of her life and she sets out to warn everyone she's ever slept with that they are about to die. It's funnier than that sounds and may make a good holiday hangover binge. I'm Glen Weldon and we're talking about the Peacock series Laid on this episode of Pop Culture Happy Hour from npr.

[Sponsor Announcer]

Support for this podcast and the following message come from Autograph Collection hotels offering over 300 independent hotels around the world, each exactly like nothing else. Hand selected for their inherent craft, each hotel tells its own unique story through distinctive design and immersive experiences. From medieval falconry to volcanic wine tasting. Autograph Collection is part of the Marriott Bonvoy portfolio of over 30 hotel brands around the world. Find the [e-mail] this message comes from Schwab at Schwab.

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This message comes from BetterHelp this holiday season, do something for a special person in your life. You give yourself the gift of better mental health. BetterHelp online therapy connects you with a qualified therapist via phone, video or live chat. It's convenient and affordable and can be done from the comfort of your own home. Having someone to talk to is truly a gift, especially during the holidays. Visit betterhelp.com NPR to get 10% off your first month.

This message comes from Sun n Ski Sports. Picture the scene. Fresh powder, sparkling slopes and effortless gliding on perfectly fitted skis. Sun N Ski Sports is making magical mountain moments possible this holiday season. Discover the best gifts of the season with up to 50% off premium outdoor brands. Purchases of skis or snowboards before December 30th include free setup and binding Mount daily Advent calendar. Giveaways on social media. Add to the holiday excitement. Shop in store [e-mail] joining me today is Christina Tucker.

[Glen Weldon]

She's the co host of the podcast Wait, is this a Date? Hey, Christina. Welcome back.

[Christina Tucker]

Hello, hello, hello.

[Glen Weldon]

Also with us is culture writer Margaret H. Willison. Hey, Margaret.

[Margaret H. Willison]

Hi, Glenn.

[Glen Weldon]

Hey. This is the dream team. I watched this show and I was like, I want to talk about this on pchhh and I hope we can get Margaret. I hope we can get Christina.

[Margaret H. Willison]

We felt the same way.

[Christina Tucker]

Let's go.

[Glen Weldon]

Let's go do this. Laid stars Stephanie Hsu as a Seattle event planner named Ruby. She's maybe a little selfish, maybe a little glib, maybe even a bit obnoxious. What's for certain, however, is that everybody she's ever slept with has begun to die under some mysterious circumstances. Luckily, she's got her best friend, AJ Played by Zasha Mamet, a true crime obsessive who is only too eager to help her get to the bottom of all this.

[Unknown Speaker]

This is the timeline of everyone you have ever had sex with in order along with everything you ever said about them. The sex you had, quality, quantity, location, and how they died.

[Glen Weldon]

If they're dead, throw in a solid joke hit rate in some high quality guest stars like John Early, Kate Berlant, Simu Liu, Chloe Feynman, and I think this is just worth noting. Phineas O'Connell. That's right. Billie Eilish's brother. All that plus lots of death. So much death. More death than in just about any sitcom you care to name. Happy holidays, everyone. All eight episodes are streaming now on Peacock. Christina, kick us off. What'd you make of Laid?

[Christina Tucker]

I am generally pro laid. I think it's combination of, like, deeply acerbic but really gonzo world building and tone made some things harder for me to, I think, land emotionally, but did make the world that it was in really fun and something I kept being like, well, I do want to watch the next episode, right? And I had just a fun time. It's been a long time since we've had someone so unlikable on and I kind of miss that, you know?

[Unknown Speaker]

Yeah, this could be a new start, the beginning of me making a change. A funeral is your new start. I am burying the old judgmental me as well as a literal man and also a man I used to know.

[Glen Weldon]

Yes, you're speaking my language. How about you, Margaret?

[Margaret H. Willison]

I had a lot of the same feelings Christina did, but I think maybe my response to some of the gonzo stuff kicked me out of the narrative a little bit more than I wanted it to. I had a hard time figuring out if the show understood how terrible the main character really was, because it seemed to sort of vacillate in a lot of different directions. And I wanted there to be a little bit more, like, steadiness in that characterization. Like, in an always sunny, everybody's terrible, but that's the joke, Right? Or the other two, where it's like, you can see how terrible they are. They sometimes can see how terrible they are, but you also get to see the emotional wreckage they're leaving behind them. This was sort of stunning. Stuck, maybe more almost in, like, a new girl space.

[Glen Weldon]

Okay, interesting, interesting.

[Margaret H. Willison]

Like, this is not quirky. This is monstrous. Yeah, that was a hard time for me.

[Glen Weldon]

Okay.

[Margaret H. Willison]

But great jokes, great guest stars. If I had not been watching it for pchh, I don't know if I would have watched all eight episodes. But by the time I got to episode four, I was like, I'm in. I'm down. And again, just the year of Sasha Mamet. She's so good in this.

[Christina Tucker]

She's so good. So good. So good.

[Unknown Speaker]

Because I was thinking, how scary would it be if their initials spelled out, like, a creepy word? Guts or hang? I would scream. But they don't, so it's not that.

[Glen Weldon]

Okay. I just have a different reaction to the whole likability question. I always have. I just always think likability is a movable feast because as soon as you start to worry about how likable your main character is, you turn your main character into oatmeal, into. And everybody around them is interesting. Right? Because they're bouncing off the main character. The main character exists to be bounced off of. So I get how likability is a concern. I also get how it's not about likability, it's about funny. And this is a comedy. All anybody cares about is funny. And I think this show is funny. And also, this might just be my reaction. I also think Ruby is likable because Ruby is played by Stephanie Shue.

[Christina Tucker]

Yeah. That's what makes it work.

[Glen Weldon]

This is what makes it work. Right?

[Christina Tucker]

That's the magic key.

[Glen Weldon]

Stephanie Hsu could kill and gut and eat a capybara in front of my eyes, and I'd be like, well, let's see where she's going with this. You know what I mean? She's got that power. I think the jokes are funny. I think there's plenty of them. And you've got. Let's talk about this. Both Stephanie Hsu and Zasha Mamet selling the jokes by tossing them aside, by throwing them away. I think there's some overwritten jokes in this. I think there are some very complicated in terms of just their syntax. The only way jokes like that work is if you throw them aside.

[Christina Tucker]

Yeah, I had the similar. Like, I feel like this dialogue is gonna be dinged for being overwritten because of these jokes. And I was like, but it does in feel like how I talk with my friends, which is 100%. I mean, let that reflect whatever it does, I guess, to the audience. But I was like, unfortunately, I have been clocked here.

[Margaret H. Willison]

Yeah, this is exactly what it was like when everybody was like about John Green novels. Like, teenagers don't talk like that. And I'm like, oh, contraire. I do. I clipped one of the jokes where I was like, oh, this is an exchange that would absolutely happen between maybe even me and Christina.

[Unknown Speaker]

They don't want to be the people who know something and don't say something. We want to be Niecy Nash in Dahmer Monster, the Jeffrey Dahmer Story, American Dahmer Monster, the Jeffrey Murder Story. Ryan Murphy Presents Jeffrey Crime Monster, American Murder Dahmer.

[Margaret H. Willison]

Just like that. And I'll say unequivocally, the strongest thing about the show is the dynamic between those two actresses and the dynamic between those two characters.

[Christina Tucker]

Absolutely. Yeah.

[Margaret H. Willison]

That is one thing that is baked all the way through and, like, I could eat it for years.

[Christina Tucker]

Yeah. That feels easy and breezy and breathless and, like, it's just so fun to watch them have fun with each other. And the second I heard that Dahmer clip, I was like, yep, that's Margaret and I.

[Margaret H. Willison]

So that's everyone on this call.

[Glen Weldon]

I mean, absolutely. Because, I mean, like, Sasha Mamet, I don't want to Judy Greer her. I don't want to say she should only be playing this kind of part. But like, Margaret, we talked about the Decameron, the Netflix series the Decameron. She's in that. She's great in that.

[Margaret H. Willison]

So good.

[Glen Weldon]

You watch her doing that, and you're like, this is what you should be doing because you're so good at it. It's not the only thing you can. But this is. You're in the zone. But when you watch, say, Madame Web and Zasha Mamet turns up as, like, the hacker who's gonna jack into the mainframe, you're like, what is going on? She turns up in this, and everything is right with the world. I Also knew in the opening minutes that the show was for me. Because we get a different joke. We learn very early on that the character played by Phineas O'Connell doesn't pay for Spotify, so their sex music keeps getting interrupted by ads. For what? Everyone. Do we remember the poll? Do we remember the reference?

[Unknown Speaker]

Also, when I put on music, what.

[Glen Weldon]

Was up with all those commercials for Elsbe?

[Unknown Speaker]

You need to get Spotify without ads. It's only like 10 bucks more. I switched over and I'm happy. I'm happy I made the choice.

[Glen Weldon]

Elsbeth gets interrupted by ads for Elsbeth.

[Christina Tucker]

The Elsbeth reference.

[Margaret H. Willison]

This is another thing I gotta sludem for, which is the references to other media. Perfect.

[Glen Weldon]

Yep.

[Margaret H. Willison]

Again, I have another joke. It is when Sasha Mamet's character is arguing with her very recently ex boyfriend about the fact that they are breaking up.

[Glen Weldon]

Please, aj, I'm so sorry, but you.

[Christina Tucker]

Cannot break up with me. Why?

[Unknown Speaker]

Because you have to get your own Paramount plus subscription.

[Christina Tucker]

No, I don't even watch Paramount Positive anymore.

[Glen Weldon]

Ever since Rise of the Pink Ladies got canceled.

[Margaret H. Willison]

Rise of the Pink Ladies. I didn't even remember that show existed.

[Christina Tucker]

That one made me hoot and holler. I was like, wow, we have been through a lot of TV in the world. We have to the Mamet point, I can't get enough of her playing best friend to, like, a wacky person who has, like, a trail of dead bodies in their wake. I think this is between Flight Attendant and this. She's really leaning into something beautiful.

[Glen Weldon]

That's true.

[Margaret H. Willison]

But thank you for bringing Flight Attendant forward. Cause I feel like Kaley Cuoco has that same innate, like, lovable sparkle. You should be building a romantic comedy around this woman. But I feel like that show has a much better sense of how toxic she is and does a much better job of sort of like, taking you on the journey to her figuring it out. And this show. I have to talk about a moment in the first episode because it's not about likability is. It's about comprehensible characterization. And I need to talk with you both about the scene.

[Christina Tucker]

Oh, I have a feeling I know what it's gonna be.

[Margaret H. Willison]

You do? You do? Where for 85 seconds, we watch Stephanie Xu sing Graceland. Get to the point of belting Graceland in a car with her dead college boyfriend's parents, his dog who is named after her, his current girlfriend who looks exactly like her. And this scene baffled me so much that I went back to the Australian series. This was based On. Because I was like, maybe this is one of those things where they're, like, hewing too closely to the original show, but they don't recognize that it hits so different when it's all Americans in the car. Absolutely not. No. We have a clip here that will show you the volume the Australian character reaches. Right. That's just like, we can't help singing along. And then we have a clip that shows you the volume Ruby reaches. As if I didn't know that. As if I didn't know my own bit. I just don't understand that character as a human being anymore. 85 seconds in a car, everyone's silent, and you are belting Graceland like you are a Broadway star, which Stephanie Hsu.

[Glen Weldon]

Is, to be fair. Okay, good. I'm glad you called that up. Okay, good.

[Margaret H. Willison]

But this feels like they're letting her sparkle use the show rather than using her sparkle for the show. Does that make sense?

[Glen Weldon]

Fair?

[Christina Tucker]

It does make sense. It does make sense. And I will say, like, that was a moment where I was kind of like, can I get on board? Like, I'm happy to watch unlikable, bad, whatever, charact. But is this a person who functions in the world as I know it to be true? But I think that is a question kind of generally with the show. Like, is this world one that I know to be true? Because, like, there's a lot of kind of surprising death that occurs. It really is, for the most part, people kind of just rolls right off the shoulders of most people. And it's a little shocking.

[Glen Weldon]

See, that moment you're talking about, Margaret, is preceded by the realization that this family cares about her deeply because she made such a huge impression on this person that she dated in college very briefly. That was so absurd that that kind of keyed me into the surreal quality. Like, the show hadn't been that absurd before. It goes that absurd. And I'm like, okay, so I'm on a ride now and then. So something like that moment I giggled through. It's keying you into what kind of show it's going to be with the kind of references it's making, what kind of guest stars it's getting. I'm sorry, you cast Josh Segarra in your pil. That is a cheat code for Glenn's. That's how you get me on your side. Kate Berlant. John Early.

[Margaret H. Willison]

I think Kate Berlant. A little bit wasted. John Early. Perfectly deployed. Everything about that was flawless.

[Christina Tucker]

John Early. Stunning, stunning work.

[Glen Weldon]

I understand that there's no business class on this flight. I guess I'm curious as to why that is. This is a SAG issue. I mean, why did we even strike? It's something where, you know, like, you suspect it was written for him. But let's talk about this. Then the deaths start piling up. I cannot think of a sitcom that deals this glibly with this much death before. If you're gonna get kicked out of this, if you're not gonna say, I wanna binge this over the holidays with my family, with my parents, that might be the reason I would point to terrible.

[Unknown Speaker]

He's dead. Yeah. His last Instagram is a photo of a dog. We should rewatch Clifford.

[Christina Tucker]

Yes, I think it could be. And I do think because the show is tonally kind of back and forth, they do ask you to kind of sit in the grief of whatever has just happened. And sometimes they're like, no, we don't have time for that today. So I think it could be kind of hard for, like, a family holiday binge to feel like we're on a steady track here.

[Glen Weldon]

White Christmas or this.

[Margaret H. Willison]

I can think of another show that sort of deals with depth almost this glibly, and it is Search Party.

[Glen Weldon]

Oh, sure. Okay.

[Margaret H. Willison]

And I would say that this is someplace between Search Party and, like, call in from accounts, as far as the tonal balance goes. And I wanted it to figure out its allegiance a little bit better than it had.

[Glen Weldon]

Well, let's talk about this then, because this kind of augurs for. If there's going to be a second season. We don't know as the time we tape this if there's going to be one. But there is a mystery in this show why this is happening. It's based on that Australian sitcom you mentioned, Margaret, that ran for two seasons. I gather. I haven't seen it, that the mystery is unfolding in this. This show slightly differently than it did in the Australian show.

[Margaret H. Willison]

Based on the Wikipedia page. I think so.

[Glen Weldon]

Exactly. We'll leave it at that. Given that and that the mystery is sort of resolved. But then maybe it isn't. At the very end, would you recommend binging this show in an afternoon? Did it leave you satisfied? Would you recommend maybe waiting to see if we get a second season before watching it? Let's do some service journalism for the.

[Christina Tucker]

Folks here, I think. Wait until we see if we get a second season. It got me personally, I thought by the time I reached that last episode, what we learned in it was satisfying and was interesting enough and made sense in the world enough that I was like, oh, I actually do need to know what a second season would look like kind of immediately. Honestly, I have to commend them. That's a bold ending without knowing you're getting season two. So go off, guys.

[Margaret H. Willison]

You know, I think, you know, if you want to see a show about bisexual Stephanie Shue where theoretically she had sex with John early, like if. If that's you, you know who you are. I am also you.

[Christina Tucker]

That calls to you.

[Margaret H. Willison]

And those 85 seconds are long, my friends. But if you can get through them, I think there's value in those hills. Cause I do like what they've suggested about how the mystery is going to unfold. I would love to see it.

[Christina Tucker]

I guess I do have to say you guys need to watch it. So thus I can get a second season. So in that way, I say journalism is service for me.

[Glen Weldon]

Yeah. That's the missing reagent of this equation. Right. If nobody watches it because we're telling them not to watch it until it's the second season, then we are defeating our own purpose here. I certainly think this is worth watching. I think this is a lot of fun. I think the jokes just keep landing and landing and landing. The more specific and the more weirdly media obsessed they become, the funnier I think the show is.

[Margaret H. Willison]

Yeah.

[Christina Tucker]

I mean, if you're gay and media brained, this is for you. It's kind of just a fact.

[Margaret H. Willison]

That's true.

[Christina Tucker]

There's no getting around it. That's true. Your duty is to put your eyes on one episode and see what it does for you.

[Glen Weldon]

Yeah. What we're talking about here is the difference between a four quadrant hit and being ruthlessly targeted by a show in different ways. I think we all were. Maybe you will be too. We want to know what you think about laid when you see it. Please see it. Find [e-mail] PCHH that brings us to the end of our show. Christina Tucker, Margaret H. Willison, thank you so much for being here.

[Margaret H. Willison]

Thank you for having.

[Christina Tucker]

Thank you.

[Glen Weldon]

I knew this was the group. This episode was produced by Liz Metzger and Lennon Sherburne and edited by Mike Katsif. Our supervising producer is Jessica Reedy and hello. Come and provides our theme music. Thank you for listening to Pop Culture Happy hour from npr. I'm Glenn Weldon and we'll see you all tomorrow.

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