511: Fiasco! (2013)

Summary

This American Life: Episode 511 - "Fiasco!" (2013)
Host: Ira Glass
Release Date: November 3, 2013

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Introduction

In this episode of This American Life, host Ira Glass delves into the concept of a fiasco, exploring what distinguishes a mere mistake or failure from a full-blown disaster. Featuring two compelling stories and insightful discussions, the episode examines how ambition and human error can culminate in chaotic outcomes that transcend ordinary mishaps.

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Act 1: The Theater Production of Peter Pan

Timestamp: [01:40] - [22:27]

The first story revolves around a high school theater production of Peter Pan in an unnamed small town below the Mason-Dixon Line in Appalachia. Directed by a woman with questionable credentials, the ambitious production quickly spirals into chaos.

• Ambition Gone Awry: The director, who may not have substantial directing experience, convinces the local college theater department to stage Peter Pan. The production boasts elaborate set pieces, including flying apparatuses rented from New York, which are meant to give characters the ability to "fly."

• Technical Failures: During the opening scene, the apparatuses malfunction, causing the actors playing the children to dangle awkwardly and unpredictably in the air. This technical failure creates an uneasy tension in the audience, who are empathetic towards the struggling actors.

  Ira Glass ([03:27]): "This is a story not just of a mediocre play or a terrible play when it comes down to it. It's not even a story about a play. This is a story about a fiasco and about what makes a fiasco."

• Escalation of Errors: As the play progresses, more mishaps occur. Captain Hook’s prop hook detaches and accidentally strikes an elderly audience member ([11:21]). Additionally, the flying apparatuses continue to fail, causing actors to crash into set pieces and disrupt the narrative flow ([13:31]).

• Audience Reaction: Initially forgiving, the audience becomes increasingly restless and eventually starts laughing uncontrollably as the production disintegrates further. The culmination of errors transforms the play into a full-fledged fiasco, with the audience no longer holding back their reactions.

  Jack Hitt ([18:27]): "This is a fiasco. And what's really interesting about a fiasco is that once it starts to tumble down, the audience wants to push it further along."

• Conclusion of the Story: The production attempts to press on despite the mounting disasters, but ultimately spectacularly fails, embodying the essence of a fiasco where ambition meets unmanageable chaos.

  Ira Glass ([22:27]): "What happens when you combine human error with what we will call, in this case, animal error? We have this story from a police officer..."

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Act 2: The Squirrel Incident

Timestamp: [24:51] - [37:19]

The second story features an 18-year veteran police officer recounting a call he responded to regarding an animal disturbance in a suburban home. What seemed like a routine call devolves into a chaotic fiasco.

• Initial Call: The officer and his partner arrive at the homeowner’s request to address a "squirrel or raccoon" in the attic. The homeowner’s wife insists on their involvement despite the officers’ indication that it’s outside their usual responsibilities.

  Unnamed Police Officer: "Normally I'd handle this sort of stuff on my own, but my wife really insists that I call."

• Escalation: As the officer attempts to retrieve the animal, a series of mishaps occur. He encounters a squirrel that startles him, leading to a heavy flashlight falling on the homeowner, causing injury ([29:35]).

  Unnamed Police Officer: "So I just pressed my lips together so I didn't spit it out. And the coffee came shooting out my nose."

• Physical Chaos: The situation worsens when the officer loses balance, resulting in both him and his partner falling and struggling to regain control while the squirrel wreaks havoc in the home. A subsequent fire breaks out when the squirrel interacts with the fireplace, leading to significant property damage and personal injury ([32:54]).

• Impact and Reflection: The aftermath is devastating—a broken nose, ruined furniture, and a distressed homeowner. The officer reflects on the nature of fiascos, emphasizing how human error combined with unforeseen complications can lead to disastrous outcomes.

  Unnamed Police Officer ([36:55]): "I was thinking that I would go up there in the attic and find this cowering squirrel and somehow kind of lure it into some kind of a trap and then walk out with it and be like a hero. But as it turned out... the squirrel definitely won."

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Act 3: Margie Rocklin's Interview Fiasco

Timestamp: [39:12] - [57:53]

Journalist Margie Rocklin shares her experience interviewing Moon Unit Zappa, which turned into an unexpected and embarrassing fiasco.

• Setting the Scene: Sent by the Los Angeles Reader in 1982, Margie prepares to interview Moon Unit Zappa, navigating the challenges of "Valley Speak" and maintaining composure during the interview.

• Embarrassing Moment: During the interview, Margie struggles with nerves and accidentally squirts coffee up her nose after bursting into laughter at an unexpected moment.

  Margie Rocklin ([53:50]): "Shooting right out my nose."

• Breakdown of Social Order: The incident disrupts the formal structure of the interview, leading to chaos in the room. Despite the embarrassing mishap, the moment ultimately fosters a genuine connection between Margie and Zappa.

  Margie Rocklin ([55:32]): "They were now my friends."

• Positive Outcome from Chaos: Although initially a fiasco, the incident broke down barriers and led to a meaningful relationship, illustrating how a chaotic moment can enhance personal connections.

  Ira Glass ([56:18]): "To me, the thing about it that's useful is that it shows the useful purpose of a fiasco. That is, when social order breaks down, that can be a force... for good."

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Act 4: Mike Birbiglia's Worst Show

Timestamp: [40:08] - [57:53]

Comedian Mike Birbiglia recounts the worst show of his career—his performance at a charity golf tournament that went disastrously wrong.

• Preparation and Expectations: Birbiglia attends the event unprepared, wearing the same outfit repeatedly, leading to awkwardness from the start.

  Mike Birbiglia ([41:13]): "I think I'm now at a stage in my life where all my choices are mine."

• Audience Mismatch: The event's audience is unresponsive to his comedic style, feeling out of place among guests dealing with serious topics like cancer, which contrasts sharply with his humor.

  Mike Birbiglia ([47:26]): "And I just turn into this drunk little league dad... I'm like, you go take some cuts, son."

• Climactic Failure: Struggling to connect, Birbiglia delivers a joke about a medical diagnosis that falls flat, leading him to prematurely end his performance in embarrassment.

  Mike Birbiglia ([48:54]): "I just threw in the towel. I mean, I was just devastated."

• Audience Reaction: Rather than sympathy, the audience becomes restless and leaves, further humbling Birbiglia as his hopes to entertain vanish.

  Jack Hitt ([50:12]): "They want blood. I mean, at this point, people are actually injured in the production, and they want more."

• Aftermath and Reflection: Reflecting on the experience, Birbiglia acknowledges his shortcomings as a comedian and the harsh lessons learned from the fiasco.

  Mike Birbiglia ([55:30]): "It was terrible."

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Conclusion

Through these vivid stories, This American Life illustrates how ambitious endeavors can sometimes lead to unforeseen disasters when combined with human error and technical failures. However, as seen in Margie Rocklin's interview, a fiasco can also dismantle social barriers and foster genuine connections. The episode ultimately presents fiascos not just as moments of failure, but as complex events that can lead to personal growth and unexpected positive outcomes.

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Notable Quotes

• Ira Glass ([03:27]): "This is a story not just of a mediocre play or a terrible play when it comes down to it. It's not even a story about a play. This is a story about a fiasco and about what makes a fiasco."

• Jack Hitt ([18:27]): "This is a fiasco. And what's really interesting about a fiasco is that once it starts to tumble down, the audience wants to push it further along."

• Unnamed Police Officer ([36:55]): "I was thinking that I would go up there in the attic and find this cowering squirrel and somehow kind of lure it into some kind of a trap and then walk out with it and be like a hero. But as it turned out... the squirrel definitely won."

• Margie Rocklin ([53:50]): "Shooting right out my nose."

• Ira Glass ([56:18]): "To me, the thing about it that's useful is that it shows the useful purpose of a fiasco. That is, when social order breaks down, that can be a force... for good."

• Mike Birbiglia ([55:30]): "It was terrible."

---

This detailed summary encapsulates the core stories and themes of the "Fiasco!" episode, providing meaningful insights into how large-scale failures unfold and their impacts on individuals involved.

Transcript

[Ira Glass]

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[Jack Hitt]

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[Jack Hitt]

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[Ira Glass]

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[Margie Rocklin]

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[Ira Glass]

Four signature finishes to match any design aesthetic. To get $100 towards your first bed purchase, go to T H U M A CO NPR hi everybody. Ira Glass here. So our staff is busy reporting out stories for next week's show and for other upcoming shows, and we had a rerun scheduled for this week, and we decided in this stressful time, it might be nice to keep things light and funny. And so that's what this episode is. And it has not one, but two of the most popular stories we have ever put on the air. The first version of this episode was broadcast over 20 years ago, back when we were distributed by Public Radio International. And our episodes began with a little PRI Audio logo, which, I don't know, I kind of miss.

[Jack Hitt]

From PRI Public Radio International.

[Ira Glass]

From PRI Public Radio PRI Public Radio International Public Radio Radio International One more time. What could be more American than the person who sees something they've never done before? Dreams they could do it goes after that dream. Well, let's begin today with a woman who dreams of directing a play in the small town where she lives, a college town somewhere below the Mason Dixon Line in the hills of Appalachia, a town which will remain, for our purposes today, unnamed.

[Jack Hitt]

I don't think she had ever directed, and she claimed to have acted, and it was never really quite clear just what her credentials were. But she had managed to convince the local theater department of this college that she should direct a production of Peter Pan.

[Ira Glass]

When he was in the 10th grade in 1973, Jack Hitt saw her production, and like everybody else in town, he heard about it for weeks beforehand.

[Jack Hitt]

Slowly but surely, you began to hear sort of rumors about this production. For example, I know that they had spent a lot of money renting these flying Apparatuses out of New York. And apparently they're only. There's like one company in a handful of these apparatuses. And so to get them was a major coup.

[Ira Glass]

This is a story not just of a mediocre play or a terrible play when it comes down to it. It's not even a story about a play. This is a story about a fiasco and about what makes a fiasco. And one ingredient of many fiascos is that great, massive, heart wrenching chaos and failure are more likely to occur when great ambition has come into play, when plans are big, expectations great hopes at their highest.

[Jack Hitt]

And what you have to understand is that everybody in this sort of community understood that there were. There was certainly a sort of air of everyone sort of reaching beyond their own grasp. Every actor was sort of in a role that was just a little too big for them. Every aspect of the set and the crew and, you know, rumors had sort of cooked around. You know, there was this huge crew, there were lots of things being painted.

[Ira Glass]

This, in fact, is one of the criteria for greatness, is that everyone is just about to reach just beyond their grasp. Because that is when greatness can occur.

[Jack Hitt]

That's right. That's right. And maybe greatness could have occurred.

[Ira Glass]

Well, today on our program, what happens when greatness does not occur? What happens in fact, when fumble leads to error, leads to mishap? And before you know it, you have left the realm of ordinary mistake and chaos and you have entered into the more ethereal, specialized realm of fiasco. Today's show, fiascos a philosophical inquiry, perhaps the first ever, as far as we know, into what makes a fiasco, what takes our ordinary lives that extra distance into fiasco. From WBEZ Chicago, it's this American Life. I'm Ira Glass. There is much, much more to learn about fiascos in this hour. Stay with us. We begin our show with this true fable of Peter pan in Act 1. Opening night.

[Jack Hitt]

Opening night comes and, you know, well, almost everybody in the area in the, you know, 10 mile radius of this theater knows somebody in this production. So the place is pretty much packed. And I don't know if you remember the opening moment of Peter Pan, but it's the three little kids sleeping in their bed and Peter Pan comes flying in the window. And in this, in this particular production, there's a big bed with all the three kids in it. And off to the left, I remember, is a big, huge wardrobe and there's a large window there and a little bureau and Peter Pan comes in and you know, has the little speech where he says, you know, anybody can fly. Why, with just a little magic dust, one can fly. And Peter Pan sort of sprinkles this magic dust in the air. And sure enough, the kids sort of suddenly just lurch into the air. And it becomes clear right away that the people that they've hired to run these flying apparatuses really aren't quite clear on how they actually work. So instead of the kids sort of sailing gracefully to and fro, they sort of hang in the air like puppets, just sort of dangling there and sort of getting jerked up an inch or two or back and forth.

[Ira Glass]

And then sometimes they're just stationary. Just.

[Jack Hitt]

Yeah. Just hanging there like a spider. And then several of them start to sort of circumscribe these circles in the air where it's clear that the people running the machines have just sort of set them off on these kind of oval courses that spiral farther and farther out. And if you're sitting in the audience, there was clearly a sense of feeling on the faces of these people, of the actors. The actors. The actors. Actually, you could sense their lack of confidence, shall we say, in the people running the machines in the back.

[Ira Glass]

Wait, wait. And the audience reaction to this point is just. Are they laughing?

[Jack Hitt]

No one is laughing. Everyone. Now, this is one of the great things about audiences, especially in a live theater production, is that they're very forgiving. They want the show to work. And so everyone is sort of gripping their chair a little tightly.

[Ira Glass]

Right.

[Jack Hitt]

You know, we feel for them. You know, they're up there. They're embarrassing themselves for us.

[Ira Glass]

You know, we identify with them. We are become them.

[Jack Hitt]

And so the audience, I think, was very forgiving and very understanding of this moment. But there was one moment that in this first opening scene, that kind of put the audience on notice. And that's when, as the kids are sort of jerking up and down and swinging back and forth and sort of going around in these ovals. At one point, the littlest one, the little boy is sort of being flung around a little too. A little too hard.

[Ira Glass]

Well, he has the least mass to resist whatever the machinery is doing to him.

[Jack Hitt]

Right.

[Ira Glass]

Okay. So.

[Jack Hitt]

And. And so he's flying around in the circle and. And the audience sort of sees this coming, and there's a real sense of pain and gripping of the chair and white knuckleness as the kid suddenly does just an enormous splat into the wardrobe. I mean, and it's clear that he's hurt, you know, and he comes off of it sort of, you know, a little dazed. And then, of course, he's jerked up in the air a little bit and often a little too high so that he's suddenly sort of in the workings. He sort of left the stage itself. He's now up there with the lights, you know, and then all of a sudden he just sort of suddenly he would just plummet back down to the stage and be caught up just before he hit the floor. And it was hard to watch because, as you can tell, it's an incredibly funny moment. But like I say, the audience was still in this very forgiving mode and no one said a word. We just all sat there sort of holding our breath and there's that weird tension of being in the audience thinking, oh, oh, my goodness, they have gotten off to a very bad start. Oh, this is not good.

[Ira Glass]

Right.

[Jack Hitt]

And we feel for them.

[Ira Glass]

May I just interrupt for just a moment just to say now at this point, because after all, we are not just joined here together on the radio, you and I today, to laugh at the foibles of the unfortunate. No, no. We're here to enumerate the qualities of a fiasco. And at this point, we are not yet in the territory of fiasco.

[Jack Hitt]

No, no, because, you know, like I say, audiences are forgiving and they, you know, one or two mistakes, even big ones like this, they're going to let that ride.

[Ira Glass]

Yes, they are.

[Jack Hitt]

We did. We did. We were very good.

[Ira Glass]

And so we are not yet at fiasco. We are at a sort of normal level of mishap.

[Jack Hitt]

And what happens immediately after this? They disappear to Never Never Land. And if you remember, the stage goes dark. And then when the lights come up, there's Captain Hook and he's giving his first opening soliloquy about how evil he is and what a menace he is and how he harms people and hates children and it's all that good stuff. And so Captain Hook is out there and he looks great. He's got one of those big old fat hats and this great hook and these wild looking boots and.

[Ira Glass]

And people are feeling more confident. Something's happening.

[Jack Hitt]

It's a good sign. It's a good sign. And he's in charge, this guy. He's got a bad mustache and he is certainly evil.

[Ira Glass]

Yes.

[Jack Hitt]

And the audience is totally in his pocket. He's speaking away and gesturing wildly and going on and on about how bad he is. And then at a certain point, as he gestures his hook and the entire black casing up to his elbow flings off of his hand and. And flies into the audience and punches an old lady in the gut.

[Ira Glass]

And now he is bad.

[Jack Hitt]

He is very bad. He had, like, the worst ad lib I've ever heard. I mean, what do you say at that point? Cause, of course, his hand is now nakedly exposed to the audience.

[Ira Glass]

Tough moment for any actor.

[Jack Hitt]

Very, very.

[Ira Glass]

If the premise of your character is that you have a hook, your name is Captain H. All that's gonna happen for the rest of the show is people are gonna refer to you by that hook. Your entire motivation as a character is the fact that you're. Is that your arm was eaten off by an alligator and that you have to have a.

[Jack Hitt]

The entire plot and you have a hook stems from that fact.

[Ira Glass]

Right, Right. And now suddenly you have no hook.

[Jack Hitt]

In fact, you have five fingers on.

[Ira Glass]

A hand as if a miracle by the Lord.

[Jack Hitt]

Captain Hook said, you know, they just don't make those hooks like they used to. That was actually the ad lib I will never forget. Then the lights come up, and we are in Never Never Land. And in Act 2, yeah, this is like Act 2. And Captain Hook might have stood in front of this set, but you didn't really see it because he was just. He spoke from shadow. And now the lights come up, and this is supposed to be a very dramatic moment. The rumors of all this crew and the painting and everything that was going on and all this construction all worked towards this one moment. Because when the lights came up, here was Never Neverland, this sort of psychedelic set. There were paper mache mushrooms everywhere of different sizes. It was absolutely wonderful and surreal.

[Ira Glass]

Wow.

[Jack Hitt]

And there's nobody there. And then from the upper rafters of stage right, suddenly the kids and Peter Pan appear.

[Ira Glass]

Flying.

[Jack Hitt]

Flying. They're flying and they're landing. Their landing occurs rather rapidly at an angle of about 45 degrees to the stage. They come down basically like, I don't know, lead sinkers on a line and crash to the floor and then are sort of just dragged across the floor like mops and wipe out all of the mushrooms.

[Ira Glass]

And so now have we arrived at a turning point in our fiasco?

[Jack Hitt]

Yeah. Yeah. It's clear now that the audience is giving way. So something has been lost. Some sense of decorum, that little bit of forgiveness that the audience has for the actors and empathy. And empathy. It's beginning to dissipate. Well, there was a split in the audience. Sort of the younger people who were the least forgiving, they started to go first. Okay, so the high school students, you know, couple of college students, maybe they started to laugh out loud. I'll be honest, Ira. I might have been one of those first people to laugh. I was in the 10th grade.

[Ira Glass]

Right.

[Jack Hitt]

It was hard to not laugh at this, you know, but then whatever restraint that, you know, the audience had, it just evaporated at this point. Because there were a number of things that happened in quick succession that just made it impossible to hold any sense of decorum, which are. For example, Tinker Bell appears for the first time around this moment. And Tinker Bell is essentially a light bulb on an extension cord. And what? Yeah, and this was, you know, this was the director's idea of like, you know, being raw, being very modern. You know, Tinkerbell was just gonna be this literal light bulb dangling from an extension cord.

[Ira Glass]

Whereas in other productions, what they'll do is that someone will shine a light.

[Jack Hitt]

Shine a light, or they'll just a.

[Ira Glass]

Beam of focus and then that pinprick of light is supposed to be Tinkerbell.

[Jack Hitt]

That's right. Or something like that. Or nothing at all. And people just address the invisible sprite. Right, right. Well, that did not happen in this case. This bulb comes just dangling down and sort of hangs around. This naked light bulb bulb just hangs around and people are talking to it. And I think Tinkerbell. Tinkerbell must have had an appearance in the first act, but. But it was somewhere in here that people just started laughing at this. Then another thing that happened was later on in this scene, if you remember, Wendy gets trapped on an island and she. She spots a kite that's floating by, flying by, and she's supposed to grab it and. And attach it to her back and fly off.

[Ira Glass]

Right?

[Jack Hitt]

Right. Well, of course, the kite is attached to the flying apparatus line and it gets closer and closer to her. She's standing on this little paper mache hill, but the flying apparatus people can't quite get it close enough to her to reach. So she has to step out into the waters that she's just told us is filled with crocodiles to grab it. She finally gets the kite and when she yanks on it, it pops off the flying apparatus and the hook goes zinging up into the lights and catches. So now there is this big loop of wire hanging in front of the stage and there's Wendy holding the kite and she ad libbed as best she could. As I remember, she sort of said, on second thought, maybe I can swim. And with that she walked off the stage sort of motioning her arms like you would do the swim the dance in 1965. So she does that at this point, I mean, the audience, the actors are just falling apart. They are so frightened of the audience. There are just belly laughs rolling up to the stage from the audience. People are howling with laughter at every mistake. And now any small mistake just takes on these just, you know, it's just. Any instigation for laughter is just enough for this audience. And now the old people have given it up. Everyone has quit being nice. Now there is just this kind of frightening roar that comes from the audience every time there's a mistake.

[Ira Glass]

Well, what happened? At some point, the audience turned and realized, oh, wait, I realize what's going on here. This is a fiasco.

[Jack Hitt]

Yeah, this is a fiasco. And what's really interesting about a fiasco is that once it starts to tumble down, the audience wants to push it further along.

[Ira Glass]

Oh, they get hungry for more fiasco.

[Jack Hitt]

Oh, yeah.

[Ira Glass]

If the play proceeded perfectly, they would be disappointed.

[Jack Hitt]

Oh, it would have been a grave disappointment had there not been just one more mistake after another. One more embarrassment after another. Now, the reason they're there is to chronicle these embarrassments. This is why I have remembered this play for 25 years. Towards Act 3, Ira the director, had decided that she wanted to break down the fourth wall. You know, this was cutting edge theater as far as she was concerned.

[Ira Glass]

Before you do this, I just want to explain. When we say breaking down the fourth wall, what we mean is the wall between the actors and the audience. Usually it's impermeable. But then there came a point in the late 60s, early 70s, where a lot of theaters, basically, the actors would come out into the audience.

[Jack Hitt]

That's right. And interact with the audience and break down that wall. So the idea being that you would get more in touch with the dramatic sense and the reality of what was happening.

[Mike Birbiglia]

Right.

[Jack Hitt]

Anyway, so in this particular scene, what was going to happen was that the Indians were going to throw rope ladders down from the balcony and climb down these rope ladders into the audience and, you know, move among the audience and frighten us. Right. Anyway, I knew about this scene because my friend David, who I went to high school with, was in it. And so when David was climbing over the top of this balcony to climb down the rope, he lost his footing and fell to the floor from the balcony, a distance of about 15 to 20ft. A good fall.

[Ira Glass]

That's horrible.

[Jack Hitt]

Yeah. And he landed on both of his feet and sprained both of his ankles and of course, curled into a fetal position and began to cry.

[Ira Glass]

Right.

[Jack Hitt]

He was really, really hurt. Now, to appreciate the Horrible moment I'm now describing. Also understand that it's a Friday night. We are in a college town, and there is a volunteer fire and ambulance department. And in order to summon the rescuers from wherever they are, an alarm is sounded that can be heard for five miles. That alarm is located right over this theater. So the alarm goes off, okay? This is an air raid siren. It is so loud, you can put your fingers in your ear and it's still hurting your ears. We're right under it. It can be heard for five miles in a minute. And then, of course, three minutes later, busting through the door of the theater are these, you know, 15 firemen who are in boots hats. They got hoses. They don't know what it is. All they know is that they've been sent out on go. And to sort of add to the chaos, the director, of course, has sort of flogged the actors that the show must go on no matter what.

[Ira Glass]

So.

[Jack Hitt]

No matter what. So while all of this is happening and people are sort of. Several people are attending to David, and other people have just now, like, decided that since the firemen are here, he's gonna be fine. They can start laughing. And now the audience has just completely lost control. People are stuck standing up in their seats and shouting for more. They want blood. I mean, at this point, people are actually injured in the production, and they want more. Somehow, that's how this entire play ended.

[Ira Glass]

What's interesting about this as a fiasco. I feel like the thing that makes me understand about fiascos is that the fiasco itself is an altered state. That is, all the normal rules are off. You have left the normal rules of how the audience is going to interact with the actors.

[Jack Hitt]

Right. I've never seen a production like this, and I've never seen an audience collapse like this. See?

[Ira Glass]

But I wonder, like, when you think about what people go for theater to theater for, like, what kind of release people want. I mean, people want an experience that will take them out of themselves. We all want an experience that will take us out of ourselves and into another place and another reality. And it sounds like this production, even though it was a fiasco, in fact, because it was a fiasco, was more successful at that than any conventional play could be.

[Jack Hitt]

Well, see, I would disagree with you. See, I think the old theater critics, the ancients, would say that the reason you go to the theater and to see a great production is to be. I think the word they used to use is transported. The idea being that you would be lifted away from your animal nature and into these higher, more spiritual realms or get in touch with these greater tragic emotions. Right. But of course, what happened here was the exact opposite. We got transported directly in touch with our animal being, our baser selves.

[Unnamed Police Officer]

Right.

[Jack Hitt]

But you know, that's almost as rare, if not more so than a great production.

[Ira Glass]

Jack Hitt. He's the co host of a great Peabody Award winning podcast about race and history called Uncivil. Which if you are looking for something to listen to during this national home lockdown or on your commute to your essential job, I really recommend that. Jack says, by the way, that people ask him about this Peter Pan story. Still, all these years later in the year since we first ran this, we got a letter from one of the actors in that production that Jack saw, a guy who played a pirate who told us Jack, quote, did not go far enough. He only covered the opening night. The subsequent performances were no better. Act two, Squirrel Cop. Well, human error is often at the heart of a fiasco. But what happens when you combine human error with what we will call, in this case, animal error? We have this story from a police officer in a suburban community on the east coast.

[Unnamed Police Officer]

There was nothing, nothing going on Saturday night in this village. Really quiet, super cold. And this call came over for unknown animal in a house. And it was about, it was on my post, it was about five minutes away. So myself and another car were assigned the call. And we show up there. And luckily for me, it was another guy who was pretty new. So we walk up to the door with all our stuff on. You know, the nylon coat, the vest, the belt, the whole nine yards. And the door opens. And the guy who is behind the door, he's about 30. I was 23 at the time. He's about 30. He looks like a broker, a lawyer. He's just really well put together. Nice guy, wearing glasses. He's wearing these like, silk pajamas with a monogram. Got my attention.

[Ira Glass]

Wow.

[Unnamed Police Officer]

And he's going, listen, I'm really sorry to bother you. Normally I'd handle this sort of stuff on my own, but my wife really insists that I call. And so we ask him what the problem is. He says, well, we were having kind of a romantic evening down in the living room and we heard this scratching upstairs. So I ran upstairs to see what it was, and it turns out it's coming from the attic. There's something up there. And it's just running around knocking a few small things over. I can't tell what it is. It could be a squirrel or A raccoon? I really don't know. So the other cop that I was with said, well, you know, we really don't handle that. It's not so much a police function. It's, you know. But we do have numbers of these private contractors who'll come in and they'll put a humane trap down, and they'll remove the animal for you, and it's really not such a big deal, but it's really not our thing. So right as he was in the middle of saying that and getting us off the hook, the guy swings the door back, and there's his wife, who was just beautiful. She was beautiful. She was probably about 26 or 27, but just really beautiful. Like, perfect skin, long blonde hair, great teeth, brilliant blue eyes, a really nice smile. Just, like, beautiful and friendly, you know, if she had said, you know, eat this broken glass, I just would have said, okay, broken glass it is. It's fine. But she. She seemed really nice. So I was gonna be like Galahad. So I just threw my arm back into this guy's chest, into my partner's chest, and I said, mark, we can handle this. It'll be okay. And she just was just, you know, thank you so much, and she was really sweet. And I was, like, struck dead. So we walk inside, and she goes, I'm gonna throw a pot of coffee on. And we go upstairs. We follow the man of the house upstairs. And we're underneath one of those trap doors that goes into the attic with the staircase that folds out, right? And we do hear an animal upstairs scratching away, just kind of scuttling around the floor. And there's definitely something up there, and it's making pretty good speed up going from one end of the roof to the other. So I reached up and I took the trapdoor down, and we unfolded the ladder. Now, I have this big, heavy flashlight, you know, like your cop flashlight, 4D cells, the metal case, the whole thing. I shine it up through the hole in there, and it's pretty black. I can see the rafters, but really nothing else around there. And I start up the ladder. Now, the guy who owned the house is standing almost directly underneath me, just to the side of the ladder, looking straight up at me. And my partner was at the base of the ladder right behind me. So just before I stuck my head through this, like, black hole, I just kind of paused. Like, I crunched my body up underneath because I'm realizing, gee, you know, I don't know where this thing is. The second we pulled down the trapdoor, all noise upstairs just ceased. So I was kind of nervous, and I was like, well, you know, I look like an idiot. Just crouched up here on the top of the ladder. So I took the flashlight and I just popped my head up, turned the light on again, and about six inches from the front of my face was this squirrel at eye level with me, kind of reared back on its legs, and I swear from where I was standing, it looked like Godzilla. It just scared the heck out of me. I thought, it's a squirrel. It's going to be hiding somewhere. It's going to be terrified of me. It was six inches away from me, and it really startled me. So I kind of went, ah. And jumped back. And the flashlight slips out of my hands. It's heavy, and it falls directly onto the nose of the guy who's looking straight up at me. And I don't think it broke it, but it did some damage. And his nose, his hands went up to his face. Blood just started pouring out between his hands.

[Ira Glass]

This is the homeowner.

[Unnamed Police Officer]

This is the homeowner. I lose my balance and fall backwards directly onto my partner, and I just. I pancake him. We're both on our backs. He's on his back. I'm on his stomach, on my back, scuttling around like a beetle trying to get up in this really narrow hallway. It's a mess. The squirrel, while we're floundering around in the hallway, jumps down the stairs, boink, boink, boink. Lands on me and takes off down the stairs.

[Ira Glass]

How undignified.

[Unnamed Police Officer]

It was terrible.

[Ira Glass]

It was terrible.

[Unnamed Police Officer]

So we're wondering, gee, where is the. Where is the squirrel? And right at that second, the woman who lived there, you hear her scream. So my partner goes, well, you know, we found the squirrel. It's wherever she is.

[Ira Glass]

Yeah.

[Unnamed Police Officer]

So we go running downstairs, and the squirrel had come into the living room where they had been having their, like, romantic evening. They had a fire going. They had pillows arranged around one corner of the couch next to the fire, and they had champagne flutes out and. Nice house. Really nice. I mean, it just smelled brand new. New carpeting, new rugs, new paint. They hadn't been there for that long. So the squirrel, when it bolted down the staircase, took off into the living room and ran underneath a couch for cover. So we run downstairs. This guy is bleeding all over the place on his carpets. His wife looks and says, you know, what have you done? What have you done to my husband? I start going, oh, it was an accident. And I just stopped in mid sentence. What's the point? We've only been there about two minutes. So the squirrel is underneath the couch, and my partner's going, you know, let's get out of here. This is just, you know, it's not going well. So I am, you know, I'm not beaten yet. I always have another idea. So the squirrel is under this couch, which is in the middle of the room. So I have this bright idea. Why don't we move the furniture away from one of the corners, and we'll put the couch in the corner, and the squirrel will probably move along with the couch because it's the only cover available to it. And once we get into the corner, we'll only have two open sides of the couch to worry about. So we did that.

[Ira Glass]

That is so tactical.

[Unnamed Police Officer]

Yes. Yeah. I was very proud of myself at that instant. But, you know, I asked her for a box, and she says, sure, we've got boxes. We just moved in. We have nothing but boxes. She runs out to the garage, and she comes back with a box. And the box is long enough, and it fits across the entire short side of the couch where the armrest would be. So I start sweeping underneath the couch with my nightstick, trying to move the squirrel toward the box, figuring we'll capture it and just get rid of it, and we'll be out of here, and there'll be no more, you know, mayhem. So it's actually working very well. And the squirrel's moving down along. You can hear it. It's chittering. And I'm trying not to heart it, you know, I feel kind of. I'm nervous about the thing. It might bite me. I don't want to hurt it, really. You know, it's just an animal, Right. So I'm moving it along, and everything's going very well. And then with about eight inches to go, I took one more swipe, and the thing just bolted out from underneath the couch. It was lined with, like, tassels. I couldn't really see into the couch. It bolted out from underneath the couch and ran directly into the fireplace, which is about three feet away. It was. The fireplace was directly ahead of it. And it ran into the fire.

[Jack Hitt]

Oh, my.

[Unnamed Police Officer]

And caught on fire and ran directly back out and directly back under the catch.

[Ira Glass]

Is it on fire?

[Unnamed Police Officer]

It was on fire, yeah. The tail, the bushy fur, the whole bit. I mean, it wasn't, like, flaming or anything, but there was. You know, it was smoking, and there was some. There was a little bit of fire coming off the tail. So it runs back under the couch. And the couch, it catches on fire in seconds. I mean, in seconds it must have had dust under there or something else, but it just. It caught on fire immediately. And my partner and I just don't even talk. We just grab the couch, heave it upside down, and now there's plenty of oxygen now for the fire to really get going. And it starts up and we're patting it out, and it's sort of getting away from us. So we grab the only thing that's really available, and those are these really nice silk pillows. And we have one in each hand, both of us, and we're just windmilling away at this fire on the couch. And we put it out, but it's smoking terribly. And it was a disaster. The couch is upside down. The bottom of it is burnt. The house is filling with smoke from the couch. The squirrel, when it went under the couch in its death throes, just latched onto the bottom of the couch. It's like this smoking piece of gristle underneath the couch, latched on there with its claws. And we're pounding, smearing it all over the place. And the smoke alarms are firing away. The guy's standing in his, you know, with handkerchiefs and paper towels up around his nose, which is still bleeding. His pajamas are a mess. They're covered with blood, the front of him. And we finally get the fire out, and we're both completely red sweating because we're dressed for like zero degree weather and it's hot there by the fire. We're mortified. The house is full of smoke. The wife just looks around and just starts to cry. She goes, what? What have you done? What have you done to my house? You could see her just like clicking things off on her fingers, okay? The dead squirrel, ruined pillows, need a new couch. The walls are covered with soot. The fire alarms are going off. My husband's disfigured. And then she really kind of just lost it. And he was just looking at us and shaking his head like he couldn't believe that these two idiots showed up and did this to his house over nothing, really. And he just goes, you know, you really. You really haven't done anything wrong. There's. I can't point to any one thing that you did that I have a reason to get angry about. You really haven't done anything wrong. I mean, we did call you, but I'm just. I just. I can't thank you for this. They call for a squirrel, they end up with like $3,000, $4,000 worth of damage and a broken nose, and this is all within about five minutes.

[Ira Glass]

Could that have happened to you now, 13 years later?

[Unnamed Police Officer]

There's always a new mistake to be made. I don't think I would make that particular mistake. I mean, you make plenty of mistakes. You make plenty of mistakes. That's just part of that job. You just try not to make the same one twice. But there's such variety that if you're gonna make hundreds, you're gonna make thousands of mistakes. You're gonna make thousands of mistakes until you really get a handle on what you're doing. And with police work, they afford you plenty of space to make mistakes. But there's things that just either they aren't your responsibility, if you get involved in things that aren't your responsibility, or that you're really not equipped to handle or that you don't have a specific plan, a plan that's thought through to a conclusion, you probably should re evaluate what you're doing.

[Ira Glass]

Yeah, now that you mentioned that. Yeah, that's right. You walk into the house thinking, okay, we'll get the squirrel. Like, how were you gonna get the squirrel? What was the best case scenario?

[Unnamed Police Officer]

That's a great question. I guess I was thinking that I would go up there in the attic and find this cowering squirrel and somehow kind of lure it into some kind of a trap and then walk out with it and be like a hero. But as it turned out, you know, the squirrel, it was a pyrrhic victory for the squirrel, but the squirrel definitely won. The squirrel really, you know, kicked our ass.

[Ira Glass]

That is not. That is not what you want to be saying at the end of the day.

[Unnamed Police Officer]

No, no. I mean, it took me a long time to even tell people about it. You know, it was so new. I didn't want to know what a bonehead I was when I first came onto the job.

[Ira Glass]

Our interviewee, who asked not to be named on the radio, had been on the force for 18 years when he spoke with. Coming up, what it's like to be invited to a big charity event that you then ruin. That's in a minute from Chicago Boba radio. When our program continues. Support for this American life. And the following message come from Sierra. When dialing customer support for a simple question, you may have had the experience of being placed in what seemed like an endless wait. That's why there's sierra, a platform created for businesses that want to provide better, more human customer experiences with AI no counter responses, no hold music, just real solutions fast. Better customer experiences built on Sierra. Find out More at Sierra AI support for this American Life comes from BetterHelp. June is Men's Mental Health Month, and every year 6 million men in the US suffer from depression. If you're feeling overwhelmed, the strongest thing you can do is ask for help. And BetterHelp can make it easier. Take a short online quiz and connect.

[Unnamed Police Officer]

From home with a qualified therapist.

[Ira Glass]

Visit betterhelp.comtal today to get 10% off your first month. That's BetterHelp. H E L p.comtal On NPR's wildcard.

[Margie Rocklin]

Podcast, Michelle Obama says she's reinventing herself.

[Ira Glass]

I don't know if my ambition has ever fully been able to actualize itself.

[Jack Hitt]

I think I'm now at a stage.

[Ira Glass]

In my life where all my choices are mine.

[Margie Rocklin]

I'm Rachel Martin.

[Ira Glass]

Listen to Wildcard for a conversation about balancing family and personal growth with Michelle Obama. It's just American life. MYRA glass, each week on our program, of course, we choose a theme, bring you different kinds of stories on that theme. Today's show, fiasco. This is our own inquiry into the nature of what makes a fiasco. When you have left the world of mishap, stumble, human error, and you enter into the much more rarefied realm of fiasco, we have arrived at Act 3 of our program. Act 3, tragedy minus comedy equals time, specifically, a long, long time between laughs. So Mike Birbiglia is a comedian. He's been on our show lots of times. And years ago, years ago, he told this story about this one gig that he did relatively early in his career. He says it was the worst show he's ever done in his life.

[Mike Birbiglia]

It happened this year. I was asked to perform at a charity golf tournament in New Jersey. So I woke up for this charity golf event. And I have a I realized recently that I'm not like a good adult yet. Like, I think if you're a good adult, you, like, plan your outfit according to what will occur when you leave the house. But I don't have that part of my brain. I'm just like one outfit forever, you know? So I went and I played golf and I brought my brother Joe. And Joe is Joe's kind of like a bad entourage member. He's never like, you, the man, Mike. He's always like, I don't know what dad would think about this. And do you think they have any more shrimp? You know, that kind of thing. But we showed up to play golf and they paired us up with these two other people. And it was a celebrity tournament that people were like, who do you think our celebrity's gonna be? And I was.

[Ira Glass]

Like.

[Mike Birbiglia]

And Joe and I were like, yeah, who do you think our celebrity's gonna be? And then I'm like, oh, no, I think it might be me. And then, like, I'm apologizing to these people. I'm like, I'm really sorry. I'm your celebrity. If you think this is disappointing for you, you can't imagine how I feel. So I'm like, apologizing the whole day. And then at the end of the day, like, sure enough, my. My pants are all wrinkled and I have to be at this performance, this semi formal banquet. And I'm like, what about one outfit forever? I thought that was a good plan, you know? And so here's what I do as damage control. I go to the locker room to iron my own pants. And yeah, it's a pretty good plan. And I find an iron, but I couldn't find a boat. So I take off my pants. I'm just ironing them on a bench in the locker room in my underwear, which is a dead giveaway that these are my only pants. So I'm ironing my pants and I put them on and I go up to the event. And this is where the trouble really begins. It's important for me before I tell you this part of the story, to remind you that you're on my side. I said to the woman in charge, I go, what's the format of the show? And she goes, well, there's two speakers and then you. And then a raffle. And I was like, well, that's, you know, that's exciting because I've never opened for a raffle. And I'm trying to stay optimistic, you know, And I'm sitting in the back of the room with my brother Joe, and the first speaker comes on the stage and he's an 11 year old boy who survived leukemia. I know he's not funny at all. He focuses primarily on the leukemia. And everyone is crying. Literally everyone is crying. I'm even crying in the back of the room for two reasons. One, the kid. And two, for me. Cause I have to perform comedy. And it gets worse because Joe leans over and he goes, this ain't looking so good, Mike. I said, I concur. The second speaker was hall of Fame quarterback Phil Sims. And yeah, he's got one fan here, but he's a broadcaster and he gives an amazing, inspiring speech. And he even sprinkles in a few jokes about golf. They were similar to jokes I had thought of about Golf. That day, it was like watching the last drops of my joke canteen drip out onto a desert of cancer. And he gets a standing ovation, which he should have. Clearly, the show is over. Surely there can't be anyone more famous than hall of Fame quarterback Phil Sims. But wait, there was. It was Mike Birbiglia, who had no business being at this event. I know there are some entertainers who might have risen to the challenge, and I would love to be one of those entertainers, but I am not. As a matter of fact, I have a habit in my life of making awkward situations even more awkward. I've said this before, but a few years ago, I was moving a new bed into my apartment. In this way. This woman who lived in the building opened the front door for me with her key, and she goes, I'm not worried because a rapist wouldn't have a bed like that. That's how she started the conversation. Now, what I should have said was nothing. What I did say was, you be surprised.

[Jack Hitt]

And.

[Mike Birbiglia]

There'S nothing you can say after that. You're just like, see you around the building. You know, that kind of thing. I've thought about this a lot, and I think there's something wrong with my brain where I don't have an on deck circle for ideas. It's just, batter up, you know? And a lot of the ideas are bad. And they're at the plate going, I.

[Jack Hitt]

Don'T know about this one, Mike.

[Mike Birbiglia]

And I just turn into this drunk little league dad. I'm like, you go take some cuts, son. As a comedian, when people laugh, it's very exciting, you know, It's a very neat thing. And when they don't, it feels like you're performing jazz. Cause they're kind of bobbing their head and looking to the side. And sometimes that's okay. I'm like, I like jazz, you know? But then I get worried because I'm like, sometimes jazz sucks. What if I'm the Kenny G of comedy? You know? Like, what if I think I sound like this?

[Jack Hitt]

Like.

[Mike Birbiglia]

And in fact, I sound like this. So I'm on stage at the charity golf tournament, and I'm just Kenny G it up, you know, I'm just, for 10 minutes, just, no, no, no, no, no, no. Just blowing that horn, you know? And. And I don't want to fail. I mean, that's a really important point in this story, is that these are good people, and I want to succeed for them, but I just can't, you know? And so I think to myself, why Don't I cater my material to this specific event? And everyone has been talking about cancer. I know I'm in the future all. Also, I had that thought on stage for about one second, and then better up. I said to the audience, a true story. I said, I went to the doctor, and they told me there was something in my bladder.

[Unnamed Police Officer]

And.

[Mike Birbiglia]

And whenever they tell you that, it's never anything good. You know, like, we found something in your bladder, and it's season tickets to the Yankees. That was the response I was hoping for. At that point, I just threw in the towel. I mean, I was just devastated. I thanked the audience and apologized simultaneously, which I've never done. I was like, thank you. Sorry for ruining your event. And I just kind of walked, and I was so upset. And I walked over to Joe and I go, joe, we are leaving now. And that's when Joe said, and I quote, mike, I can't. They're just about to start the raffle. And because everybody left, my odds are amazing. And that is the worst show I have ever done in my entire life.

[Ira Glass]

Yeah. Mike Lubiglia, his most recent Netflix special is called the New One. And he's organized these funny videos to raise money for people who work at comedy clubs who, of course, are now out of work. John Mulaney, Maria Bamford, Roy Wood Jr. And many other very funny people. Do these with him. You can find them@tip your waitstaff.com. act 4 Fiascos is a force for good. George Clooney, Barbra Streisand, Jennifer Aniston, Vidal Sassoon, Jodi Foster, Jason Momoa, Brad Pitt, Keanu Reeves, Sharon Stone, and John Travolta. Also George Burns, Bob Hope, Gene Kelly, Gena Rowlands. Also Quentin Tarantino, John Waters, Nora Ephron. Margie Rocklin has interviewed all these people. She's written big feature stories for all sorts of big magazines and newspapers. But the very, very first big feature assignment that she was actually sent out on was by a publication in 1982, the Los Angeles Reader. They sent out a very nervous, very useful Margie Rocklin to interview Moon Unit Zappa. Remember her? Daughter of Frank Zappa.

[Margie Rocklin]

In this little bit that she does on the song, she's using a lot of this language that sort of vowels speak that no one had ever heard before, and it was considered really exotic. And so I was from the Valley, so I was sent to go talk to her.

[Ira Glass]

She is one of your people. Speak to her in your secret private argot.

[Margie Rocklin]

Exactly. And of course, what is so touching to Me is that I totally bought that. You're right. I'm the right person for the job. I'm gonna go speak to her in the Valley language and we will bond.

[Mike Birbiglia]

Like, oh, my God.

[Jack Hitt]

Like, totally.

[Margie Rocklin]

And Cena was, like, so bitchin' so.

[Ira Glass]

You get there and you're a bit nervous, and the pressure is on, which is, of course, the setting for a possible. Possible triumph or a possible fiasco.

[Margie Rocklin]

Right.

[Ira Glass]

And what happens next?

[Margie Rocklin]

Well, what I noticed was that there was. It was not a. It was a tense situation. I just didn't feel like it was going very well. And the mother was sort of hovering.

[Ira Glass]

Right. Well, we have a recording of it. Because you had a tape recorder rolling during this.

[Margie Rocklin]

Yes. What are some other hangouts in the Valley besides the Galleria? Bowling alleys with big arcades are very popular. Oh, I'm trying at this point. I'm sort of at that rock bottom level that everyone can get at in an interview where you're just saying, what's your favorite color? And she's trying to help me along. Kirkwood's is gone.

[Mike Birbiglia]

It's now the sports center.

[Margie Rocklin]

Oh, but it's the same.

[Unnamed Police Officer]

Yeah, it's still very.

[Margie Rocklin]

So we're seated in the den, and the mother made me coffee, but I was too nervous to drink it. But I sort of kept staring at it, and she kept staring at it. And I felt like it was pretty important that at some point I better drain that coffee cup. And so what happened was Moon told me a joke, and I didn't see the joke coming. And right before she told me the joke, I had taken a big swig of the coffee, which was now cold. And when she told me the joke, I burst out laughing, and I started to choke. And so I pressed my lips together so I didn't spit it out. I didn't want to do a spit take. And the coffee came shooting out my nose.

[Ira Glass]

Shooting out your nose?

[Margie Rocklin]

Shooting right out my nose.

[Jack Hitt]

Are you okay?

[Ira Glass]

Are you okay?

[Margie Rocklin]

And I was really embarrassed, but simultaneously, I couldn't breathe. At the same time, I was choking, and I jumped up and I sort of started running around the room knocking things over. And I don't think they. I think that they didn't know what was going on. But the mother began chasing me.

[Ira Glass]

She began chasing you?

[Margie Rocklin]

She began chasing me because she could, you know, I was sort of running from corner to corner trying to catch my breath, and she began sort of chasing me. And at a certain point, she got behind me and she gave me the Heimlich maneuver.

[Ira Glass]

Wait Put your arms up. Now.

[Jack Hitt]

Really?

[Ira Glass]

Seriously. Okay.

[Margie Rocklin]

The Heimlich maneuver.

[Jack Hitt]

Oh, God.

[Unnamed Police Officer]

All right.

[Ira Glass]

Well, you know, I've been in the news business. I've been a reporter for 20 years, and nobody's ever given me the Heimlich move while I've been on the story.

[Margie Rocklin]

Well, I always say that it's a benchmark. It's a very low benchmark. And I can do any interview. I can get thrown off a set. You know, I can be cursed out by the subject, but I can leave and get in the car and I can drive home and think, you know, I didn't blow coffee out my nose. Do they have that.

[Ira Glass]

Now? What happened after that?

[Margie Rocklin]

It was sort of like we'd all been in an earthquake together, and all of the nervousness left the room, and suddenly we were three gals just chatting. And I remember I sort of, like, hugged them both when I left.

[Ira Glass]

Wow.

[Margie Rocklin]

They were now my friends.

[Ira Glass]

It's interesting, you know, because one of our criteria for fiasco is that all social order, the normal social structure, breaks down, and literally, that's what happens here. The normal interview stops, and the social structure of the moment completely changes. The mom gives you the Heimlich maneuver, and then suddenly it stops. Feeling like an interview.

[Margie Rocklin]

Yeah. No, it was really. And I have to say that it was a very embarrassing experience, and it completely made me feel close to them. It was so interesting. When Moon's father died a while ago, I bumped into her somewhere and we both burst into tears. I mean, I really felt like a little sister of mine had had a loss. And, you know, the starting point was, you know, that moment. That moment.

[Ira Glass]

To me, the thing about it that's useful is that it shows the useful purpose of a fiasco. That is, when social order breaks down, that can be a force. Not just for. For chaos and for entropy and for evil, but in fact, that could be a force for good.

[Margie Rocklin]

Right.

[Ira Glass]

It can bring people together.

[Margie Rocklin]

Right. You know, it was actually this huge success to me. I'd never been sent out, you know, under these kind of circumstances before. And I remember we beat the local paper, the Herald examiner followed us a week later. And so we had the first story, and it was sort of considered the definitive one because we had this glossary of terms that I had made or put together and.

[Ira Glass]

Valley Speak.

[Margie Rocklin]

Valley Speak terms. And then it was syndicated.

[Ira Glass]

And most of the quotable stuff that you ended up using in your story happened after the.

[Margie Rocklin]

Happened. Yeah.

[Ira Glass]

Happened after squirting the copy through your nose, right?

[Margie Rocklin]

Exactly, exactly. It's a technique I don't suggest anyone try. Everybody's like, super, super nice. So bitching for, you know, years afterwards, Moon would send me postcards and on the postcard somewhere would be a picture of a nose and there would be liquid coming out of it, sort of like my logo. Ready? Ready to the max. I'm sure it's like really nauseating. Like, barf out, gag me with the spoon.

[Mike Birbiglia]

Cool.

[Jack Hitt]

Gross.

[Mike Birbiglia]

I am sure.

[Unnamed Police Officer]

Totally.

[Ira Glass]

Margie Rockland. She covers television, podcasts, food and film in Los Angeles. Well, today's program was produced by Nancy Updike and myself with Paul Tough, Elise Spiegel and Julie Snyder. Distributing editors for today's program, Jack Hitt, Margy Rocklin and Consulari Saraval. Production help for this rerun from Nora Gill, Stone Nelson and Matt Tierney. Our website, thisamericanlife.org this American Life is delivered to public radio stations by prx, the Public Radio Exchange. Thanks as always to our program's co founder, Mr. Tory Matiah, who used to walk into the studio at the end of each and every episode to grimly assess the damage.

[Unnamed Police Officer]

Dead squirrel, ruined pillows, need a new couch. The walls are covered with soot. The fire alarms are going off.

[Ira Glass]

I'm Ira Glass. Back next week with more stories of this American. This message comes from Capital One.

[Margie Rocklin]

Banking with Capital One helps you keep more money in your wallet with no.

[Ira Glass]

Fees or minimums on checking accounts.

[Jack Hitt]

What's in your wallet?

[Ira Glass]

Terms apply. See capitalone.

[Jack Hitt]

Com.

[Ira Glass]

Bank for details. Capital One NA Member fdic.