Rosebud Baker Was Raised by War Criminals (and Writes for Weekend Update)

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And you just, you go from feeling like

cool and sexy and working at SNL to being like the most unfuckable,

just

like uncreative human.

Yeah, no, I was like raised by war criminals.

I think I got this.

Fine.

I'll be honest with you.

If I had any real home runs, I don't know if I'd be at update right now.

Dana, have you ever heard me say this?

Having my baby back.

Do you know that song in the 70s?

Oh, I know.

It's just so funny.

You're having my baby.

You couldn't say that now.

Wouldn't it be considered sexist?

Such a weird thing.

Isn't she having a baby too?

Yeah, I mean, that song is so odd.

When he goes, you didn't have to keep it.

I'm like, I'm sorry, what?

What did you say?

We should maybe

play that song and talk about it.

We don't use this for this.

We should use it for our next episode.

No, we'll put it on.

There's two like that.

The other one is, no one knows what goes on behind closed doors.

These are corny 80 anthems.

So

let's save those for super, or for the work we're doing.

Well, it made me think of Rosebud because Rosebud Baker is

a comic, and she just did a movie where, I'm sorry, she just did a special where she's pregnant, and then she does part of the special.

She takes time off, has the baby, and mixes it all together called The Mother Load, which has gotten great reviews and people like that.

Very interesting concept,

smart writer.

She's a performer.

Oh, she writes a lot for update.

We talked about that.

Yeah, we talked all about, you're going to hear all about her SNL experience and what the specificity of being a writer for update versus other things and her career plans and her child.

And so

you should enjoy this one.

Yeah, very interesting.

And it's good because not everyone knows her right now, but they will.

So it's kind of fun to have ones like this where we got her first.

We got her and just say, hey, here's why she's good.

Hi, how's it going?

Nice to see you.

Nice to see you.

The last I saw Rosebud Baker was, if you remember this, one of the shows, either the Hunter Biden one or the 50th in the hallway.

And I think you were prepping some update hallway stuff.

Uh-huh.

Is that possible?

That's possible for sure.

I mean, you know, being at the show, you know, it's like you're too tired to form new memories most of the time.

So

new memories.

Did you meet Dana during his Biden run?

We must have.

I did.

I did.

Yes.

Yes.

It was a pleasure to see you.

I can't.

I'm still traumatized.

I mean, I just was not, I'd been gone so long.

I really feel for the writers coming in with a pencil, kind of some of them really just drenched in sweat and just really nervous.

And then it's like, could we do this or that?

We have to wait till Lauren's here.

Okay.

Tell Lauren.

Or one time Lauren came by, could you change that Biden line?

Not so much Fred Finchdome, something else.

I said, sure.

And then Allison Streeter and Kent came in.

You talked to Lauren?

What did he say?

What did he say?

He hates it.

He hates it.

Anyway, the pressure is crazy.

And I saw it because I wasn't in as much.

I saw the writers, what they do.

So anyway, I'd like to know your stories about that time there on the 50s.

You were so great.

You were so great.

i i have to tell you like we would be sitting you know most of the time in update we we barely see the show i mean we i was i was on i was on the sketch side for three years and then moved over to update and

the way that it is is so different and i don't i don't know any other writers

Yeah, I don't know any other writers that have done that, that have gone from the sketch to update.

But

it's a completely different, It feels like I write at a different show for sure.

I mean,

um,

with the exception of like, it's still the sleep deprivation and the stress and all of that, but it's sure, it's still gross.

Yeah, yeah, it's mostly because of the news, though, that you feel disgusting.

Oh, yeah, that's right.

You got to get soaked in that news, you got to get in.

Yeah, it's like training yourself to be

like a like a sociopath or a psychopath because you just read these horrible, horrific headlines and you're like, what's funny?

Hilarious about that.

Yeah.

And also when you do update, do you, I know this is, I know some of these answers, but not all of them.

Do you help put together the update pieces that come on from like a Sarah Sherman or whoever else?

Or is that separately?

Like they just do them at read-through.

And then you guys kind of chirp in on like, which ones you like?

And do you help write?

Yeah, it depends.

It depends on,

I mean,

you know, they'll come in on Tuesdays sometimes and be like, we have this idea, and then we'll pitch on it with them.

But usually they're writing it with one of the sketch writers.

And then,

but most of the time, it's actually, I wouldn't say most of the time, I'd say 50-50.

Like, sometimes they'll just show up.

We'll see one at the table.

We'll be like, that's hilarious.

And then we work the tables and we kind of punch things up here and there if it needs it.

Table reading.

For the most part, yeah.

Yeah.

it's

tables, listen to this.

Linda's Dana,

I know we've got an insider here.

We got it, it's like

I think that

the high for the writer is

the ultimate mic drop is when you get it in, you get it on update or whatever.

It's your line, you thought of it, or your little stanza, your bit, you love it.

Maybe some people went, I don't know, and then it crushes.

Because I see the writers afterwards were just so jazzed up.

All the tension was released when the sketch, the cold opening, was just what they had to deal with was like at midnight on Friday.

It's nowhere.

It's horrible.

That's when we're running through for the audience listening.

And it's nowhere.

And then it's like, and you go to bed and it's a disaster.

And you wake up going, well, we've got about 12 hours to fix this.

So do you have some memorable ones there where you fucking A landed it and you just that release must be I'll be honest with you.

If I had if I had any real home runs, I don't know if I'd be at update right now.

Go ahead.

Because that's your wheelhouse or what?

Yeah,

I think I'm more, it was like I knew by year three.

I was like, if I don't feel useful by now, there's, I'm like, there's got to be a better place for me.

And I, I just sort of was like, I've came in as a stand-up.

I wanted to learn how to write sketch.

I genuinely don't,

it's so different and so much harder for me to write sketch than it is to like punch up a sketch or be like second or third writer on something.

So ultimately, I was like, I really think I belong over on the update side.

And that's, you know, where they put me.

And I was, I was happy to move because genuinely, I was like, I don't know what I'm doing here.

I didn't know at all.

I remember my first week going around to like Tucker's office and being like, is there like a book I can read about like how to write a sketch?

Like, I didn't know.

You know, it's hard to get your hand held too.

There's not, everyone's so busy, it's hard to do a class.

It's like, hey, what's your sketch?

It bombed.

Great.

You'll be gone soon.

That's all.

We don't need to worry about you.

Yes.

Yeah.

But to get that

lateral move, instead of just taking off the show, which could be easier, to let you come over because they must have seen something and to go over and write jokes update, even to me, is even more fun or interesting because

it's just a different muscle, but it's great joke writing skills and all that stuff.

Well, let me insert this before you answer.

Makes total sense to me because of your specials.

These are A

jokes, one after the other, one after other on both that I watched.

So go ahead.

I just, it seems like a really good fit.

And you've got Michael and you've got Colin, and they're, they're kind of dicks.

We understand that.

But sorry, that was a joke.

Too sweet for school.

I love it.

Go ahead.

No, thank you.

Thanks for watching them, by the way.

I appreciate it.

And yeah, I feel like it's

happy that they, I do feel like I lucked out that they kept me on the show.

I was like, oh, okay.

I didn't think this would work.

They had every reason to go, I'll just be, just beat it.

You know what I mean?

Just, and I, I would, I would have understood that because there were sketches that I, I thought were very funny that got on the show, but that weren't not, they were not, once they got on the show, I was like, oh, okay, I see where I went wrong here.

You know, it wasn't.

It's hard to get it all that way.

It's hard to have it work read-through.

rehearsal in front of the crew, in front of dress, and then work again on air.

There's so many ways for it to go wrong.

There's so many ways for it to go wrong.

I mean, really, it's like raising a kid or something.

You're like, I mean, there's only so much I can do.

Great grades in school.

And then right before college, they bomb out.

You're like, oh, we're doing so good.

Yeah.

Well, just the audience is tough.

We're just something.

It's nerve-wracking as hell.

You know, anytime, because I was in Murderer's Row, we were the four horsemen.

Maya would crush it and, you know, gaff again and at, you know, Andy.

And then I'm waiting.

You know, it it was weird in one of those like game shows I'm just like you're just sitting in a silo you've got your come on folks you know I'm just waiting how how will I do you're grading yourself you're future tripping you're not in the moment you want to score don't try too hard but but be in you know it's just like trying to catch the wind anyway nerve-wracking you got it you got it in a way that I just I've seen Biden impressions and you got it in a way that I'd never seen it.

I remember just watching it even without the sound and you were going,

and I was just like, God, he's good.

Like, you, you like, zeroed in on that thing.

Yeah, yeah, I'm not getting around here.

That was my favorite.

By the end, it was like, I'm not getting around here.

I'm being serious.

So, it was a fun toy.

And, you know, it's just like stand-up.

When the audience starts to ride it, just like in stand-up, and they're in your rhythm with you, and you're both enjoying it at the same moment.

Nobody has

the other voice talking.

It's pure joy.

That's what we're chasing.

That face, Dana, is like funny, funny, offended, and vacant.

Hey, I'm not getting around here.

Come on.

You're like, he's not even thinking anymore.

I remember seeing that face on the monitor from the update office and being like, oh my God, like that's perfect.

You made my day.

You made my day because, you know, I always have second thoughts months later.

Was that any good?

Or what the fuck?

Oh my God.

It was so good.

Yeah.

Thank you.

I mean, I get it.

I get it.

I think we're all just sort of

mentally ill and that we're like plagued by self-doubt and stuff like that.

But it's, it really is.

That's confirmed.

It's, it's, uh, that, that's, that's a pretty common denominator.

You know, you never want right before you go on, you're going to crush.

You're, you're going to crush.

You always want to go, well, we'll see.

I don't know.

You just, it's a kiss of death to kind kind of go, we got this.

And then you just

blow up.

Right.

How about on update?

When you, when you're on update, are there, I mean, obviously it starts Sunday or Monday.

You know, it starts right after the last show.

Like, what's in this week's news?

Are there joke counters?

Do you look at the monitor and go, someone told me there was a talk show like Fallon where someone is like, one,

two, okay, I got, I got three on today.

I got three on today.

I mean, I'm sure people are in their heads, but

is it, is it actively out there that people are like, that one person is more on?

No, thank God.

Because

they get tweaked, right?

Yeah, they get tweaked and they get changed.

And like by the end of it, it's almost like you could have come up with a joke that got in the show, but then they're, you know, when you're sitting with the others and you're just like, they're pitching stuff on it.

There was like, I think there was a joke this year that I had pitched about Paddington Bear.

Yeah, I like it.

It was like, it was about how I felt like Paddington Bear should be executed.

And

it was like common thought.

I was like, well, he ruins apartments and that, you know, I just think he's a menace and I think, I don't think he belongs in someone's home.

So anyway, I

pitched, it was like some sort of crazy reaction, overreaction to Paddington Bear.

And

everybody sort of laughed.

latched onto it.

And by the end, by showtime, it was this long bit that was like a built out

like chunk that colin did that everybody was throwing stuff in on and it was just for no reason just like and it was about a lau at that point

right yeah i've seen those but even single jokes michael might put a spin on like when you do monologue jokes something if you you get someone close enough that's value also I used to jokes at Lights Out Show.

They can write me a joke that's close enough to my voice, I can run with it.

And that's a value, even though it's not the exact same joke i just want to say that patty dunbert is funny i mean because

it's not the way he dresses is funny it's not like barney or something but everyone knows it when you hear it and this is just a little insert for me maybe maybe in the early 90s there was this catch where i as tony montana scarface al pacino

got to say patty and bear several times

and so with that oh so patty dumber

What are you doing with a Paratum Bear?

So I just saw it, it triggered me.

I didn't want to override that.

It sounds funny.

It looks funny.

What the fuck with a Paratum Bear?

It's such a perfect for that.

But I wanted to ask this of you, and you can say whatever you want to say, but it seems like I'm watching your specials, watching you here, photogenic, on and on.

Thank you.

That if

you should be on update, either in a segment or

if anyone ever decides to retire.

Have you ever thought of that?

Because it seems like you got all the skill set

to do that.

You don't have to say, yeah, I want Michael and Colin out.

Or do you pitch yourself doing update?

Are you allowed to?

I don't know.

I don't know if that, I don't know if that's like.

There was one moment, I think it was like two years ago where there was like an IVF story and I had worked on all this bit, you know, that was like about IVF.

And I was like, I thought about pitching a feature because it made sense

in that one week that

I was like, oh, okay, I could do something with this.

I have material on this.

But

right as I was getting up the courage to talk to somebody about it, it was like Colin had written something.

And I was like, oh, okay, never mind.

So,

you know, I think there's like,

I don't know.

I'm like, Colin and Che are so funny that I feel like they've almost ruined it for whoever comes next.

I'm like, they're so good.

And,

you know, I don't know.

I'm like, would it be cool?

Absolutely.

But I don't know if it's like, I don't know when

it's just a bit.

Yeah.

Like at IVF for one week, I would imagine would be good.

But I know being a writer there.

And it isn't always 1000% welcome, at least by someone somewhere.

Wouldn't love it.

That's what I'm saying.

Yeah.

And you know, some people would be like, that's fucking awesome.

We need it.

Get out there.

And you're already a stand-up.

It's not crazy.

Wait a minute, David.

I just think it's a little weird that she.

David, are you suggesting?

I just want to clarify this.

Are you suggesting that there's a political environment to the SNL experience?

The politics come and play.

Everyone's pulling for everyone.

I know.

Yeah.

It is.

It is overall a great experience.

But I do, though, to your point with michael and colin i don't think we'll see this again for a while because their relationship and the boundaries they can cross that because of for for you know for the reasons are obvious and stuff they can go at it you know when they were on this this podcast you know when i told them i said you guys are in the hall of fame i mean i was just talking about dennis miller and you know and you know uh obviously tina and jimmy whatever just you guys are up there now you're in you're in mount rushmore They were kind of like,

thank you.

I don't think,

and some people don't know anything else.

I mean, there's they've had a long run where people that just sort of tune in here and there and they go, Those are the update guys.

You've mentioned Bill Murray or Trevor Chase.

Like, huh?

So we remember, but not, it's like everything.

You go, some people said, I go back to your career all the way back to grown-ups.

I'm like, that's how far back?

That was like newer, but they're like, well, you're old.

So I don't know.

Like,

I don't care.

I don't know Anna.

I started in 86.

So I'm disappointed when people go, oh, you, you, you're, you were here in 86.

Yeah.

Do the math.

Do the math.

Yeah.

Yes.

Yeah.

You know me on the go.

You are on the go.

And

what's how do you keep going?

I mean, that's the

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Energy up, positive all the time.

Talking great, positive, good vibes.

Yeah, how do you do it?

I'm serious.

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Would you like to talk about your special a little bit or your tour?

Or where would you like to?

I mean, yeah, listen,

there's a lot we could talk about here.

I guess my special, we could talk about that.

It's up to you guys.

It's your podcast.

You know what I mean?

Anything else?

We want to make sure you get something covered here because we get all our interesting chatter, but you also have some business.

I definitely,

yeah, I definitely, I had my special come out.

I was literally just talking to another comic about their special.

their Netflix special and they were like freaking out.

It's like the week that it's, you know, it's, you know, when your special first comes out, you're like freaking out.

And you're just, I, I was telling this comic, I was like, oh yeah, I was, I just wanted everybody, I wanted to move to the woods.

I was like, I just wanted to walk into the woods and live there for the rest of my life.

And then some months go by and it starts getting some play and you're like, okay, thank God, like this wasn't, you know, for nothing.

You're always scared it's going to be for nothing.

But

yeah, I'm like, I'm really happy with it so far.

It feels like, you know, when you make something, you're like, well, that feels like me, you know?

Yeah.

It's like, that, that feels like that's a good representation.

And for people, do you don't know?

Let's explain what, what's unique about it, but go ahead, David.

I was going to say, do you think a special in this day and age, what about it sells tickets?

Because that's sort of the idea is to sell tickets on the road and also gain awareness.

But is it the special itself or is it?

clips in the special or is it a long does it take like a year for it to sink in and people to start to see?

Oh, I saw this on this.

I saw a little piece here.

And then that's the value, right?

That's you want to do a special.

It's, it's.

Yeah.

I don't even know anymore, man.

I'm like, I really feel like

I don't even know.

I, I'm,

you pull one out, and ultimately, you want to make something that is seen within the context of an hour.

You want it to be seen as a whole.

And that's how comedy should be watched.

That's how it's meant to be watched.

Unfortunately,

now people watch it in like 30-second, one-minute clips.

And if they like those 30-second, one-minute clips, they might,

might go watch the whole thing.

Three minutes of your show, yeah.

You know, they might go watch a full five minutes and inch their way up to an hour.

Yeah.

I mean, some people tell me when I just did mine, they go, it's still an honor.

I mean, I'm not negating anything you're doing.

Of course, obviously, everybody wants a special it's such a big deal and netflix is a big deal and they get out there and you see a billboard it's it's really really fun and uh relevant all the great stuff you want but you also say okay what are they actually seeing are they seeing like don't put this in your act because when you go on the road you're in your head you're like everyone in the audience has seen 100 of every special and they're like right no i saw two clips on tick tock that's why i'm here yeah no i mean literally you could you could tour with the same hour.

You know, like in the 80s, they would tour with the same hour for like three, four, five years.

And you could do that again.

You could do that now.

And it wouldn't, there's no problem.

No one's open for guys.

And every time I saw them every year,

not a word different.

Yeah.

Yeah.

I mean, ultimately, you want to keep writing.

You want to keep doing.

And, and I, I'm the idiot who goes up there with brand new stuff and is like kind of struggling and then people get like pissed, you know?

And I'm like, well, I got to try new things.

I got to, I want to put out a new hour.

But it is nice to know that the pressure's off a little bit to like, you don't have to do 100% new.

You can do some stuff from the special.

I agree.

You want some stuff to kill for sure.

You owe them that.

And you want some stuff that's a little different for those people that are like.

comedy files that are like, I must have, I got something on Instagram the other night that goes, I saw you at the comedy store the other night, funny, but a little off.

Wasn't your best night.

I'm like, I'm trying stuff.

I have to, where can I try it?

I have to, I even know when I get off, it wasn't great, but there's something fun, even Dana will agree.

When you watch someone, it's fun to watch them bomb, too.

You go, Whoa, where was that one going?

Like, you go, holy shit, but it's a different thing to see.

I had, I had a show in um, there was a show in Dallas like three years ago or something, two years ago, I don't remember.

I was there in Dallas, and the guy, a guy took a picture of me and posted, I just saw Rosema Baker.

I think she was tired.

I get that too.

But I had fully bombed.

It was like,

it was a bomb.

It was just a bomb night.

I remember there was like a heckler in the front they wouldn't get rid of.

And the whole time I was like, well, this is a, it's, this is on, I can't do it.

You know what I mean?

I'm like, we're, the ship's going down and we're just all going to go down together.

But that guy kind of covered for instead of saying you fully drowned completely, he was like, She was a little tired, I think.

Instead of going, which was my guy, my people go, it was fucking horrible.

I know.

I'm like, but that's almost better than them feeling bad for you.

She shouldn't do this.

It's hard on her.

There's a, there's a, I guess it's a a trope.

It's kind of funny, but they would maybe say about you, which I just want to talk about this special and the way you do stand up.

She doesn't pull any punches.

Like you,

I feel like you are so connected to your material that I've seen.

And you can see where it's too burnt out or the comedian's not quite in their eyes, right, really connected or whatever.

I've done a couple like that.

But for this one, it was so personal, literally, for people who don't know, explain the conceit of the mother.

It's on Netflix right now.

Yeah, it was essentially,

I was.

The whole thing is shot over two

years.

One year where I was about nine months pregnant or eight months pregnant, and then exactly one year later after my kid had been born.

And I had this crazy experience with trying to get pregnant.

First, I didn't want kids, then I got pregnant by accident, then I had a miscarriage, then I was like, well, do I want kids?

And then I did like IVF, and then I got pregnant without IVF.

And so the whole journey to it was so crazy and all over the place that I was like, there's so much experience packed into that

that I was like, it doesn't really make sense to shoot the special until the until the kids have been born and I can let them know what it's like as a mom.

Because, yeah, I'm like, ultimately, I really wasn't sure about kids or not.

And I really wanted, I wanted there to be something to watch where I was like, what is it like really?

Like, what does it feel like?

And

because I was really curious about the postpartum shit and all of that.

So, yeah, I shot both, and the material cuts back and forth between.

So, some of the jokes that I wrote while I was pregnant, I expanded on after I'd had a kid.

There were jokes that I liked better, that I had written before, that I liked better from the perspective of having had a kid.

And then there were certain ones that I was like, no, you got to cut back for that.

So, the whole thing is like editing-wise was obviously a challenge, challenge, but I really, I really enjoyed kind of reporting from both, from behind enemy lines, you know what I mean?

And just telling jokes about what it really feels like because I was somebody that was so confused about the

deciding to be a parent,

especially as a woman in comedy.

You're just like, is everyone going to think I disappeared?

Is everyone going to think I died?

Like, you know, am I going to be written off?

Luckily, I,

I think, in a way, I, I wrote this special kind of out of a feeling of like self-consciousness or

being afraid that, that if I didn't, I, I would just stop or something.

I didn't know what was going to happen afterwards.

So, um,

yeah, there's a lot.

It's definitely personal.

I was up there fighting for my life for sure.

I was like,

where you say, like,

was there parts where you say, this is how I feel about to have a baby.

It's the most beautiful thing in the world.

And then now you get to say, some is beautiful.

Some is tougher than I thought.

Some is easier than I thought.

Yeah.

Yeah.

I mean, I wanted to talk about like what it felt like to go back to work.

You know, what it feels like to go back to work and how to go away from your kid and be separate.

Yeah.

Yeah.

And well, no, just to be back at at work and to be, to want to be treated the same way

as like, as like a working member of society, you know, but like also having just had a kid and being like, I'm kind of an open wound right now, but I'm, but I'm capable and I can be here, you know.

And you just, you go from feeling like

cool and sexy and working at SNL to being like the most unfuckable, just

like uncreative human.

and you're like surrounded by cool, young, rich people, and you're like,

shit, you know, like,

and you just feel like you got to compete in that.

So, there was a lot of that

feeling.

I don't even know what that means, but

I'm unfuckable and uncool, and everyone's cool around me.

You're in the corner nursing a cocktail.

Is SNL still

Rosebud

Baker?

Is it still

24 hours a day you have to be there?

Or can you come in late?

Or do they do jokes from home and you write them and send them in?

And, or is it really still?

I mean, for me, I gotta be there.

I gotta be there.

Like, personally, I don't, I don't want to be writing jokes from home.

It's kind of fun to be there.

I think that's a new world of people that don't are buying into this.

But as hard as SNL was,

you wish you weren't there, but you, you have to sort of be there all the time to be involved in jokes that like organically are coming up or sketches or interacting with everyone and it's all important to me it feels like it was all important

i want to be there because i want to remember like

who i am you know it's also like it's this feeling of like you know when you're a creative person you got to be creative like you got to be surrounded by creative people and to stay in touch with that and to kind of be in the mix.

And, you know, I, I, I think COVID kind of did a number of all of our on all of our brains making us think that oh it's we it's possible to work from home so we should and it i don't know i don't think that really i don't think that really works in a creative setting i never thought especially

i thought people would want to come back not not want to come back some jobs obviously are horrible but this the creative you're right everyone around us there when i was there i got dana i got everyone like I could say, Dana, can I grab you for one second and pick your brain?

And the fact that you have that, the value of like, oh my God, I have all these like superstars.

Remember, that you're just adwriting geniuses to go, can I just talk to you for a second about this?

And maybe they can crack a code for me or something I'm trying to figure out is great because everybody's good.

I know.

And the other thing is that I really love about it is it kind of feels like

you went to like you went to college at the same place as some of your favorite people, you know?

Like that.

Oh, yeah.

Like I get to talk to you guys, you know what I mean?

Or I get to talk to people that I, I wouldn't necessarily like, I don't know, maybe my career would have, we would have crossed paths.

I mean, but it's, I don't know, it's just this special kind of

bond that you have with people that have like worked at SNL and you go, okay, so you get it.

You know what I mean?

It's like you, you understand.

Yeah.

Running down the hallway, eighth, you know, the grease paint, the smell, the roar of the crowd.

It's identical.

Lauren Michaels is still there, you know?

So I do think, do you find it's kind of fun if someone, you're in a writer's room, it's someone else's idea and sketch, and everyone's bouncing around.

It's, it seems more relaxing to kind of punch up someone else's sketch in a way.

Like, oh, how about this?

How about that?

And the other fun part I found is like, I'd be in the chair getting the Biden thing on, and we're just right, right almost going live television.

And Allison and Kent and

Streeter would be there.

And then we'd go round and round.

And we always completely agreed when we got it.

Oh, it's that.

Yeah.

There was

usually all the writers go, oh, we got it now.

So this is fantastic.

So, to your experience, you had all those kinds of experiences, I assume.

Yeah, it's very much like that kind of feeling of

like when something just,

when something fits, it's like Tetris or something, you know?

Like you, you go, oh, yeah, that goes there.

That's absolutely, there's nowhere else for that to go, but there.

I think when I did one of those shows, go ahead, Rose.

Sorry.

No, I go ahead.

I was just saying when I popped out, I think it was maybe that Hunter Biden week when I popped out and I just looked down the hallway from that dressing room because I was over there with Dana.

And I think I saw you in the hallway with Che and that you were doing cue cards in the hallway because update was coming up.

Is that kind of where you guys do it over by cue cards where they write them and you're just kind of cramming and just doing like maybe a last thing before?

Is that what that is?

Yeah, yeah.

So it was cool, whatever it was.

generally speaking uh it was so we'll go through cue cards colin will read um yeah jokes it's in that hallway is where colin reads them and then

shay's under the bleachers um okay

we're all there's more of the writers are out by colin because colin wants to change things a little more like right up until the last minute there's might be little words that he wants to change Shay is pretty much like, he knows what he wants to do.

By the time he's under the bleachers, he's like, we're doing it, you know?

Okay.

So we tend to like be right out in that hallway, just running things like and little, making little tweaks and changes and little words here and there, you know, or

period there, you know.

Yeah, those things matter because you like Dana's, you trust the card.

So once you're out there and you're on a card, it's hard to edit while you're talking.

So it's like, I'm saying what's on this card.

We already went over it.

So I trust Wally did it.

Everyone did it right because if it's the wrong one or if it's in the wrong place, that buys you time and that stutter step will kind of ruin the momentum.

There's little things you got to have it.

I'm always curious as cast members, like

how,

because there's some, some,

some people you can tell it's harder for them to lean on the cards, to like take their eyes off.

You know, they, they just rely more on their own memory and it always kind of backfires.

It's so true.

That's like a host.

Yeah, it's like, just read the, read what's on the card.

And I'm always wondering, because I've never been in that position.

It's so easy to be like, just read the card.

But how

it goes against every instinct.

Yeah.

Because you want to act with Dana.

Like, I want to look at Dana.

And if you're looking a little to the side of Dana, you also want to go, hey, like, I want to scoop up the lines and then say them to Dana.

But you're supposed to just act like this is Dana here.

And people will believe that until you look over like this and go back and they go, oh, wait, where are they?

What's he looking at?

You know, it goes back and forth.

Yeah, yeah, yeah.

There's so many metrics to this.

You know, the one thing I was thinking about was just if it's getting too late, but you know, that your little piece is the rhythm is not right, so it drives you a little crazy.

It's off by a couple syllables, but it's too late.

So, that's one thing that's very frustrating.

So, I think that me coming back, coming from the 80s, I didn't feel like it was a career move.

Like, I've got to score, but you still want to just do the best you can and a lot of it is the mind fuck of like

have a sense of playfulness doesn't mean you're sabotaging anybody or going off the script but a sense of being playful when you when the camera's there being alive in the frame you know not locked on the cards not scared and so it's a great place to get to but it's nerve-wracking as hell like I said so yeah I mean yeah it just seems like some people got it and some people are like I can't you know like

it's tough

the amount of damage I've never gone to.

I think Dana likes to ad lib.

I'm not sure this interview.

The hardest part of ad-libbing is if it affects the next card or the next actor, because if you don't give them their feed line, then they're thrown and you don't want to do that.

But you also go, shit, I could go on a run right here.

Something you just think of that second and go, the crowd's right here.

This would work.

And it's like Dana's doing Biden directly to camera.

He can just go off, you know?

Yeah.

But if someone's waiting for their line, it's like, that's the well, I would have loved to have done Biden and won.

It wasn't the Dana Carvey show.

Biden is on for like five minutes.

But when I was doing George Bush Sr., going way back, but I was first time, I didn't have any bandmates with me.

It was just me with the cards.

And I was getting so into it toward the end that I just said to myself that

the cue cards are suggestions.

I still did them, but I said, they're just suggestions.

Cause if the audience is going to go for something, I'm going to ride that wave because it was just

got to do it, all that stuff.

But by the way, by the way,

this is just an interesting fun fact about you.

Your grandfather was James Baker, the third,

but your grandfather, the guy behind the throne, the guy that everyone in that era that your grandfather came up is like that was the guy that was kind of the president or like he was so respected between the Reagan administration and George Bush Sr.

that,

you know, I met him at one of the one of the events.

You did.

I did.

Benny Dana met him.

Well, I had to go down because they said they wanted me to perform in the East Wing.

This is after Bush lost the election, and he invited me to come out.

Fun crash.

Cheer up the troops.

And so I thought, I thought the goal is like a win-win.

You guys will love this.

I thought he'd go, well, you do 10 minutes, then bring me up.

He goes, you'll do 45.

45

with his staff.

It would have to be all about him for 45.

This is like 20.

And I saw your grandfather over there, and he just kind of smiled and he's looking around.

You know, it's like 40 fucking five minutes of nature.

I don't know how long it is.

But then here's the other one about your grandfather.

This is, I've never said this.

It's not that, it's not dramatic, but it's just, so I'm having dinner with the president, Barbara, my wife and I were having dinner.

There's a phone there, and something's going on in Somalia.

He goes, well, I got to go talk to James.

And I go, at this point, he transitioned into being the

Secretary of State into

Chief of Staff.

So he was chief of staff.

And I said to Barbara Bush, I go, why is he talking to?

James Baker.

And he goes, well, you know, once a Secretary of State, always a Secretary of State, even though he was chief step.

That's all I got.

We can edit that out.

You know, they're really, they were like tennis partners.

And sometimes I love the fact that they would like chat like girlfriends on the phone.

Like they were kind of just like gossip buddies, you know?

Like, yeah, I could see that.

They can't all be shit about Somalia together on the phone.

Love Island, Somalia.

Yeah, they break it all down behind the scenes, you know?

It's all like, well, that guy's, he's kind of a shit, you know, or whatever it is, you know.

They're just seeing.

To talk to this prick.

Everybody's a high school senior.

That's why I say people are intimidated by politicians or anybody.

Everyone is recent high school senior.

Yeah.

I think that's also why I like,

you know, people, my first year.

at SNL, I remember people coming up and being like, are you okay?

Are you good?

Is everything okay?

They only ask, they only ask you your first week because after that, nobody cares and no one's going to ask you.

No, everyone in the building will ask you how you're doing your first week because no, you'll never hear it again.

No one ever again will be like,

How are you feeling?

So I remember people coming up and being like, Are you nervous?

Are you okay?

Are you good?

And I was like,

Yeah, no, I was like, raised by war criminals.

I think I'm, I got this.

I'm fine.

Oh, that's your next special, raised by war criminals.

Yes.

Doesn't scare me.

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By the way,

I was going on foul, and I think people don't realize that to change gears, and I think we've all been in this position, I'm backstage and something happens and I get a call and there's a huge argument and some bad news.

And they're like, you're up after this commercial.

I'm like, oh, I'm up right now.

And I'm so mad.

I'm behind the curtain going,

because you have to flip in once, in 30 seconds, they're coming back.

The guy's like, 30 seconds.

I'm like, I'm so mad, I cannot walk out there.

And

people forget that you do have normal things in life and you got to come out and be like, yada da, da, da, da, da.

Yeah.

It took a second for me to honestly even walk out like almost mad and shake his hand and give him a little push and go, fuck, let's do this.

It was almost like that.

And then, of course, he's in a great mood.

Of course, the crowd is great.

And you can change up.

But in your head, you're like, it was, that was, that one was almost too fast for me to switch.

It was, you know, we've all been in that spot.

But a lot of times, if you're, what's, what, have you, you must have had horrible experiences where something happened.

I, I bit my tongue and I was bleeding.

Ladies and gentlemen, welcome to shenanigans.

So you must deal with that all the time.

You get a call and maybe it's your husband or the nanny and something happened.

Well, shit, we'll do this.

And then you got to be on.

Ordinarily, though, I really thrive in those moments.

Like, I was like, I really enjoy a piece of dark news and then

having to perform with like while working on that.

You know what I mean?

It's just a fun, you know, like-wakes you up, kind of, you know?

Yeah, you're woken up and there's just, there's, there's something

just universally ironic.

You're living living in the irony of just being alive, right?

And so that's just funny automatically because it's like, here we are.

We think life's so great.

Everything's so good.

And they get a piece of news and it's like,

you know what I mean?

It's like, it's the universal stepping on a rake and then having to like keep going.

And then you got to go, hey, dogs are funny.

Do you ever notice dogs?

And everyone's like.

I have a dog.

And you're like, but in your head, you're like, oh my God.

A really good set in the early days.

I noticed when I had strep throat or whatever the fuck it was,

doing so much stand-up, and I got to go up and I'm really sick.

So there was no pressure.

It was like, I can just get through this.

And then usually those are really good sets.

Something to learn from that kind of

what you were saying.

Like when you go to the bottom of the body.

This is just ridiculous what I'm doing.

Don't take it too seriously.

Yeah.

And it makes me think of that.

It was like a famous set that Tig Nataro did when she was like, hi, hi, I have cancer, you know?

Yeah.

It's like,

that's like a perfect comedy,

that's a perfect comedy set, you know?

Yes, in such a weird way, that just releases so much whatever energy or any anticipation.

It's like, whoa, whoa, what?

I mean, the audience has to wake up too, you know?

Right.

It's like, well, I'm, I'm processing it.

So you should pro so, you know what I mean?

It's like, let's all just process this together right now.

I'm going to do the thing where you said where you step on a rake.

Yeah, yeah,

step on a rake, flip on a banana peel.

Well, step in a bucket.

I've said this before.

You might find it.

Your eyes come popping.

Stephen Colbert, he does a great scoopy duo.

Stephen Colbert said to me that right before he goes out, every night, even recently, that he slaps himself so hard, he wants to worry that, did I do it too hard this time?

Right before he goes out, he wants to have that stress of like, maybe I bruise myself or maybe I really hurt myself.

Just whack.

And then he would go out, you know.

So we all have.

Is that just to is that every night?

That's what he says.

That's unless he stopped doing it.

He says every single night.

And then coincidentally, I told that story to Lauren.

He goes, I do the same thing.

Wrong Wrong examples.

Marcy, please.

Ryan Shirocki.

Did you end up having?

Oh, we're get your last question in.

No, what's my last question?

I'm having a nice time with Rose.

You ask her one more thing.

We'll let her go.

Let's see.

Well, you want to just tell people you're out there a little bit.

You're not on a massive tour, but you're going to Dublin, Ireland.

You're going to do Dublin.

yeah i'm doing dublin then i'm coming back to the states i'm doing westchester or westport connecticut what one of those west

uh

very fair what's that one i did i did chester or westport i think it's westchester um

but anyway i'm all of my tour dates are like on my website at rosebunbaker.com yeah and you're playing the punchline the original comedy club in the san francisco comedy scene that was the first time there was an actual dedicated comedy club in San Francisco, like 78, 79.

Is that true?

That came before Comedy Magic?

Well, just that's down in Hermosa Beach, but in the San Francisco scene, it was all just bars.

What about

music clubs?

Cobbs was after Punchline.

Punchline was first.

What about Stand-Up Cafe or whatever you call it?

The other cafe.

Comedy Cafe.

Other cafe.

Well, Rosebud, thank you.

And you have a fun name.

It's fun to talk to you.

It's very short.

The mother load.

I actually, I went on Reddit actually, and it's just like five stars.

People are coming

to it.

Good.

And that's where they say the worst things.

So I appreciate it.

Those are the haters.

Yeah.

I'm glad you went to the haters first, just to make sure.

Because I wanted to get, you know, because I'm still competitive at this age, and I still want to go, what the fuck are they saying about her?

Yeah, yeah.

She she's good.

God damn it.

But anyway,

you got it all going on.

Just have fun.

I don't know.

I don't have any words of wisdom.

It's been a pleasure.

If I end up out there and you're out there,

please, please come and say hello during all the madness.

I would love to.

I would love to.

Thank you guys so much for having me.

I really appreciate it.

She's

not going to say anything about the episode except these were my notes.

Done.

Yeah, you got to everything.

We dug deep.

No one expects anything from this podcast.

That's the best part.

Okay, go, Rose.

She's leaving.

All right.

That was RBB.

We were just

totally

on there.

Now she left.

That was Rosebud Baker.

Really got to know her.

Lots of fun.

We learned a lot about update, which people are very curious about.

Weekend Update is a huge part of that show.

Colin and Michael do a great job, and

she helps write and put it up there.

And that's really fun.

It was fun for me to see it from a different perspective when I was there.

You were there.

And then when people come on and do update, that's a whole other

interesting world of writing your own bit to go on update.

Who cuts, how many they cut.

It's all scary.

Yeah, and you can tell that there is a,

you have to have really good people skills.

So meeting her and her whole vibe and how copacetic she was and smart, that, of course, she fits in.

It's just a, it's a tough place.

We always say it too much, but it's also a lot of fun.

And it sounds like she's having a good time.

And it's fun to be a valuable part of all that.

And then she's also got her kids.

She's got her stand-up.

She's got a lot of things going right now.

Well, it's interesting to me after we've done, what do we, this, this that was our 12th podcast i think as fly in the wild but i never get tired of the the human experience of someone saying what they're feeling about going through that i still find it really interesting because it's her own personal story

around all the different things and everyone's has a slightly different take on it sure that's true it's a little different we we we relate to her in a lot of it but she's got her own life in different things so different things are stressed to her different things are more valuable and fun.

And I was like, I liked hearing about

what is the week like because I'm so wrong on a lot of stuff now because read-throughs move.

There's different things.

What's the work week like?

And who adds what, blah, blah, blah.

Yeah,

it's identical and yet it's slightly different.

But it's only been 50 years.

But anyway, that was very, very interesting.

I liked her.

I'm glad we got to know her because I did not really know her at all.

I just said hi to her at the show and she turned it out to be a blast.

So hope you guys liked it.

We'll see you next time.

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Fly on the Wall is presented by Odyssey, an executive produced by Daniel Carvey and David Spade, Heather Santoro and Greg Holtzman, Maddie Sprung-Kaiser, and Leah Reese Dennis of Odyssey.

Our senior producer is Greg Holtzman, and the show is produced and edited by Phil Sweet Tech.

Booking by Cultivated Entertainment.

Special thanks to Patrick Fogarty, Evan Cox, Maura Curran, Melissa Wester, Hillary Schuff, Eric Donnelly, Colin Gaynor, Sean Cherry, Kurt Courtney, and Lauren Vieira.

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