Lazy Sunday

Hey everybody, it's time to journey back to SNL in the 2000s where we discuss the digital short era.

I'm Seth Meyers and I'm talking to the Lonely Island, which is Akiva Schaffer.

Hi.

Normit Coney.

Hello.

And Andy Sandberg.

Hey.

Hit the theme song.

It's the Lonely Island and Seth Meyers foregas.

Ooh.

That's quite a song.

What genre of music would you call that?

It's like barbershop quartet.

50s.

Jazz.

Jingle.

Jingle.

Yeah, 50s trying to sell you shaving cream 50s wap not do wap but just whop 50s wap yeah wet ass p

i don't say the word yes oh w a p uh yeah 50s whopp 50s whop yeah yeah 50s wap the original yeah that was a much more difficult whop

to get

are you referring to whop in the 50s or current wap 50 years or older oh interesting yeah that's one for the listeners i was saying 1950s Like Milfwap.

Yeah.

Keeves always talking about Milfwap.

Guys, don't give away gold like that on the podcast.

We got to make a song.

We got to make the hip song, Milfwap.

Modern era SNLers might be listening to this and we're just throwing them a free short.

I do like a song where it keeps adding.

Oh, man, I'm going to sound like a dumbass.

What is it called when there's a letter for each word?

Acronym?

An acronym?

Yeah.

Yeah.

So we can cut out me struggling for it if we feel like it.

The song that keeps just adding acronyms.

I think we keep it.

People want to get to know the real you.

I feel good that I eventually did get the right word.

You did, and nobody helped.

Mostly because you were explaining it so badly that I didn't know what word you were looking for.

Yes.

But yeah, it's a joke rap, right?

Okay.

Let's start there.

Evergreen.

I think we can all agree on that.

Joke wraps are evergreen.

Yeah, man.

It's on topic for today.

Exactly.

It's very on topic for today.

All right.

So episode two, we talked about lettuce, which was the first short that aired.

And now it is two shows later.

It is the Christmas show in 2005.

It is, even if you remove the digital short, which we're going to talk about at length, a really great show, a very memorable,

top-to-bottom, fun show.

And it's the premiere, the world premiere of Lazy Sunday.

Lazy Sunday, wake up in the late afternoon.

Call Carnell just to see how he's doing.

Hello, what up, porn?

So Samburg, what's cracking?

Thinking what I'm thinking, party on man is happening.

Reverse, my hunger pangs, I stick it like dark tanks.

Hit up, McDoka, and back on some cupcakes.

Dark bakeries got all by Bob Frostbit.

I love those cupcakes like McDaddy's love.

Duaslip, duo, Slip, Duaslip.

After Lettuce, Lazy Sunday was not the next thing you shot.

Correct.

Yeah.

Basically, Higgins and Shu came, said, Whoa, that aired, do it again.

And we were immediately out of ideas.

We had been at the show maybe two months, and we were like, we got nothing else.

Lettuce wasn't even our ideas.

That's even sadder.

We were out of ideas from the jump from number one.

And so we went back to Forte and we're like, what else you got, I guess.

We got to do another one like this.

And he came up with this script for Hey Ode.

And I feel like we'll get to it because eventually it aired.

But it was a very direct sequel.

It was back on the stoop, same place.

To be fair, the one we ended up doing that this episode is about, Lazy Sunday, also starts on that same stoop.

So we were pretty much just doing stoop comedy at this point.

Not only were you out of ideas, you were in the most populous city in America and you couldn't even find a second stoop.

Well, it was our stoop, though, so we felt safe there.

Yeah, we didn't want to get in trouble, you know, and we wanted to save money on location.

So we shot in front of Andy and Akiva's apartment.

Right, because you guys owned that whole brownstone, right?

Yeah, the rental agreement allowed it to be a shooting location for network TV as well.

That was the stoop where Akiva and Andy, you guys shared that apartment together, right?

Yeah.

Five-floor walk-up.

And it was like a triangle.

If I remember, it was a very oddly shaped apartment itself.

The kitchen was a triangle, yeah.

Yes.

The actual apartment was very weird.

Yeah.

You didn't walk in and think, there's deaf, two bedrooms here.

And there really weren't.

There was like an office.

One room was just big enough for the bed.

Did you guys switch off?

Because I did that in college.

Did you guys like rotate?

We did do the college thing of halfway through the year switching rooms.

Yeah.

It was so much work.

Yeah, who decorated better?

Keeve, obviously.

No, we didn't decorate anything.

Yeah.

It's It's in Lazy Sunday.

You can see Andy's bedroom.

He was in the bigger bedroom and it starts with him on the bed.

Oh, right.

Yeah.

That's right.

That's his real bed in his real bedroom.

We're going to get to that.

Okay, but first of all, we have a lag week because you shoot Peyote, which then airs later in the season.

It does not air that week.

No, went to dress, right?

Went to dress.

And literally, Shoemaker was like, maybe try something completely different.

Don't just do the same thing twice in a row.

Right.

Now, I do want to point out that it became very iconic, an SNL Digital Short.

This was whose decision that that would be sort of white on black before each of these.

Well, to be fair, we had watched some Adam McKay shorts with Will Farrell.

It was just the two of them messing around.

And I think it's the exact same font, too.

And it's an SNL digital short.

And we were like, you know what?

We'll use that because we were being told we can't use our own name.

I'm going to give the 30-second background on Adam McKay.

And in his final season, when he wasn't sure he wanted to stay at SNL anymore, when Farrell and McKay were kind of the kings of the show, he made a special deal to be able to make short films.

And they made a short film that I remember seeing at home and being like, where did that come from?

That was shot on 35 millimeter that had Ben Stiller.

Who else was in it?

It was called like The Heat Is On or something.

HSO.

It was about Glenn Fry, right?

Look at him.

Looks good, too.

I mean, I can't believe it.

That guy's done everything.

He's done it all.

Miami Vice,

Eagles.

Miami Vice.

It literally looked like a a movie.

It looked amazing.

And then they had burned their entire budget for them.

Then they made one and they called it SNL Digital Short.

And the point of that is because the digital cameras looked terrible back then.

They were standard definition mini DV and they called it digital short to let the audience know like you're going to see something that does not look broadcast quality.

And his intro was very different.

It had like some really edgy rock and roll.

It was like

it was pretty punk rock.

Yeah, it was letting you know you're seeing some a little punk, a little off the beaten track.

I want to say that it ended with, it's in your head, or something like that.

Like some very aggressive thing.

And there was like ones where it's like Will Farrell wrestling a stuffed animal of a Doberman pincher, maybe?

Yeah, there was like a Doberman attacking him for no reason, I think.

It predates me.

Yeah.

So I missed him as well.

I just remember seeing him.

Those were the last short films that had aired on the show when we showed up, besides TV Funhouse.

So when we were trying to figure this out, the first thing we did was make a card before Lettis that said a lonely island short to try to separate it and be like, this is a different thing.

And then we were told that that was not acceptable and that we should not be sneaking in our company on the company dime.

I do remember, though, at the end of all that, we were with Lauren and we said, What are we supposed to put at the top then?

Just so that people know they're about to see something that doesn't look at the quality of the show.

So we just took the words SNL digital short from the McKay, I think it was St.

Font, and we said, What should we do?

And he said, Just put it on white over black.

And it was Lauren who said it.

Oh, there you go.

So you guys go back to the drawing board because Peyote makes a dress, does an air.

Shoemaker suggests something different from where is Lazy Sunday born?

Once again, out of ideas.

Yeah.

I mean, before we got hired, one of the things we had done was make joke wraps and make videos for them.

Yeah, taking it back, take it all the way back, anyway like the original Lonely Island stuff.

That was kind of out of the gate.

We were doing stuff where it was like us doing our version of Stella, like the show Alter Wayne, Michaelene Black stuff.

And then the thing that made what we were doing different from that was that we were making joke songs and videos.

And whenever we showed people those, they were like, ooh, that's something.

And people liked the other stuff too.

And it was kind of like how it went on the show eventually, which was people liked the stuff that weren't the songs, but they liked the songs the most.

What were some pre-SNL joke songs of yours?

The first one we did when we all lived together in Los Angeles at the actual official Lonely Island, dubbed that by Akiva.

And your landlord there was fine with you calling the apartment Lonely Island.

It was just Lauren that wouldn't let you call the shorts that.

Correct.

Weirdly, our landlord was Lorne, though.

He just has a different approach to landlording.

He forgot that he owned the house.

Was it you calling him your land Lorne?

Yeah.

Our landlord was cool with it.

But we would, like, I made a bunch of beats on our other roommate Matt's B-R-8, 8-track, digital 8-track, and we would make like just sample songs from records and like loop stuff.

And then we would make like four-track beats.

And then we'd stay up till six in the morning drinking and making songs.

And our first one was called Kablamo, which was our way of saying a new cool word.

When something was cool, it was coblamo.

And when it was not cool, it was not coblamo.

You just won the lottery.

That's coblamo.

You can shit in Doherty.

That's coblamo.

You joined a sorority.

That's coblamo.

You lied about the lottery.

It was not a great song, but we were only 20.

We were 22 years old.

It wasn't a great beat either.

Well, I mean, Norm is selling the shit out of me.

It should be.

That's true.

I don't seem very excited about it.

He's given it pace.

He's given it enthusiasm.

Yeah.

That awesome preamble where he like named the equipment you guys used.

People loved it.

That's important.

People are like, how do you make beats?

And they need to know if it was 20 years ago what they'd go and buy to make some simple beats.

You can still get them.

I just looked it up online.

The three of us lived together in that apartment, and there was a fourth guy, Matt, which is Matt Bette Nelly Open.

And I will say, we knew him from home and we knew him from college.

And he directed the Scream movie from last year.

Oh, my God.

So that's pretty cool that he found his own path to success.

God, love him.

We went to elementary school together.

Me, Matt, Betanelli Open, and Chelsea Peretti were all in the same class in elementary school in Oakland.

Well, and he was also in the early videos, and so was Chester.

Like, we had Chester Tam as well.

And Chester is in Harod, and he's also in Scream.

Hey, look at that.

It was a bigger group, and then it windled to this.

But we made all sorts of, like, we made one called Stork Patrol that we made a big dumb puppet for that was us being in love with a bird.

And then Just Two Guys was the other main one that we did in like 2004.

Right.

Right before getting the show.

Hello, welcome to the party.

Hi, I've never met you before.

I know.

Just two guys and we're having a good time.

Having a good time.

Having a good time.

Just two guys and we're having a good time.

Having a good time.

So who's the first person to suggest the first seed that becomes Lazy Sunday?

Well, we had made another song called The Heist 2 later.

It was me and Akiva, and it was a very aggressive aggressive style beat, but a very mundane thing about I've gotten broken up with, and I'm very upset about it.

And I go over to his house for solace and friendship, but it's us rapping very aggressively about something very shitty.

Best friends gotta tell each other their secrets is a great line.

That is very good.

It is a great line.

Quality writing.

And true.

In terms of ripping ourselves off, there's even a moment later we were having tea and he says, this tea is delicious.

What did you say it was?

And we go, Camomile, motherfucker, which is just snack attack, motherfucker.

Right.

Is it caffeinated cuz?

Then we're talking about how we don't want to have caffeine anymore.

Anyway, it's pretty lame.

Would you clarify, you're talking about before SNL?

Yes.

Pre-SNL, Keevin Yorm had made a song called The Heist that they never shot a video for.

We never did a video for.

Yeah, it was just an MP3 on our website.

And we had been fans of Parnell's update feature raps where he would go super hard.

And we were like, whoa, we're here with Parnell.

We should do something that's a joke rap with Parnell since they want us to use cast.

And he's the only other cast member that we know has done funny rap stuff.

And we wanted to put something together.

So then we were like, well, what's funny about Andy and Parnell rapping?

And we were like, ooh, you know what?

We should do something kind of like The Heist, which was one of our favorite songs that Kevin Yorm had made.

We were also super worried about stepping on toes.

And because he had done that Britney Spears rap and the other one, we were like, really didn't want to come out there being like, we do raps and steal his bit.

And so we were also just protecting our reputation at the show by being like, we love those raps and they were super funny, but we also were just like, we didn't want to be known as the guys that steal anything comedy-wise.

It's also so funny to think about further pointing out how much we do not think of ourselves as ourselves as rappers.

No rapper would be like, well, he raps, so I shouldn't.

Also, no rapper is like, I'm not stepping on the OG Chris Parnell's toes.

That's how we felt about it, though.

In our minds, it was like, well, he's the one who does raps on the show.

That's his territory.

So we would have to include him if we were going to do that.

We're always pretty concerned with that.

Yeah.

And luckily, once we left SNL, everyone was like, hey, there were already people that did a lot of raps.

We better not do any.

And there hasn't actually been one on the show since we left.

Yeah, that's right.

There's not a single comedy rap since.

Now, guys, it was not your fault.

You didn't know it.

I had had four years to establish it.

I had done a comedy rap before.

Tell us what it was, please.

I did a comedy rap in Chicago.

We shot it on video cameras.

It was a minor Chicago hit in the comedy circles.

Me and Case Clay and my friend Pete Gross, and it was called Noodles in the Pot.

And it was a beastie boys style rap about a Thai restaurant called Noodles in the Pot.

Noodles in the Pot.

Oh, my God, my God.

Show me what you got.

My God, my God.

It's sushi.

No, it's not.

My God, my God.

Noodles in the pot, my God, my God.

Noodles in the pot makes history.

Because you loved that Thai restaurant.

We did.

It sounds like a precursor to Das Racists, Taco Bell, KFC, whatever that one is.

It was a precursor to a lot of things, but most importantly to you guys.

And the thing about it is...

I was ripping you off.

I just went back to Chicago and did stand-up, and Pete and Case Clay came, and we did it live on stage.

Wow.

Whoa.

That's great.

It was super exciting.

But in the preamble to it, I went at you guys pretty hard.

Can you remember some of the stuff you said?

Yeah, when you were talking about how we ripped you off?

Yeah.

It was like you guys were the Elvis that like stole music.

Right.

So you were the original.

So it was like, motherfuck Andy Sandberg and John Wayne.

That is so tight.

Wow.

Now, I will say that one of the things about Noodles in the Pot that became very hard when I saw the runaway success of Lazy Sunday, Noodles in the Pot was like five minutes long.

Right.

And so you realize you guys had a good eye for what the show needed.

We already sort of knew that our songs were better shorter.

We'd made enough stuff in LA to know that shorter was better.

We've said this before, but we knew that joke raps suck.

We still do know that, actually.

Yeah.

Yeah.

And that was one of the main debates we had the week of Lazy Sunday.

And we were like, should we try one?

They suck, though.

Yep.

That's right.

As that art form, they're bad.

And we don't want to be responsible for making them more popular.

And we don't want people to think we think they're good.

They're a cheat and they're lame.

And almost all musical comedy is.

And we literally were saying these things out loud.

Like, when you see a comic pick up a guitar, unless they're Tenacious D, you have to be as good as Tenacious D to make it worth it.

Otherwise, don't do it.

It's weird that we're known for something that we kind of hate.

Yeah.

Hey, you don't hate that money, though, do you, Yorm?

Where's those sound effects?

I cannot stress to those of you not on Zoom how close Andy got to the microphone to say that.

All three of you are uniquely different and good rappers.

You have good voices for it.

Again, I want to just preface it by saying we're fake rappers and we don't take this seriously.

And when you're around a real rapper, there's a real difference because they don't do like a billion takes.

Right.

They probably do a fair amount of takes, though, right?

Real dudes can just bang it out.

It's pretty impressive.

So you basically, they'll come to the conclusion.

Now you've decided you and parnell are going to do a rap together and had that conversation go keev when we asked him like hey parnes you want to do a rap with us i think he just was like oh wow sure is that right do you want me to set you up andy hey parnzy we're gonna do a rap you want to join us all right sounds good and that was the end of the conversation

that sounds good okey dokie You penned it, though, completely on your own, the three of you.

Oh, yeah.

In our little room.

Yeah.

Yeah.

Your arm whipped up the beat.

And when we were doing it, because it was Parnes, I was like really nervous that like, oh, fucking Parnell's waiting and we're going to do this thing.

And I remember making the beat in the room with these guys because this is the first time that computers were like fast enough to be able to like.

What kind of computer?

It was an Apple.

Tell us about like the processing power and the model number.

Yep, yep.

Yeah, yeah.

Anyway, it wasn't a PR8.

But I was making the beat on Reason and I was really nervous because I was just like, oh, God, we got to get this.

It's got to be good.

And I was running through like the Reason presets and I found that little refrain thing.

I was like, this is pretty fucking cool.

And then just put a little break beat to it.

And then everyone's like, yeah, this is good.

And we started recording in there.

Kweslov complimented that beat one day later on.

He did.

That's high praise if Questlove compliments a beat.

I was going to say the interesting thing about being nervous about Parnell and his take on it is Parnell was the kind of performer that would literally do whatever you asked him to do without hesitation.

If you wrote in a sketch, he had to run through a wall.

He was the sort of guy I feel like college football coaches want to have on their team.

Yeah.

You never ask a question.

He would play hurt.

He would never say after the fact anything that would make you feel like you hadn't done your job.

Yeah.

He's like all maddened.

Yeah.

Yeah.

In retrospect, there was no need to be nervous, but this was early days.

You know, what show was this for us?

Our sixth, seven?

Probably a little bit late.

Eight or nine?

Cause it's a Christmas show.

Yeah.

We had started in October.

The first episode, though, was October 1st.

So we've only been there 10 weeks and those aren't all episodes.

I do remember like being confident because we had done this kind of stuff before.

And I was like, hey, we're actually doing something we know how to do.

We were in our element and certainly didn't think it was going to pop off or anything, but at least we were like, hey, this is kind of cool.

We're like doing our thing and maybe it'll work.

Who knows?

And also knowing that every time we wrote a line for Parnell, that it was going to be super funny because he sells it so hard.

Yeah.

You guys were going so hard on it.

And then when it was done, it did feel like, oh, yes.

When we first recorded it, it was just relentless all the way through.

There were no dance breaks.

And then Steve Higgins came in to check in on us and we played it for him.

And he was like, that's way too fast for the audience.

You have to put in breaks to give people a time to laugh and wrap their head around it.

And we were like, okay, Steve.

Yeah, I will say that's one of the maddest times I've ever been at SNL.

I was so furious about it.

At that note, really?

I loved how it sounded.

It just ran through.

So you guys weren't rapping faster.

It was just that there was none of those moments where you were like bobbing your heads in the back of the taxi.

Higgins, I think, correctly asked us to make it slow down so that the audience had a chance to catch their breath and decide they liked it or not.

You know, I think he was right for the live audience.

Musically, I disagreed with it and still do, but I would certainly not say it was the most mad I ever got at the show, Jorm.

I got so much more mad than that.

Yeah, but that was our first thing.

Jorm's not saying he was right to be that mad.

He's just saying that's what happened.

His instinct was just like, no, you're just, I want that raw uncut.

I was furious.

I was really furious.

It's fine.

Yeah.

Because you worked there for maybe like six more years and you never talked to Higgins again.

That's right.

That's right.

I never did.

No, but Higgins was 100% right because if you watch it and you hear the audience, the whole first verse, the sense is, what is this?

And then you give them that break.

And the whole second verse is them saying, we love this.

They're listening to the second verse as huge fans.

Yes.

Because you've sold them.

He was totally right.

I I will also say that the dance break, once we were like, no, it's like a remix.

Like you can throw in another beat at the same tempo and we'll think of stupid Beatles style animation.

Those things got the correct laugh too, which was that they knew we knew they sucked, which was nice.

Yeah.

Yes.

And I think by the end of making it, we're fine with it.

Yes, for sure, for sure.

We should talk a little bit about the filming of Lazy Sunday.

What kind of camera did we use, Keith?

Oh, no.

I think it was a Panasonic camera or Sony.

So, wait, I want to say YouTube, Supreme.

Let's also not forget Magnolia Cupcakes.

Yeah.

Yeah.

I mean, arguably put them on the map and there was no appreciation from Magnolia.

So you guys were sort of at the ground floor of a lot of different things and didn't manage to monetize it at all.

No, no, no.

We did not get paid.

Hey, over the years, have you heard from Gosling or McAdams?

Never have.

No.

Interesting.

I would have thought, not that they needed to be put on the map, but I feel like that's a real iconic place.

Yeah.

When you get name-dropped in a rap song, I think that that is, you know, a real tribute, especially a catchy one that people remember the lyrics to.

So Magnolia Cupcakes, how did that come about?

And what was the reaction from the Magnolia people over the years?

It was in our neighborhood and we were trying to do everything where we could just walk around and shoot stuff.

And I remember we shot a couple of shots outside and then a woman who worked there came outside and told me that she had called the owner.

We were not allowed to be taping.

We couldn't be showing anything.

We were like, actually, we're outside on the street.

So we're allowed to do anything on the street.

We actually had asked the NBC lawyers, if we're on the streets, can anybody say anything to us?

And they were like, no, you're fine.

If you're on streets with no tripods touching the ground, you can shoot anywhere in New York.

And they said, the owner said, we need to take your tapes.

Really?

Yeah.

And we were like, yeah, we're not giving you our tapes.

We're just on the street.

So we're so sorry.

We will stop filming now.

And then we left.

And then years later, I think we told this story in the press and we started getting big magnolia.

Do you remember ever coming to one of our sets later on, years later, where there would be like hundreds of cupcakes and a huge thing of banana pudding?

Yes.

Because they started sending us free magnolia just to our shoots.

So they tried to make good on it.

They heard this story and went, ooh, okay.

And they tried to make it on it.

You know, credit where credit's due, I think they went a couple of weirdos, no offense, or outside your place of business filming.

You might not know it's going to be a hit comedy rap that will endure for 20 years.

Also, they were already a smash success.

Yeah, that's true.

We name-checked them because we knew people would know what we were talking about.

Yeah.

And a lot of people have been like, do so many people go get Magnolia now because you guys?

And I was like, probably more people go stand outside Magnolia and do the poses we were doing and take pictures

than actually buy the cupcakes, but probably a little of both.

I will say we also didn't look very professional.

It was Akiva holding a video camera, me playing this little beat back, which was maybe annoying because there was a bunch of cursing too in front of their store, and Parnell and Andy.

And that was it.

Yes.

When they're rapping in the back of that cab, the whole crew is in that cab.

I was able to fit in one cab ride.

Were you in the back seat, Keeve?

Because I feel like I was in the front seat playing the beat next to the driver.

I think I sat in the front seat, passenger seat, and I'm shooting through the little window back at Andy and Parnell, and you're on the floor by their feet.

Oh, maybe I'm hiding then.

Yes.

You were ducked down under us.

Keeve, you're...

Should we say frapping anytime we're talking about times when we were performing our lyrics?

I think that's fair.

Frapping is a term we've coined for fake rapping.

Oh, interesting.

So people don't think we're actually rapping.

We're frappers.

Oh, that's good.

So we were frapping.

We were in the back of the cab frapping.

Yeah, while they were frapping back there.

Was the choice of Chronicles of Narnia just based on the fact that it was a movie that was out then?

Or did you think it was just good frap scansion?

We were trying to make it topical for you.

Yeah, that's as topical as we get.

Did you ever see that film?

Yeah.

Well, it has the word chronic in it, too.

So it led to.

That's what I was wondering.

I mean, it was of the time, but I was wondering if chronic helped it.

The chronic light pulls of Narnia.

Yes, the chronic light calls of Narnia.

We love it.

Can you guys name one actor in Chronicles of Narnia?

The lion.

I'm sorry, an actor.

Yeah, Asland.

Yeah, who was the voice of Asland?

I'm guessing Liam Neeson.

You got it.

Nice job.

Whoa, that's good.

Who else could it have possibly been, you know?

Yeah.

Was James McAvoy the little half-goat guy?

Oh, yeah, he's the goat guy.

He's Mr.

Thummis.

Oh, man, this is great.

This is going to be really fun.

These are other movies that came out on the same day.

And will you just wrap the titles?

Shit.

Oh, please.

Frap.

Will we frap the titles?

We'll frap.

Thank you.

Memoirs of a geisha.

Please don't make us do this.

Don't do this to us.

All right.

This is a bust.

Talk more about your improv background.

We hate fake raps, Ed.

I don't know how we can make it any clear.

Freestyling a frap?

No, that's a bad idea.

Anyways, what about the bodega you shot in?

It was right around the corner from me and Keith's apartment.

Yeah.

Did you close it up?

Did you ask for permission?

No, we just asked if we could get behind the counter for a second.

They said yes, and they were cool.

We looked like film students.

It was just the four of us.

Emily Heller, which is Yorma's sister-in-law, who's a stand-up comic, is the woman behind the counter selling stuff.

And I guess she was just in town visiting and just came by at that moment.

And so we were like, hey, get behind there.

It was before she had even started comedy, though, right?

No, she was doing stand-up at the time, but she must have been like 20 years old to backtrack just because we've talked about this thing so much, but we do it the exact same way as Lettuce, where we borrowed the camera from Maggie, Bill's wife, at the time, and we just ran out on the street.

It cost the cab ride and two mini DV tapes.

We did buy little speakers that you could put into an iPod because iPods were popular back then.

We got like a $15 speaker that we were doing playback on.

And as he was like walking down the street, I would hold his backpack that probably had our supplies in it and videotapes and then play the song while we're walking down the street.

So we don't look professional at all.

And we would either tell people it was for SNL if that helped us or just claim to be film students when it helped us.

Most of the time, we would say we were NYU students.

Shout out to New York City for being amenable to the idea of helping out a couple of students.

The movie theater is the UCB theater.

Ah, that's right.

Thanks, Polar.

There you go.

I remember showing it to Sudakis when it was done, but it hadn't gone to dress, just in our writer's room, and him very nicely being like, This is going to blow their minds.

I can't wait for this there.

And it was before we were very confident in it.

We were just kind of like, yeah, this feels like it came together pretty good.

This was before we even had an edit room, right?

Keith, like we edited in that room.

Yeah, yeah, we were just on our writer's room.

Yeah.

And I just remember him being very generous with his compliment and it giving me confidence and feeling like genuinely like, oh, wow, maybe this will be good.

Now, Shoemaker told me that Robert Smeigel, who in this show, and one of the reasons this is a really great show when you look back at the rundown, did one of my favorite smiggle pieces ever, this claymation piece called Christmastime for the Jews.

Well, it happens every year on Christmas Eve.

All the happy Christian people take their leave, and the streets are deserted, and that's big news.

It's Christmas time for the Jews.

When you talk about Timeless, it is a perfect piece of comedy

because the observation it makes are really timeless observations about Jewish people at Christmas time.

And he knew he had a hit with that and he wasn't wrong.

And yet when Lazy Sunday aired, he said to Shoemaker something along the lines of, oh, that changes everything.

Yeah.

Because it was like anybody who worked there and saw what it looked like, because it did look gritty, right?

It didn't look like super glossy or anything.

And yet the audience went for it in a way that you could tell they were going to continue to be there for things like it.

That was one of the things that allowed it to stand out, too, was that the year that we got there was the first year, I believe, that SNL went HD.

So it looked much cleaner and more polished than it had in previous years.

And then we sort of weirdly stood out even more by it not looking polished.

So it really felt like it was its own kind of thing in the middle of the show.

Yeah, the quality drop.

Yeah, the quality drop really helped us.

And we tried to keep that going throughout all the years, just a distinct quality drop after our stuff would start.

yeah yeah it is funny how over the course of being there snl digital short went from being like hey hey hey this is gonna look bad just go with it to hey this can be like shot with movie cameras and be actually the best looking thing in the show and that's just about technology i'd like to do a small yorm style list of the cameras we used throughout the x01

i'm just kidding i'm not gonna do that seth the smeigel thing bears looking at because it shouldn't go unnoted that smigel was like on our hero list you know coming in we were like holy shit, that's Robert Smeigel.

We knew about his reputation.

He's one of those legendary SNL writers.

We knew he had a relationship with Sandler and all those guys that were like our main cast growing up.

TV Funhouse obviously was like massive for us.

We were like, that's somebody doing like actual edgy, dope shit.

And when he came up to us after that show and was like, you guys just did something great, we were all super geeking.

Yeah.

And the other thing about both of those pieces of content, his was a super catchy song as well.

You know, wonderfully performed.

Who was the singer on it?

Darlene Love.

You know, again, you guys had Parnell, but Michael had Darlene Love.

His is also like expertly crafted stop motion.

It's like beautiful sets, beautifully animated.

Well, he'd been doing them for a while, so he had carte blanche.

Yes.

To your point, though, Seth, because it was such a good show, I was very excited that it aired, but it's not like the moment it aired, I was like, oh, that's going to really pop off.

No, and in fact, Jorm, I would argue that we were way more excited that Enemy Mind was airing.

Our Enemy Mind sketch.

Yes, right.

Have you even said it was Jack Black hosting who was the musical guest?

Yeah, so Jack Black hosted musical guest Neil Young.

That's a banger.

That's a good show.

That is a banger.

Yeah.

And you guys have an enemy mind sketch.

Hey, Steve.

Yeah, Glerg.

So I know it's been a while since our ships crashed into each other during the space war between our races.

Yeah.

And I know we've been stranded on this moon with no one but each other to be friends with for a long time now.

Right.

And odds are no one's ever gonna find us out here.

Sure.

And it could be just me and you until we die.

What's your point, Glerk?

Well,

in light of all that, I think there's something maybe you should know.

Okay, shoot.

Oh, gosh, how do I put this?

I have both male and female genitalia.

So, just something to think about.

By far your best live sketch to this point as well.

What?

Yeah, yeah.

Oh, to this point.

Yeah.

To this point.

And it got a sketch.

Yeah, Show 9.

Now I get it.

We should note that this is based on a Dennis Quaid Lewis Gossett Jr.

film.

Yes, it's a sci-fi movie called Enemy Mind that I was super into.

That maybe came out 15 years before you wrote the sketch.

Yeah.

Seth's favorite thing that I would do, which was come up with ideas based on super old sci-fi movies.

This will be a recurring theme.

Yes.

But Enemy Mind.

And I should note, I also had a soft spot in my heart for Enemy Mind.

I think it's a super cool movie.

You had a soft spot.

I'm just going to say what I remember about the film.

Dennis Quaid and Lewis Gossett Jr., who's an alien, crash land on the same planet.

They're like warring.

Yeah, they're enemies.

During a war, yeah, that they're on the opposite sides of.

Yeah.

Each one of them is like, you're mine, enemy.

Exactly.

And the other one's like, no, you're mine.

Correct.

Yeah.

And then they end up befriending each other over a long period of time.

Yes.

More than befriending.

Well, no, because in the movie, Lewis Gossett Jr.

has both male and female sex organs, correct?

I don't even know if that's what it is or if it's just that in his species that the males just give birth.

Right.

But it's a late reveal that he is about to have a kid and then does and then they raise the kid together kind of.

Or I think he dies and Quaid raises the kid without it.

Oh yeah.

Right.

That would make sense.

I should note, this film alone has a comedy premise and yet you guys had a heightened.

Can I say also you don't need to be familiar with the film to enjoy the sketch.

That's part of the brilliance of the sketch is that it stands alone.

Yes, I should note that as well.

This sketch did very well.

I'm willing to venture that not more than 10 people in the audience had seen the original film.

That one was also going back to the well.

Yes.

Because we had made in 2004, the year before, a very cheap pilot presentation.

I think $70,000 was the full budget for a sketch show for Fox.

And on it, one of the sketches we did was this Enemy Mind style sketch, Glurk.

Yeah, called Glurk, named after Andy's character, and it starred Yorma and Andy.

So there was a full video.

And Jack Black was buddies with Dan Harmon and would come to Channel 101, not that it had aired at Channel 101, where he, I think he had even seen it, or did we just show it to him?

Do you guys remember?

I think he had seen it.

Well, he was in the pilot presentation.

Right.

He was gracious enough to even come introduce the pilot presentation.

Yes, we drove up to where he was recording some Tenacious D shit and we put him in like a George Washington costume and shot him for the intro of the whole thing.

Right.

That's how he had seen it.

Yeah.

Yes.

Bless that guy's heart.

He's the greatest.

That was when they were making the Tenacious D album with the Dust Brothers.

So that was, speaking of like Smigel style, like meeting your heroes.

We were like walking in on the Dust Brothers who did Paul's boutique.

Yeah, we should working with Jack and Kyle on the Tenacious D official record.

I will say, as a preamble to Enemy Mind, because Jorm and I were in it together, this was a similar thing to the Parnell thing of like, we talked about it a lot of like, hey, are you okay with me asking Jack to be your part?

Because that's kind of fucked up because we have it recorded as us and we love that version.

But also we're in our first first half of our first season and we're completely out of ideas already well and jacqueline was very nice about that too he was like are you sure are you sure no but it's your i remember yeah yeah yeah and then and then afterwards he was like you did it better and i was like i don't know about that but thank you

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Jack Black was the kind of host, and you weren't the only ones to take advantage of at this show,

who would, if you had a piece you loved that maybe hadn't worked with previous hosts, but it was a comedy lover's delight, your final Hail Mary would be, let's throw it into the Jack Black show.

Jack, I also would put Jonah Hill in that category.

Yeah, he saved some really funny shit that never got picked, but he was like, No, no, we have to do this.

And they were the kind of host, by the way, if you told them that, if you said, Yeah, I've tried this a bunch of times and it hasn't gotten through, they're both the most polite guys.

But then they'd be in the room with Lauren and I think in the most charming way saying, Oh, we got to, though.

Yeah, we got to do that one.

Jonah did that right for Jackie Snad and Clancy T.

Backlaret, right?

The Model T Cars one.

He did.

He willed that into existence.

That's fantastic.

These tended to be episodes on Christmas, too, because they would save like some fantastic person.

And then Christmas always became like a real thing for us of like, fuck, now we got to do another good one on Christmas.

Well, we should note that Lauren has a very famous speech that he does right before the Christmas show and right before the last show of the year, where between dress and air, it's sort of his.

Friday night lights hyping up the room, except the complete opposite energy, where

he says something along the lines of, well, you're about to have three weeks off and you're going to see a lot of friends and family, and, you know, they'll want to talk about the last show.

And wouldn't it be nice if they had something nice to say about it?

And then I guess we were supposed to be like,

I'm going to rewrite the whole sketch.

Go write some comedy.

Freedom.

So I want to talk about Lazy Sunday.

I have more questions about it.

Yeah.

But we're all about tangents here.

There are two sketches I remember a great deal from this show.

The first one takes place in a Sabaro.

Emily Spivey wrote it.

It's one of my favorites.

Less a Christmas scene than a winter scene.

What are your memories of it?

Jack is playing a guy with his family, extended family, I think.

I want to say like aunts and uncles, but I could be wrong.

And they're like out on the town, and the wind is so crazy that they have to take refuge in a Sabarro, but people keep opening the door.

Oh, honey, Grant, you've got a seat.

Oh, and there's room for the stroller.

This is so great.

It's so busy in here.

Oh, I'm excited.

exhausted.

It's a very straightforward premise executed to perfection, and it just keeps escalating and escalating.

And I remember it destroying at every phase, like table, rehearsal, dress, and air.

I feel like Dratch is definitely on wires at some point in this sketch.

She gets lifted laterally.

She's the grandma and she gets lifted up.

The grandma's lifted over there and they're holding on to her by the leg.

Also, there were two writers at SNL in this era who are A-plus Hall of Fame writers, James Anderson and Emily Spivey, both of whom you would often say, how did you come up with that idea?

And Emily would say, y'all, it happened to me.

And that's why it had to be in a Sabaro because that's what happened.

The fact that that's known as Sparrow is really funny because it has nothing to do with Sparrow.

And in terms of like the argument of like fair use and satire, and like, we can use the name brand Sparrow because we're poking so much fun at it.

You're like, there is no legal argument that you could make that would make it okay that it's Sparrow.

I would argue there is actually parody purposes because I think the joke works better because one would only go into a Sabaro to escape

a winter gale.

I guess we can cross Sabaro off our sponsors list.

Shit.

Oh, no, wait.

We got our first live ad.

We can win them.

I was defending them.

Let's run back the things we hate, guys.

Joke raps.

Sabaro.

We're really painting ourselves into a corner here.

Also, Sabaro wants to be our sponsor, but they want us to do a rap about him.

Done.

Take it, Keeve.

All right, my next thing.

Spelling Bee was a sketch that had been at the table multiple times.

This is a Will Forte classic.

But it was a weirdly shaped sketch.

It never had an ending that felt particularly satisfying.

And this is when Jack Black came in and just literally saved the day.

Because it was the sketch as written, which is Chris Parnell is conducting a spelling D.

What was the word?

Business.

The word is business.

The word is business.

And then it is just the perfect Will Forte performance.

Business.

B-R-D-T-F-K-L-N-G-H-R-K-W.

W

T

F

N

Y

L K

P

Q W

Q R

T

D

F

P

L

M

K

Q K

W

Q Q Q Q Q

But he had done it for three years.

Puerto had been trying to air Spelling B.

And then the reason Spelling B finally aired was Jack Black walked out in front of it and played a song.

Yeah, he rewrote a song for it.

Like a tenacious D style song.

Yeah, it's like lights down on the sketch, lights up on Jack and Kyle.

Spelling B.

A test of wit and wordlery, the ancient sport of kings and queens.

To make it on the Spelling B scene, you've got to be the cream.

Spelling bee.

And it just felt like an ending.

It was a really hot show.

It was a hot show, and you didn't know what was going to be the thing that popped from it.

Christmastime from the Jews, Sabaros, Lazy Sunday, Spelling Bee, and yet I feel like within a day, the world spoke and said Lazy Sunday was it.

Well, a big thing happened, though, which is that it was also on a site called YouTube that we hadn't heard of before.

That's right.

So it did have a second life after that.

Up until this moment, you basically were still in the old style of SNL where something would air and if you wanted to see it again, you were waiting for a rerun.

And then the next morning, my brother called us and was like, hey, check it out.

Someone else put it online because server space was so expensive and video servers were so expensive.

The idea that somebody else would put a video online for you was unheard of because you would have to do it yourself and pay for it.

And it was YouTube and it was the first time any of us went to YouTube.

It really was.

It ended up being the first time most people went to YouTube.

And then it kind of had a whole other life, though, too, because it became part of that story of the rise of YouTube.

So when anybody had to write about YouTube, we invariably got mentioned with a couple other videos that were on there.

And if NBC hadn't taken it off, at the time it was one of the top-watched things because it got like 5 million views.

But very quickly, it got 5 million views.

Yeah.

Because I think you're right.

Like, there were obviously the kind of people like all four of us were before we were on SNL where you would watch it and then you'd wait for the rerun to watch it again.

Maybe you had a friend who recorded SNL, and so you had it on a videotape.

We recorded on VHS so that we could rewatch stuff, yeah, exactly.

But then you would have to literally know a person and go to their house or dupe a tape.

Literally, I'm explaining ancient history.

Like, no, you would call up and be like, it's online, and then you'd go to YouTube.

Everybody was like, Yeah, we fucking know, old man.

Um, but this was the tipping point.

You gotta understand, there was no TikTok.

We got a lot of people telling us, like, over that holiday, it It was actually hilariously very true to the Lorne speech that you would give.

His speech came too.

He was right.

Which was over the holiday break, people were watching it.

And we all kept getting told, like, via text and call from people being like, hey, my whole family just sat around and watched your video.

And like, it was really a moment in that way, which was cool.

Yes.

The tragedy was that we got to New York.

We were from California.

We didn't have big winter coats.

And Andy had really searched around and at the Supreme Store had found a coat he was very, very proud of and very excited to wear.

Yeah, I love that jacket.

And had spent a lot of money on it, I assume.

Supreme's not cheap.

And then he wore it in the video.

And then if he wore that jacket out in public after that, he was recognizable as the character from Lazy Sunday.

This was the collateral damage of Lazy Sunday that no one likes to talk about.

You remember that guy that used to be on TV who wore a green coat with question marks all over it?

Not the Riddler, but like the guy.

Yeah, I know who you're talking about.

Yeah.

Like the finance guy?

Yeah, it was like a way to save money and stuff.

You know that Nike Shoes, Apple Computer, and even H.

Ross Perot have used government money programs to help make their millions, and you can too.

But

I once was going down the street in New York City right by like Madison Square Garden, and he was pulling a rolling suitcase trying to hail a cab

and couldn't hail a cab.

And another guy in one of the best New York things I ever heard passed him and said to his buddy, I guess he doesn't have all the answers.

Oh my God.

Which is a really funny thing to say about a guy with question marks all over his post.

He clearly has questions.

Yeah, that's true.

I will note our friend Matt Murray, who we will mention a lot too, Taco Town's Matt Murray, is the one who showed me the Supreme store when it was just a dinky little store.

It was before it became like the biggest thing ever.

And we've talked often about how Supreme blew up because of Lazy Sunday and we never got our due.

Yeah.

And also YouTube.

Yeah.

So YouTube and Supreme.

Credit for both of those.

And those are two hills that we're going to die on.

Here's a question, Seth.

Yeah.

When that's happening, because I have so much perspective on everything now, but at the time we're shot out of a cannon, like, whoa, this crazy, incredible stuff is happening to us.

Did everyone there hate us?

Oh, that's a great question.

So let me speak from my own perspective.

I would say with no hesitation, I was deeply jealous of how successful that was.

But at the same time, I already loved you guys a ton.

Like I found you to be great guys from the minute you started the show.

so even though it was like early times you guys came by it so honestly it was a thing that you were doing before you were on the show you had also made a really good faith effort to do the show the way the show was done and then sort of like found your way into the version that succeeded so you guys were hardworking and also super supportive everybody else with that said let me answer that shorter yes everybody hated you

thank you and that was great i mean you did have a break and then you came back.

And our next episode, we're going to talk about life after Lazy Sunday because I'm being sincere.

It definitely changed things, but it also put a huge pressure on you guys to like meet or top it, right?

Did you feel that right away?

Yes.

I didn't feel it because I was a fucking rock star.

Okay.

Interesting.

I was just going to say the opposite that maybe part of the reason people didn't hate us right away is because we were so stressed out and worried all the time.

Yes.

As opposed to like celebrating.

Yeah.

I think we really wore that on our sleeves.

Yeah.

We were pretty self-hating.

I mean, for the next, you know, six years, we were sick and sleep deprived.

And yeah.

It's true.

You guys never sort of acted like cock of the walk, to quote Cowbell.

Just because I don't know if this would be relevant next episode.

I mean, we left LA in September.

And then I remember there was that week before the show came back in the first week of January when people are back at work in LA, when our agents were like, come to LA and do meetings, where all of a sudden we went from like unemployed $70,000 budget pilots to meeting with like studio heads at movie companies.

Yeah.

We did like a round of high level meetings based just off Lazy Sunday and that New York Times article.

That stuff is the stuff that when other people get that now, I'm like, oh, everyone must have hated us.

Yeah.

But we didn't go back to SNL and tell everybody.

And you can feel that, especially like internally in the entertainment business, when people are being forced on you a lot because they have a hot thing and you're like, I don't, what?

No, if I wanted them, I'd ask for them.

And I guarantee you that there was a lot of that happening with us and people being like, who?

I don't fucking care about these guys.

They made like their little rap.

It's interesting, though, because honestly, when I think about the show, and I've said this many times, where I'm like, oh, like when we first got the show, there was a documentary that had come out about SNL and it was like how cutthroat it was and how people don't laugh at the table.

And when we got there, I was like, there's a lot of people here.

Like, it felt like a new era of like, no, people are really supportive.

And we were there with like a bunch of people that felt like, like, Bill was such a fan of comedy.

And I just felt like our class was so supportive.

But it's a very good point, though.

Like, people couldn't have been that psyched.

We had a very special group through our time there, and that everyone genuinely were fans of one another's and thought everyone was funny.

And really, I was excited to see what everyone else was going to do.

And I feel like that was their pervasive vibe, which helped.

Yeah.

I mean, I think there is something to be said for the output at the show for those years was really high.

And I think everybody who worked there got a little bit better because there was that sense of, okay, there was no coasting anymore.

Like when a lot of really talented people came in and they were all really hungry and they all worked really hard.

And I always look back at the time and feeling really lucky to have been around that because it definitely forced you to improve.

Sure.

But I mean, even going into that night, we were just talking about how great of an episode that was on Christmas.

Yeah.

That speaks to what I'm kind of getting at, which was everyone was killing.

Everyone was really funny.

Yeah.

So now we're going to turn to Seth's Corner and talk a little bit about what Seth wrote that week.

Here we go.

Seth's Corner, you're all invited.

Seth's Corner, it's happening right now.

Take it wasted.

So, Seth, what did you write that week?

We don't know.

I wrote the cold open.

It was Dick Cheney.

Daryl Hammond's Dick Cheney is a Santa Claus in the mall.

Every Christmas, I like to meet with local children and see what presents they want.

So, without further ado, let's hear what they have to say for themselves.

Hi, Santa!

Hello, little girl.

What do you want for Christmas?

I want an American girl doll and a Bobby, a Barbie primp and polished head with manicure hands.

But all I really want for Christmas is the safety and well-being of my family.

Well, unfortunately, Santa can't guarantee that.

Of that time, I think it was a pretty good cold open.

I remember thinking it was good.

I def walked off being like, all right, out of the gates pretty strong.

Let's see what you have, rest of the show.

It was a good one.

Alexia and I once went to the Vancouver Winter Olympics and we went to see figure skating.

And when you go to early figure skating, you don't realize this when you walk home, but they just put the people early on who have no chance of winning.

And the reason they have no chance of winning is they don't do jumps that have a high level of difficulty.

And so you watch, and you know, again, to you, it's the greatest ice skating you've ever seen.

And it's over and you're like, that's the gold medal.

And then like an hour later, there are people doing like 50 better flips.

And you're like, oh, those first people super sucked.

That's how I felt that night about my dictating stuff.

When you work there, you live for political sketches that are a little higher concept.

Just goofier.

Yeah.

I think you were probably a kid, Nit, I'm Besson, who sat on his lap.

Yeah, anytime there was a kid, that was me.

A teen or a kid.

Yep, I bet you, Polar, probably draft got out there.

Uh-huh.

Sounds about right.

But yeah, so that's, you know, Seth's Corner.

Look, do I hold my head up?

Sure.

Do I appreciate that no one's talked about it ever since?

I do.

And does it go on the Seth's Corner best of?

It doesn't.

My nightmare would be, you have to do the cold open.

You're writing it this week.

Yeah.

Yeah.

That's so hard and so out of our wheelhouse.

Were you there when I said, hey, we're going to do a new thing?

Because nobody liked writing monologues.

Two writers will draw their names out of a hat.

You have to work together and write a monologue.

And it went 0 for four.

And then everybody said, please stop making us do that.

Oh, wow.

I do remember that.

I remember once or twice getting, hey, come stay tonight and work on the monologue with us.

And me just feeling like out of my depth.

Oh, yeah.

yeah.

That was the worst I ever felt.

Yeah.

It's a specific skill set to be that inclusive of broadness while trying to be specific for the person.

And I don't know how you describe it.

You're trying to make so many people happy.

I remember once just sitting with the writers on Thursday, knowing I'd have to write it, but saying, what would you even write a cold open about this week?

Like, what's in the news?

And everybody very helpfully was trying to find things that were less boring.

And I remember it was bed bugs in New York and something like they stopped serving giant Diet Cokes.

And James Anderson just started improvising a musical that was like, bad bugs are biting.

No Diet Cokes.

And it was super crazy.

All right, everybody.

That was yet another episode.

We will see you next week, Seth in the Lonely Island.

Goodbye.

Bye.