Transcript of "Sharon Horgan"

What are you eating? What are you eating, Jay? What are you chewing on for the cold open?

Yeah, I'm, I'm—

You're back on your bars?

Yeah, I'm on bars.

Don't mention the brand because you know what? It's not worth getting, you know, $12 of free bars. You know what I mean?

Yeah, that's true. Instead, I will just give a nice Hawaiian welcome to our audience and say aloha!

Oh my God.

Welcome to SmartLess.

Did we get a workout? We got a workout in already, JB?

We got some cardio, we got some sauna, we got some pool, we got a shower.

What time would— have you gone to bed? I mean, that's a lot to accomplish.

Guys, I'm still up.

Oh no. I'm still up.

Um, uh, Willie, I told Jason— I saw Jason on Sunday. We missed you, sorry.

Oh, you guys got together?

Yeah. What was your excuse?

Not in town? Is that still valid?

You can phone in.

But you're in town now.

I am. I'm back.

We're going to see you later today.

Wait, but what? No, don't fall for it, Sean. You're back out again in a few days?

No, a couple of weeks. But let me just say this. We are going to see each other tonight, this afternoon and tonight.

Oh, that's great.

Under circumstances that are not the best, but we're going to celebrate the life of somebody that we all worked with and we all love deeply.

The great.

The great Jim Burrows.

Yeah.

Who we had on the podcast and who sadly passed away a little while ago.

A close, close friend of ours.

Oh, yes.

A close mentor of ours.

Yes.

A father figure of ours.

All of that.

One of the all-time great— not just, obviously, he revolutionized multi-camera television directing for comedy, et cetera, but he also was just such an excellent guy. Yeah, the best. So kind and generous and just—

Funny, man.

Was instrumental in— giving me really important roles in my life as an actor, and also in mentoring me as a director and helping me find representation as a director.

And to remind people, my sister, Tracy, he directed every episode of Will Grace and Cheers, and he directed the first year of Friends and Two and a Half Men and Big Bang Theory and Mary Tyler Moore and Tabitha and—

Everything you've ever loved.

And he co-created Cheers, on top of that, with the Charles Brothers. And it reminds me, I think I told him when he was on JP, I don't know if you remember this, But one time we ran into Jimmy in Midtown in New York, and we talked to him for a second, then he said, all right, I'll see you guys later. And I go, all right, cheers. And then I sort of watched him leave, and I looked towards you, and you were just staring at me with that, like, hey, dummy, did you just say cheers to Jimmy Burrows?

Fucking Canadians. Goddamn it.

So, I told Jay this story, but I'll try to tell a shorter version. So, speaking of Jimmy, his wife, Debbie Burrows, who we love, she invited Scotty and I for her first outing since her husband passed away to the Hollywood Bowl. And so, we go and sit outside on our front stoop and wait for the Hollywood Bowl. And, Jade, please move me along if this is taking too long.

Oh, my God, this story.

This guy— this is last week. This guy was sitting— this guy got out of his car across the street.

I think, Will, your guest just clapped or snapped again.

I know, she's like, I'm still here.

She's like, mic still hot? Are you still ready and willing to come on the podcast?

Anyway, well, I can tell you later, but, um, it's this crazy story, but this guy got out of his car, came over, and started like berating me and Scotty out of nowhere and put his phone up and started videotaping us. And we were just sitting there.

Where were you sitting? In front of your house?

In front of our house, yeah. And, um, and then Debbie pulls up, and then he starts kind of getting into her face and my face, and then it was weird. And then, and then we got in the car to go to the Hollywood Bowl, and he just stands in front of the car and says, nope, you're not going anywhere, and wouldn't let us leave.

This guy, like, having like a mental break.

What was the crux of his complaint?

There wasn't anything.

He was just parked across the street, and when they were sitting out on their stoop waiting for their ride to pick them up, Debbie, um, this guy just gets out of his car, walks towards them, and says, hey, so what did he say? Something like— something out of total— out of left field.

Yeah, like, hey, people have been talking about you guys and not good things. And I was like, well, take a number, you know, but what else is new? But, uh, and then, I mean, that part seems funny, to be honest.

I'm still with him. I'm still on his side.

Go ahead. But then, then, so, so Deb somehow, like, maneuvers her car around this guy who's trying to stop them from leaving for some weird reason. He gets in his car and pursues and starts chasing them down the street in his car and, like, trying to ram them off the road.

Yeah. And then, and then pull— and then pulls in front of the car and blocks the car so we can't drive on a busy street on Highland.

So what they decide to do is drive directly to the Hollywood Bowl and talk to some of the local security there.

Yeah.

Anyway, it was really weird.

I said, hey.

This is all just to say a shameless plug for our show at the Hollywood Bowl.

Oh, my God.

Wow. I did not see that coming, Sean.

Come see us October 17th at the Hollywood Bowl.

You never know what's gonna happen.

Yeah. Anyway, Michael, our producer, is like, hey, plug your show this morning at the Hollywood Bowl. So I'm like, oh, I actually got a real story to tie it to.

It is true, everybody. October 17th. Come on and enjoy.

We don't know what we're doing, and we just need a little help.

help out there.

Yeah, we'd love to see you.

Empty seats would be terrible.

We'd love to see you. So, uh, come on and come say hi and shout at us.

I think Will has a friend and Sean has a friend. I have no friend for this one. Yeah, this is a 2-guest, um, yeah, night. Um, double your pleasure, double your fun. It's gonna be a single price.

It's gonna be a lot of fun.

One ticket. Yeah.

Uh, and, uh, oh, I wanted to give— I wanted to give a hint about my, my guest, but I'm not going to. But I—

Leave it in there.

Yeah, it's just somebody we know who hasn't been on the podcast, who—

Let's hear one more snap and y'all get it.

Wait, wait, wait. Speaking of good guests.

Oh, speaking of fun.

Talk about a segue. Hey, our guest. Now, JB, you and I—

Wait, so you were just talking about the Hollywood Bowl guest?

I was. Now I'm talking about our guest today.

You seem less enthused about this one.

No, no, no, no. I was about to get into— 'cause we know, you and I both know and have worked with this person.

Oh, boy.

There's a—

Portia de Rossi?

No. And I think that— no, on different projects. But, Sean, I don't know if you know this person, but you definitely know her work. Super, super, super funny. I first saw her, I think, was in her acclaimed series Pulling on BBC, which made me laugh super, super hard. She's won all sorts of awards.

You rented a video named Pulling.

Pulling, I did. I haven't returned it.

Jeez. She also got a lot of acclaim for her series Catastrophe. I got to know her on The Increasingly Poor Decisions of Todd Margaret with David Cross. Jason, you knew her from Game Night. You guys, always hilarious writer, producer, former—

Sharon Horgan!

Sharon Horgan! Sharon Horgan!

Come on! Sharon Horgan!

God, I just saw your face in the bar today.

You did?

Oh, yes.

Oh, that's so funny. Do you know what I was thinking? I don't know what that noise was, that click. I was just sitting here and I've got loads of shit on my desk and I just picked up a thing and I thought maybe it was hand sanitizer.

Are those eye drops?

I haven't got my glasses. It is eye drops.

It's eye drops, yeah.

Oh, okay.

Yeah.

And you just squirted some on your hand?

I think it would be okay to put—

As long as you don't put hand sanitizer in your eye.

Yeah. Exactly.

Now, where is that? You said that's your office there?

Yeah, well, it's my office, but it's also kind of— Slash, um, the winter wardrobe room. Well, not really winter wardrobe. It's kind of— you can see there's a mirror there.

Yeah.

That's where, like, I might try on clothes for things. Like, not my regular clothes. Like, if I have to get dressed up for a thing.

It's a weird—

it's a weird room.

It's a weird life. It's a weird life.

Sharon, do you have a mirror face?

Huh? What's that mean?

Do you have a mirror face? When you look in the mirror and you really wanna see how you look, Isn't there a face we all—

Walk her through it. Give her the Richard Ehrlich. Tell her about it.

So we have a friend who, uh, he— to trigger his mirror face, he kind of semi-whispers, hisses a line to himself, which is he pretends he just got directions from someone, and he turns over his left shoulder and he says, it's where?

Like he's confused.

Really look in the eye.

You don't really hear it. So it kind of tightens up his eyes. It's where?

It's like Smokey.

Yeah, now do it.

Now try it.

Say, Goats.

Goats.

I don't think that would work for me. No, I mean, unfortunately, I pout in the mirror. I can't help it.

You pout?

Yeah, I think we all— my 16-year-old, he accuses me of doing a certain face, like, in photos and stuff. And now he does it to me, which is really tough, because if it was one of these guys, I'd be like, hey, go fuck yourself.

But it's my 16-year-old. Because I'll bet he nails it. Let me see it.

It's kind of like a It's the worst.

Yeah, yeah.

It's the worst.

Sharon, welcome to the show.

Welcome to the show.

Sharon, I just have to say, we— Will was like, I don't think you know this person, but I called you and you took the call and you gave me wonderful advice for a project.

I felt I had paranoia about that for a while.

No, no, it was wonderful. So thank you.

This is about pulling. That was not a bit.

This is about pulling.

No.

No, no, we don't have to talk about it. No, but it was great.

Oh, good. I'm glad. I'm glad that worked out.

But you know what? Speaking of a totally different topic, Bad Sisters. I still talk about Bad Sisters. It's one of the best shows I've ever seen in my whole life.

Oh, really?

I mean, it was just incredible. And then there was a season 2, which I still have not seen.

Oh, you gotta see that. That's— yeah, that's— if you like the first one.

I love the first one.

Jesus, Sharon.

See the second one.

Sorry.

See the second season? What are you doing, dude?

Sorry.

Sharon, it's been, like, nonstop just great, great work and great reception for you in every way. that you're doing since the last time I saw you. I mean, congratulations.

It's just phenomenal. You consistently, not just as a performer, but it's so admirable, and the way— how much stuff you create, how much stuff you write for yourself.

And write.

Yeah, it's really impressive. And I wonder, like, does that engine still— is it just as strong in you now as it was 10 years ago? Or does it feel more like a mountain to climb as you move Go on.

No, I still really like creating new stuff because I think that— I mean, I loved Bad Sisters, and, you know, I kind of— it's hard to say goodbye to it in a way. But I also think when you're making something, you kind of get— you know, that show had a certain kind of feel to it. And so with that comes a certain kind of music that you choose for a soundtrack, and you kind of get into, you know, you kind of fall into a pattern. And then when you make something new, you get to start all over again.

Yeah.

Like, from scratch. You get to be— you get to just, like, put your playlist together and start over. And it's really scary because when you come up with characters, you kind of— you always think that's that's the last time you're going to come up with a good character. So, it is scary, but it's really fun to start over, isn't it?

Yeah. I will say that I think, now it occurs to me that the sort of the English model, which has always been— and we've sort of adopted it in this country now with— in this country, I think it was often people were known for a certain series. They'd do one, maybe two series in their life, and the audience would accept them in this new role. But they knew you from the first thing that they were known for. You guys have always done, in the UK, because of the way that the formatting is done, you didn't have a lot of shows that did 9, 12, 15 seasons. So people could go and do 1 or 2 seasons of a show, and then you could go and write a new show, and the audiences were totally willing to go, oh, she's doing this new show. Oh, completely.

I mean, you could do a couple of shows in a year. Yeah, in a year. We would be doing 6 shows 6 episodes. Like, we would film a series in 6 weeks. I mean, it's a little bit different now because, you know, you're making shows that are— will air on Amazon at the same time as Channel 4, so you kind of have to make 8 or 10, and you can't— you know, so it's a little bit different.

Well, we all have the same distributors now, right? It's not—

Yeah, yeah, exactly. But back in the day when we were just making stuff for, you know, a UK or an Irish audience, You film it in 6 weeks, and then you're kind of— yeah, you move on to the next thing. And also, you would get a couple of seasons, or like with Pulling, that was 2 seasons and a special, and that's kind of it. You're done.

And that's it. And also, the budgets were sort of low enough that the risk— they allowed you to do stuff. I mean, the budget— I've done it before. You show up and you're like, where's craft service? And they're like, what'd you bring?

There's nothing. Yeah.

There's some—

Will and I did this show called The Inconvenient Truth, The Increasingly Poor Decisions of Todd Margaret. Did anyone see?

No, but I remember it.

I've seen a little piece of it with David Cross, Spike Jonze.

It was so funny.

But it had no budget. Craft services was a box of biscuits and some tea bags.

It was.

That was it.

Yeah. It was.

And for us, that was completely normal. But for any Americans coming over, they were just aghast at not having constant food. Oh, a funny thing. Can I just say a funny thing? 'Cause it just came into my head. When we were doing Game Night—

Yeah.

I was—

I love— by the way, can I just say, I'm one of the— I've seen Game Night 3 times minimum. I fucking love that film.

Yeah, I do too.

It is so underappreciated. To both of you guys, it is such a funny, good, completely out of control—

It is a really great, funny movie.

I urge anybody, please see Game Night. It's so good. Sorry.

But I was— when I was filming Game Night, I was writing this series for UK TV called Motherland. So when we were in the trailer, I was writing that series. And I'm— my co-writer, like, when we would— I don't think there was even— I don't think we were Zooming. I can't remember. Anyway, I would be eating lobster. There was lobster in craft services. So I'd be eating lobster—

For afternoon snack.

...in my giant trailer while she's like, sitting in her shithole in London.

So, Sharon, with all the massive amount of work it takes to fill up a blank page and do what you do, it's so impressive. But it is an enormous amount of work, an enormous amount of concentration. And it just seems like you keep writing and writing. Yeah. What is your favorite part of it that fuels you through all of that tough, tough work and discipline? What is the thing that most excites you and drives you to do what you do?

I think it's the writing bit, for sure. Because although I do— I love an edit where you're putting it together and making it better, like where you're just kind of incrementally kind of making something actually good. But the writing bit, I think.

But like what part? Like creating characters or coming up with stories or—

Just sitting in a room with funny people laughing, I think, is ridiculous joy.

Yeah. Do you ever do it— but do you ever— You write solo by yourself in a room?

I write solo by myself as well, but like, even the things that I— I don't know why I did that with my hair, sorry. Even the stuff that I write mainly solo, like now, I love to have a writer's room. And, you know, someone writes— you know, a few episodes are written by a couple of the writers in the room, but that— like, I just came from one today, and it was— You know, some of the people will end up writing a script, but a lot of them are kind of there, you know, as consultants or, you know, just writing assistance. Yeah, punching stuff up. Yeah, just coming up with ideas.

Yeah, there's nothing better. That feel— there's nothing— some of the deepest laughs I've ever had have been in stuff that, by the way, bits and jokes that never made it into anything.

Oh, never.

But some of the hardest laughs are in those rooms pitching a bit, and somebody comes up with a bit that catches you off guard. and you're like, holy shit, I've never heard something like that.

And also, at that stage, the possibilities are endless. I mean, you can go anywhere, and no one's telling you that there isn't enough money, and no actor's turning it down.

So, wait, so you just walk around with tons of ideas all the time, every day, every week?

No, I wouldn't. No, I don't think so. I mean, I kind of— I have that slightly unfortunate thing of— not always being in the moment 'cause I'm thinking, like, that could be— Yeah, yeah, yeah. That's not healthy, I don't think.

I'm the exact same.

No, I think for the most part, I don't walk around thinking like that, but I guess when I need to start thinking like that, like if I'm thinking, I don't know, I'm gonna not do this series beyond, you know, this season, I kind of think, oh, I should be thinking of something else. But then I also kind of go back. Like, I go back and look for things that were germs of ideas and that have now become more relevant in your life because you're at a different stage in your life, you know?

Right, right.

You know, in your relationship or with your family or work, or sometimes things just suddenly become relevant and you're like, oh, it's an idea.

How do you decide on what to take on? Were you primarily do what it is you think up? Or like, what's the ratio as far as incoming calls with ideas like, hey, maybe think about maybe adapting this magazine article or this book or rewrite this script?

For the most part, for the most part, I don't do that. Like, although Bad Sisters was— that was an incoming call that was brought to me because it was a Belgian series. And, you know, would you like to adapt this? And so that was kind of Sort of the first time I did that. But generally, it's, you know, like, there's incoming calls with, like, IP to adapt and that kind of thing. But usually, you know, I do that within the company or, you know, like, connect something with a writer that I admire or, you know, the things that I do myself often are things that I just kind of think I should probably have— I could either have some therapy or I could write this thing about my ex.

Right, right.

There must be a certain relief, like, knowing that when you're working on all these ideas and the various stages of development, we all know that sometimes that can be long, it can be arduous, you're trying to put it together, all those different elements, and then all of a sudden you get a call from Hollywood, and big Hollywood superstar Jason Bateman's doing a movie that's a cakewalk with lobster. They're gonna have lobster every day. And all you gotta do is, sorry, do you mind taking a couple first-class flights to Atlanta?

That's correct.

You know what I mean? And staying at the Four Seasons. Would you do that? I mean, that kind of feels like a vacation a little bit, doesn't it?

Oh my God, I love doing that. I mean, I really do. I think that's a total buzz to jump in and do something.

Where have all those jobs gone?

Where have those jobs gone?

We'll be right back.

And now back to the show.

Now, Sharon, talk to me about how you write something that You know you're gonna play this character, and you're writing that one, but you're also writing other characters.

Yeah.

And you have to oversee or drive or approve the casting of those characters. And inevitably, they're gonna perform those lines differently than how they have lived in your head as you wrote it. And the reason those lines work is because you're kind of performing them in your head as you're writing them. And then they come in and they read it in a different way, and you might not be directing or something like that. How do you manage that tension 'Cause, like, when you're playing the character you wrote for you, you're doing it perfectly, right? I mean, you're like— No, but you're like reading the mind of the author. But with these other characters, and it all sounds a little bit different, is it— Do you have to bite your tongue? Do you kind of whisper to the director or the showrunner? Or oftentimes you are those people.

Is it tough?

Yeah, I mean, it— Yes, I think it is, but I think I've learned how to— be better at it. Because I used to— it used to be a problem, you know, if people didn't do it the way that was in my head or, like, when Dennis—

You'd scream their head off.

Oh, I just— I just—

It just doesn't work as well.

Yeah.

And you'd sort of end up— I remember with Pulling, like, and Dennis Kelly, who wrote it with me, we'd never made anything before. I don't know how we were allowed to make it. We didn't even have to make a pilot. We just wrote a script and then suddenly we were— it's 'cause it cost 10p to make, so there was, like— they didn't have much to lose, but— I remember we wrote this line—

And for Tracy, 10p is $10 trillion US.

Very expensive over there.

We wrote this line for one of the main actors in it, and it was just a stupid line. It was a joke about a thing— do you remember the cock lollies episode, Will? One of the girls has created this— come up with this thing called a cock lolly, and it's It's an ice lolly in the shape of a cock. And she's like, you can market it to hen parties.

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Okay. pitching the cock lollies to, she's doing it as a sort of like Dragon's Den style pitch, and the guy she's pitching it to, he suggests, like, or he goes, can you get— will there be a joke on the stick? It's a brilliant idea. You should have a joke on the stick.

Will there be a what?

A joke. You know, you used to be able to, you used to be able to like—

Oh, like fortune cookie or something?

Write a joke on the stick.

Yeah, on the stick of the lolly. And she says, there's a place in Birmingham, it's all they do. And it was like, you know, it was just 'cause she was so on it. She'd researched this thing, she'd practiced for this pitch. It was just like, had to be off the cuff. There's a place in Birmingham, it's all they do. And she said it in a brilliant way, and it was perfectly fine. And we just kept going in and going, there's a place in Birmingham, it's all they do. So just throw it away.

Right.

And then we'd walk off, and then she'd say it again. And it went on and on and on until she hated us. And then we made her come in and do it again in ADR.

Oh, my God.

Oh, really?

Yeah.

So, talk about a line reading. You were like saying, no, here it is. I'm gonna say it, and you're gonna repeat it the way—

Yeah.

Did you get all hot?

In the end, she wanted a line reading 'cause she was like, I wanna do it the way— So we were doing it, but even then, it was stupid. It didn't make—

Okay, so do it. Do it how she did it, and then do it how you wanted it.

Oh, God. I'm not gonna remember, really. I think she went—

We'll just have her name. What's her name?

No, she was brilliant.

By the way, it's my favorite scene. By the way, Sean, Sean, Sean, let's do— let's do— it's time. We haven't done it. What happened to the fan?

Or did somebody—

Where's the fan?

Where's the fan? Do you know this? Yeah. Sharon, this show that we've started.

Yeah, it's funnier in life, but—

I've never heard of it.

What is it?

Yeah, you did, Jay.

You played it.

We've done it.

So you have to do a line reading of Where's the Fan?

Okay.

So when I went to—

No recollection of this at all.

Of course not. Obviously.

I went to San Francisco for a trip, and we checked with a friend of mine.

Just the once. It's such low-hanging fruit.

It's so dumb. That's about the cheapest joke I think I've ever— that's ever slipped out of my mouth.

It's just awful.

Unbelievable.

So you're in Greece.

Wait, what are you saying? So I go to San Francisco with a friend.

We check into a hotel. I can't sleep without a fan, right? So I call the front desk. I'm like, can you send up a fan? And they said, sure. So they send up a fan, and on the fan is a note that says, please do not remove from the office, right? So then we were like, well, what happens— what happens when the boss walks into the hotel that day, and then you have to give the line reading of, where's the fan? But you have to give it like a preamble up to it. So then I would say— so like somebody would come in and be like, okay, boy, we got a lot of problems in the hotel today. Where's the fan?

Right? Okay, can I go?

You have to notice. Yeah. Okay, now—

So we started— you do it at dinner and you make everybody—

Everybody has to go around and do a different reading of noticing the fan and seeing what's going on.

So I have to do a preamble too?

Yeah, just a little bit.

Hey, listen, I'm sorry I'm late. The traffic was— Where's the fan?

Yeah, okay, that's— and now, um, Amy had— Amy had one. Amy Poehler had one. It was really funny. She comes in, she goes, Guys, I am fed up with— haha, where's the fan?

Oh, that's great.

By the way, this is the first time I've ever played this game.

Yeah, nailed it. Nailed it.

That is pretty good.

So I wanted you to do what it's written. It's Birmingham. They what? What do they do in Birmingham? There's a place in Birmingham. What is it?

There's a place in Birmingham that that's all they do.

There's a place in Birmingham That's all they do. You wanted the pause. You wanted the pause.

Yeah, exactly.

There's a place in Birmingham. That's all they do.

That's all they do. Yeah.

That's all they do.

Maybe with a bit more, like, satisfaction in the fact that she's already thought of the line.

There's a place in Birmingham. It's all they do.

Oh, we'll tighten that up later.

That's good.

And you can pull it— but you can pull out this—

yeah, I made sure you can pull out the whole performance.

Pull out the whole performance.

But you know what? You know what? The thing is, though, I was continuing to be a bit prescriptive with, you know, with actors and how they do things. 'Cause, like, the thing is, is there's not— I had to learn that there's not just one way of doing things.

Yeah, right.

Do you know what I mean?

Right.

And I remember speaking to Domhnall Gleeson about it, and him just sort of going, what's the point in hiring actors if you're just gonna— Tell them how they should do it. Like, what are we there for if we can't sort of, you know—

Right, but what you were trying to manage was also the assumed expectation from the hiring hands that brought on Sharon Horgan to deliver something that you stand by, that you stamp, that is your aesthetic, that is your humor, it is your script. And then if all these actors come in and they start freestyling, it starts to drift away from something that you can stand by and manage and say that— Right? I would assume that that was going through your mind. calculation of like, how much do I let these people contribute?

Yeah. Were you worried about the people at the BBC getting the cut of this and they're going through and they're all watching in a conference room and then they go and they hear her go, their place in Birmingham, it's all they do. And then they just pause. Pause it right there.

Because that's the thing.

Karen Corgan lost her fucking mind.

That's the thing.

What have we done?

No one gives a shit.

That's the thing. But that's the other thing, nobody gives a shit.

I genuinely feel that there is an accumulative effect thing, though. And if you let all those little things that you stand by go, then over the course of it, it's just not the same. So then what do you do? You do lots of takes, and then you sort of create it in the edit, I guess.

Well, you know what they're saying, what's coming is like the stage you got to by having her come in for ADR, and for Tracee, that is, I think it's automated dialogue replacement, I think is what it's called. Anyway—

Probably not.

Additional. I think it's additional. Additional.

Or something, yeah. So you go in and you just record your line that you read, and then they kind of put it in your mouth to picture. And so— but you've— sometimes you can change the way the line sounds.

You can.

Yeah. And what they're saying is coming with AI is that not only can you unilaterally, Sharon, as the showrunner, change the reading of that line, but you can also manipulate the face. And this is the stuff that they got people—

But then you didn't even need AI for that. Like, I shut someone's mouth this week and—

Really? You just shut her mouth?

Right. Right, so it doesn't look like—

'Cause you can't lie anymore. Jason, they can make you look happy. They can—

What? They can lift my eyebrow?

They can lift your brow, yeah. You can cancel your appointment with the Beverly Hills doctor that I know you have.

Dr.

Lift?

Yeah.

Yeah. Wait, wait, Sharon, you shot somebody's mouth?

No, listen, it was such a small thing. It was actually a— what do you call it? An extra, a supporting artist who was mouthing— like, he looked really funny, and facially he was doing something funny, but he was mouthing something whilst the actor was speaking. So we didn't want to cut him out, so we just shut his mouth.

Right.

Yeah, made it look like he wasn't talking.

It looked exactly like he wasn't talking, yeah. Someone told me that— that I should work in animation, because if you work in animation, you can just make the people do whatever you want. Yeah.

By the way, talk about, like, you can do— it's like the writing process. So it's why Simpsons is— not why it's so funny. They have brilliant people. But you can do anything. You can go anywhere. There's no budget. You can pitch any— That's right. Yeah.

But that's what they're saying is coming in AI. And it's not going to be some cartoon character. It's going to be something that looks exactly like a person.

Yeah, it does.

And, like, you know, I mean, that's a whole different episode.

We can talk about how we all feel about that.

It's just like, it's freaking remarkable.

But isn't it interesting? In animation, what I was saying yesterday was human behavior has become so cliché.

Yeah.

That animators can now animate, you know, the way people behave because we've seen a billion movies and TV shows. We know how they're going to react, basically. And so I don't know what I'm saying other than it's just like There's no surprises. It feels like there's no surprises with, like, if you're shocked, you're shocked. This is what you get when you're shocked. For this actor and that actor and that actor, there's certain— you just get a different look of it.

Show me shocked. Show me shocked.

Go ahead, Sean.

Show me shocked.

Good.

Oh, my God, that guy is shocked.

I like you at an 8. I'd love you at a 5. Still rolling?

I could do less. I could try less. I could try less.

Slightly shocked. Slightly shocked.

I have like 10 faces that I shuttle through. That's about it.

Yeah, right. Anyway, um, Sharon, I, I'm just remembering— Sharon, I remember, you know, some, some of— I saw it on a talk show or read it or something about, you know, I live for— I live for medical stories, you know.

Oh yeah?

Yeah. And I read something, or I remember maybe you said it, about a catheter or something, or What?

Uh, yeah, just take your time and sort of figure out what you're gonna say.

Wait, it was—

you wanna take a second? We'll allow a question.

Not only do you not know the source, you don't know what she said.

Jesus.

I don't remember, but it was a really funny—

you're making this up. Do you want— we can use AI and we can have her say it if you want.

You're losing color. Keep your hands above your head.

I don't remember. I don't know if you remember. I thought it was so— I don't know. I love medical school.

Do you remember your position on catheters, Sharon?

Well, I think so. I had a catheter.

Yes.

I don't remember having one of those.

You did?

A catheter just sort of drains— could be draining anything, really, couldn't it?

No. Sure, yeah.

I think it's just urine.

I think I had— I think— is it just urine?

I think it's up your pee-pee hole, yeah.

Oh, okay. That's where the urine comes out.

No, I've never had that.

Okay. Oh, sorry. I'm sorry.

Tell me your name again.

Wait a second. Hang on a second.

I had one inserted in my leg. to drain blood.

Oh, maybe that's what it was.

But I'm sure— I don't ever remember—

For what? What happened to your leg?

I dislocated my hip.

Oh, wow.

But I did it when I was little, and the, you know, the doctor I was seeing didn't realize that it was dislocated from growing pains, and it got more and more dislocated. So then they had to open it up and put pins in. And so I remember that thing hanging out of my leg, but I don't believe I ever told anybody. How old were you?

I was 13. Wow. Was this in Ireland?

Yes.

Because you were born in England, but you moved to Ireland. Is that right? Because your mom's Irish. Is that right?

Yeah, my mom is Irish. And, well, my mom met my dad in London, and they had the first of their 2 kids. in London before they moved to Ireland to raise us properly.

And then you guys moved to Ireland because of their medical techniques of blood transfusion?

Well, they moved to Ireland because my mum and dad worked in a pub. My dad was a landlord of a pub, and it was in the East End of London when it was really, you know, like, really dodgy kind of area.

And he was—

I think he was asked to give an alibi for a local gangster, and he was writing Right, right, I'm getting my family out of here. And so he moved us all over to Ireland.

My grandpa's from Dingle.

Oh, really?

That's beautiful.

No kidding.

Yeah, it's really pretty.

Sean's from— Do you go?

Do you go to Ireland? I went twice. Once with my family in 2001, and then I did one of those, you know—

Audience with? No, they follow your family Oh, who do you think you are?

Yeah, that's what I did. That's the one.

What'd you find out, Sharon?

Did you get scared to do it?

Everybody was drunk and ended up in jail and—

yeah.

Oh.

Yeah, that's it.

Have you done that, Sharon?

I haven't, actually.

Willie, have you done that?

No, but a lot of people ask me, who do you think you are?

So—

I get that mainly at restaurants.

All right, well, so Sharon, so you're born in England, you move to Ireland. At what point does sort of the idea of making movies people laugh and writing and performing. Yeah, your parents are running a pub.

Yeah.

When does that all start?

They were running a pub and then they moved into poultry.

Sure, sure.

Natural progression.

And how did it happen? The funny thing— well, I guess because I'm in a family of 5 kids and, you know, I guess, right?

Where are you?

You're kind of second eldest.

Okay.

And it's, you know, how you get attention, I suppose. as making your parents laugh.

When did you think, I might be able to make a living at this?

Oh, fuck, not for years. I mean, I didn't start making a living at it until, like, about— until I was about, you know, in my early 30s. I did other things. I didn't do this job.

Like what?

I worked as an administrative officer in the employment service for 6 and a half years.

No, that sounds like a desk in an office building.

Oh, yeah, yeah. I was like signing people on for employment benefits and helping them back to work.

No way, signing on at the labor exchange.

Yeah.

What happens when you get laid off from the employment office? Then all of a sudden you're on the other side of the desk.

I didn't get laid off. I would have been there for life. I just had to— I had to just like—

It must be a tough job, actually.

I just had to leave.

This was a job you took for practical reasons? It was an opportunity and you wanted to make a check, right? I—

yeah, I think I just, um— my dad just kind of instilled a work ethic in us. And if you weren't working, you were just kind of, what the fuck are you doing? Kind of thing. So, like, I wasn't getting— I kind of went to London to find my fortune kind of thing, you know? But I didn't know how to do it, and I was kind of too scared to do it as well.

Did you know anybody who was performing or doing comedy or—

No, nothing. No one. I just knew people like me. who kind of didn't know what they were doing with their lives.

Did you study something in college that you went to London to pursue?

I was studying art in Dublin, and then I tried to get into drama school in Dublin, didn't get in. And then I came to London to try and get into drama school and didn't get in anywhere. So then I was just like—

Oh my God, really?

Yeah. So, but then I did go back to— when I left the employment service, it was to do— I went and did a degree. 'Cause I thought, shit, I better get some kind of—

Degree in what?

In English. So that's when I started doing creative writing, and that's when I kind of thought, oh— 'cause I wanted to be an actor. Weirdly, I had no interest in writing or—

So tell me about that, about them not letting you into frickin' drama school twice.

I know.

I mean, who's laughing now?

I went to so many places to apply.

That's wild.

And we will be right back.

And now back to the show.

When you look back, was it— was there something that you were doing wrong or different than— because you're clearly very talented and very capable and have a definite control over your, your, your, your acting tool. Were they looking for, like, more grand, sort of classical Shakespearean type of performance that you weren't interested in doing?

Because you're so natural. No, because for all dramas, All drama schools, you have to do a modern piece and a Shakespearean piece. I think— I don't know about you guys, but auditioning used to terrify me. I used to lose all my skills. You know, it took me a long time to learn how to do a good audition. I mean, I was probably— I didn't get in because I was terrible.

I was terrible at it.

Yeah. No, how is that? First of all, both of you, that's not possible. You guys are both—

Dude, I was terrible. Come on.

is one of the more terrifying things that has been in my life, forever and for always. Really?

I remember going for an audition for Extras. Do you remember the Ricky Gervais show?

Yeah, yeah, yeah.

I went for an audition for Extras. We had the same agent, which is, I think, why I got the audition, because it was kind of early in my career. And I got a phone call the next day, and Dungy said, they want you to come back in. I was like, oh, that's great. And Ricky said, I wanted to come back in because she can't be that bad. Like, because my agent had obviously bigged me up, you know? And I'd done a few bits, but not much, so—

But I bet you got worse on the second time because now it's, oh, shit, I gotta go back in there. Like, all I wanna do is get the hell out of there as soon as I get in there. And if they give me notes and they want me to do it again, now I'm in a total flop sweat, and I'm starting to have a panic attack, and I can't get out.

Jason, you used to have— what was your parting line that you used to say that was great?

No, I just say, good luck with it.

Yeah.

Oh my God. How much— 'cause I used to sweat so much.

Yeah, I'd have to wear layers. Good luck with it. Yeah, I'd have to wear layers.

I remember doing an audition with Matt LeBlanc for that—

Joey?

No.

No, no, no. Oh, I know the one you mean.

Episodes.

Episodes.

And so I got quite far down the line, and I was called back and called back, and then I was doing the scene with And when I got up to leave, I'd left my— I'd been wearing this little cardigan and sort of took it off, and it was sort of sitting on the seat. And when I was leaving, I forgot my cardigan. And he picked it up, and he sort of held it up like this, like it was a sweaty, smelly thing that it was. Like I'd sweated so much into it that he could sort of pick it up like it was a snot rag and hand it over to me. Wow.

It's horrifying.

But I think I found a way to sort of—

What is it? What's the secret?

I don't know. Like, I had to just start doing a breathing thing. I had to just sort of start, you know— another thing was, like, I would eat a banana. Eat a banana and just sort of learning to kind of control my breathing. Like, the banana thing is probably completely psychosomatic, but I thought that it would give me a slow release of energy, and if I had this banana, I wouldn't convince myself that, you know, it would help me with the shakes or— Yeah. Wow. I mean, now I use B12. Beta blockers, but like, through the ages.

Yeah, you just take a Xanax and you're done. You're fine. Fixes it all.

That destroys your brain cells though, doesn't it? You need something that— I don't understand.

You hear these like super famous stories of very famous actors, movie actors and stuff who later, like 20, 30, 40 years later after, you finally hear that like, oh yeah, they were high on this or drunk on that when they filmed that scene or they didn't. I'm like, how can you know? How can you say your lines?

I don't get it.

I'm not— like the Charlie Sheen documentary, and, you know, it's out there for everybody to see, so I'm not commenting on anything other than he admitted, like, oh, yeah, I was high then. I was drunk. How do you remember your lines?

Remember we had Seth on here, Seth Rogen, and I said, Seth, do you ever work stoned? And he goes, I've never not.

I don't know how that's possible.

Me neither.

Will, do you remember when we were doing The Increasingly Poor Decisions of Todd Margaret? Such a long name to say.

I know.

I was doing a scene with you and Spike Jonze and David.

Yeah.

I think it was just the 3 of you. And I was jet-lagged. I'd just arrived over from London the night before. And every single line in my head just went, like everything. And the more I tried to think of the lines, the more panicked I got until there was nothing. It was just like a blank nothing. And I was just standing in front of— I'd never met— met you before, like, Spike Jonze, like, the whole thing was—

Right.

It was the worst experience. And in the end, they had to just— 'cause David was directing it as well, wasn't he? In the end, he had to just, like, go, you know, we haven't got it, basically. Goodbye. We haven't got it. And they had to do an extra day's filming, an extra half day's filming, whatever it was, to get the scene, 'cause I effed it all up. so badly because my head—

Because of the lines.

You know what, Sharon? I don't remember that, 'cause my recollection is always how impressed I was. I had such a talent crush on you. I was always like, Sharon's so good. So I never— Yeah, I appreciate that. In fact, if you remember, the only person I remember going up on their lines all the time was Spike Jonze. Had to— He got to a point, and we were like— I remember we were sort of investigating. I forget what the story was, but he ended up He had a notepad with him. So eventually, he just wrote down all his dialogue on the notepad.

Right?

And so we're doing a scene, we're doing a scene, you know Spike, and he has this— his laugh is so funny. And he's like, okay, so, blah, blah, blah. And he's literally pretending to go through the thing, but he's actually just reading his dialogue off the paper. And at one point, he goes, um, so anyway, so I— and then he goes, um, I did— um, and then he goes up, and I just look at him, and I go, you're reading. How are you going up on your dialogue?

But he's the greatest.

I wish he would do it more.

Oh, he's so good. He's so, so good. My other recollection of that is, do you remember Simon, the sound mixer, who was super funny?

Yeah, I do, actually. Yeah.

He was one of the funniest, right?

I kind of had a bit of a crush on him, I think.

He was so funny.

He was handsome.

Yeah, he was handsome. He's the funniest sound mixer. And I remember one time we were shooting a scene. Maybe we were in it, and we were shooting on a stage somewhere in London. And we're going through, and there's some sort of thing in the story, and David's like, hang on a second. I don't think that that's right because the timeline doesn't— So, we sort of stop shooting for a second. He's like, I don't think— We have to change that 'cause the timeline doesn't work on it. David Cross is going through it in his mind. He's like, and I think that people will notice the timeline. And then you can't even see Simon 'cause he's just offset. He's the sound mixer. You just hear him go— He goes, dear Channel 4, Imagine my disgust when I realized the timeline didn't work out. And it fucking— that— he brought me to my knees. I was laughing so hard. God, that guy. Simon, if you're out there, we love you.

Oh, well done, Simon.

Now, Sharon, when are we gonna get you to the States to do a little bit of work? Uh, is it happening?

What kind of— what kind of work?

Well, what do you— what do you mean?

How much you got?

What do you have in mind?

Lobster? Is it a lobster-based line?

I mean, I'm—

What's going on right now? Is there something— should I be embarrassed? There's something going on right now?

Sharon's got a new show that premieres September 20th. We're in the year 2026, called Youth.

Oh, yes.

Which I'm surprised I'm not part of, considering my youth.

Right, exactly.

But Sharon, talk to us about Youth a little bit, if you would.

Well, it's a show It's on HBO.

Yeah.

Great.

Classy organization.

Right? And it's 8 episodes, half hour. So it's kind of going back to— it's more sort of along the pulling Catastrophe kind of lines, 'cause it's kind of documenting, I suppose, a certain period in your life. And like, Thirties was sort of misspent 20s, and Catastrophe is like having young kids and, you know, trying to stay in love with your partner. And Youth is about kind of someone slightly similar to me who's in their 50s, and their kid is leaving for college, and their parents are kind of, you know, getting older. And they're sort of— it's kind of about the sandwich generation and how—

Yeah.

You kind of hit a point in your life when it should be about you. Like, you should be out there, you know, living it up and sort of, You get overwhelmed with some of these other elements. Yeah. And it all comes kind of crashing down on her. And I kind of— I sort of wanted to— I came up with the idea and the characters ages ago, but I'm kind of glad— and then Bad Sisters came along and I ended up doing that. But I'm kind of glad that I'm doing it now because I feel like I've got so much more to say about that. period in a woman's life.

Did you shoot that here, or did you shoot it in England, or here?

Here.

Here, sorry, where we are in the States.

Sorry, I shot it here in England.

In the UK. Gotcha.

Yeah. And in Germany and in Spain. So we shot in a few places.

Sounds nice. Jesus. I'd like a nice arc on that.

Yeah, do you know what? It's the first time I've ever You know when you shoot something and you're filming and it's disgusting weather, and everyone goes, next series, we should set it in Spain? So, I kind of did a slight version of that. Even though it's just one episode, I got to do that thing of like—

You and Sandler have it all figured out.

Yeah. Maybe after— did you get a taste for it? And now are you like, hey, maybe my next character, she just— boy, she loves Italy.

Yeah. I should have, actually, 'cause it kind of— we're kind of figuring out some ideas at the moment for where it could possibly go. If we got sued again.

But if you did that, that would mean not living where you live now. What would you miss most about living where you live now and the way in which your sort of your whole personal life is set up there? What would you miss most about your creature comforts?

Well, I don't know about creature comforts. Like, I admit, my brothers and sisters kind of live nearby. The ones who aren't in London are in Ireland, which is also very nearby. It's like just over the And so, I think it's that. I think I've been trapped.

She's pointing to her right, just for truth's sake.

But my kids are grown up now, so it's kind of weird. So, all those things that kept me in London, which, you know, it was mainly that, it was family. But it's also, I'm just not great at change. Like, I'm not great at—

Really?

Yeah.

No way! I mean, that's so funny considering that you've had so much change in your professional life, and it's all about change.

Yeah, I know. I just kind of don't— I mean, I've had the same agent for, like, 25 years. I've, you know, lived in the same house. I just kind of— once I kind of settle into something, I'm like, this feels like a good place.

When you come to the States, where do you go? Where's your favorite place to stay? Where do you prefer?

I actually have a house in Beachwood. Do you know?

Oh, yeah.

Do you need me to go take care of that?

It's very close to me.

It's just down the street.

Well, I mean, I get over when I can. I used to be there a lot more, You know, after COVID and everything kind of changed, like, it used to be that you used to have to fly— It used to be you used to have to fly to pitch ideas. Do you remember? You would have to just be in the room. And so I used to be there a bunch for that, but now it's all zoomy zooms.

You ever walk down to Larchmont? You know Larchmont Village?

Careful here, Sharon.

Yeah.

All right, that's all I wanted to know.

Near his house.

Yeah.

It's pretty.

Then Sean's gonna be the guy I'm like, outside of your house. Yeah.

A lot of people are talking about you. What is this?

When you, when you come to Los Angeles and then you leave and you're back in England, what are some of the things you're not missing about Los Angeles?

Not, not missing? Yeah.

It's like, oh, you know, I don't miss, uh, such and such.

I don't miss hearing industry talk everywhere. I find it very disconcerting. and destabilizing. It's not like that here at all. Like, you'd have to sort of seek it out or just spend all your days in SoHo House or something. It's just, for the most part, it doesn't sort of touch you. So you get to just like—

New York's the same way. There's so many different industries in that city.

Yeah.

What are the main industries in LA outside of like tech and entertainment? Carpets?

Art?

Carpets.

Carjackings.

Pretty big these days.

Car chases.

Yeah, that's really— that's— they can be real uptick.

Home invasion.

Home invasions are— yeah, they're super popular.

Homeopathy. Dog grooming, obviously.

That's huge. Huge. Everybody's got a dog.

Posing at a coffee shop, that's pretty good.

High-speed car chases.

Personal training.

I, I like LA though. I, I like it as a place to sort of— I think you— I think I'm, I'm like, I'm fitter in LA, you know? Like, I do more kind of wellness things. Like, I look— it's easier to be fit, right? Yeah, I think you kind of end up just drinking a lot of green things.

And well, you're— what are you drinking today? You're drinking something orange. What is that?

Yeah, it's, it's, uh, actually my, um, um, someone gave it to me.

Okay.

Oh, so you're not sure what it is?

Careful, careful, careful.

Don't drink it.

It's a Zuki. It's called a Zuki. Uh, is that product placement? He— I needed something to give me a bit of energy because I was worried that I was going to low energy.

Because of us.

Yeah.

Thank you.

Because of me. Because I've done a full day at work, and I didn't really sleep last night. Oh.

You're gonna sleep so well.

Wait, wait, wait, wait, wait, wait, wait. Let's dig into this just a little bit. What happened with your sleep?

Ew, ew, Will.

I don't know. I go— I'm really up and down. I mean, I think it could be hormonal.

Sure.

But, um, but yeah, at the moment, I'm not sleeping. I think maybe I'm worrying about The show's about to come out, potentially.

Your mind is spinning. Your mind is spinning.

I keep waking up at, like, 4:15 and just lying there, and I keep putting on podcasts that, you know—

Put this one on. You'll go right back to sleep.

Yeah, I have been listening to you guys over the last few nights.

We got an award from the Insomnia Association for when they found the cure with our podcast. Wait, do you— so I'm not—

So I hate not sleeping at 12 in the morning.

I think this is— but it's our age. I, you know, Sean has arguably the worst sleep hygiene of all time.

I was up at 3 today. Oh, that's horrible.

Every day.

And you get emails again.

And it's just gonna get worse.

Thank you.

But do you—

so do you—

now, how do you— do you try to, like— do you go to bed early to try to compensate for it?

I try. Like, last night, I was lying down at 10:30 PM, and I thought that that would be good. And I actually took a Calms last night. Do you know Calms? homeopathic sleep thing and, uh—

Kind of like melatonin or whatever?

Yeah, kind of like that. And, uh, it still didn't— I was like, you know, it took me ages to even get to sleep. And then when I got asleep, I, I, I—

Are you a coffee drinker?

See, this is the thing. I am a massive coffee drinker. And you know when you're in a writer's room, everyone— it's disgusting the amount of coffee you drink. So I'm definitely taking in more caffeine than—

You just need to shut it off earlier, you know? Like, stop drinking it at like 2 or 3. You can't have any after that.

Yeah, but that's why I'm doing that. I'm stopping it.

How about green tea? Try green tea instead of coffee. It's a much better high.

Is it?

Oh, yeah. It's not such a spike. It's just a nice steady—

she just comes unrealistically. I like the jittery thing, though. I like feeling a bit like—

You like a little punch in the head?

I like that morning. I love that morning just blast off. Yeah, but in the afternoon, I talked to Sean this morning to give him shit about his internet before we did the Pcast, as we call it. And Sean said, how much coffee have we had this morning?

But I love it. I love it.

But I love a crash.

It's intense, isn't it? It's like— it's a proper drug.

It is a proper drug. Do you ever do any sort of, like, sleep— Other drugs? No, no, no. Like those, like— I listen to, like, rain sounds.

Yeah, I've tried all that nice stuff.

You know what I do? Sharon, try this. This is what I do sometimes. Sometimes I'll Google facials.

Well, I mean—

So I'll Google somebody having—

Wait, wait.

Narrow it down.

Narrow it down.

Yeah, I'll Google somebody having—

When you say facials—

I'll Google somebody giving somebody a facial.

Okay, again, I mean, we're really having a tough time here.

You don't need to enunciate it more, okay? It's making it worse.

And watching it, watching it, like, them, like, falling asleep makes me fall asleep, like, because I'll imagine my face doing, like, you know what I mean?

Yeah, because of the relaxing thing.

Yes, it really, really relaxes me.

Try it.

Check it out.

Jumi.

Well, I've written it down. I thought you were gonna— yeah.

Oh, you want me to send you links, or—

Well, no, I thought, I thought you were gonna give me like a specific kind of—

Well, I do like the Japanese— like, well, no, like Japanese facials, because they, they really get in there and the person falls asleep immediately getting it. And then—

Are we listening to on this podcast? Fucking Sean's looking at people getting their faces rubbed so he can fall asleep.

Yeah.

I'm gonna lose everybody.

I love it.

Anyway, try it, Sharon. Get back to us if it works. In the meantime, thank you for being here.

Sharon, you're the best.

Sharon, you are the best. We— God, you're so good. You're so funny. You're such a talent. HBO is premiering Youth on September 20th with the incredible Sharon Horgan, whom we adore. Sharon, thank you for taking the time. We hope you get some rest.

It was really nice to see you.

Great to see you. Thank you so much.

Come hang out in Beachwood. Come on back.

Give a shout.

Yeah, I'll do it. Well, yeah, I think in October or something.

All right.

Game Night 2.

Game Night 2.

Let's break it. Game Night 2. I wish.

Everybody wishes.

I'd be first in line.

Gotta watch that movie.

First in line for Game Night 2. The great Sharon Horgan.

Bye, sweetie.

Love to you.

Bye.

Love to you.

Take care.

Bye, Sharon. That's a great Sharon Horgan.

I know.

One of Britain's great exports.

Oh, yeah.

She's—

what was the name of the— I watched the show many, many years ago. What was it? Starts with a C.

Catastrophe?

Yeah, Catastrophe. She's so good.

Yeah. She's super talented and—

And you never see her acting. She's very real.

Right, exactly.

Always great.

She's so funny. And it was one of those things. when I knew she was coming on and I was thinking, like, what else is she in? And then I remembered Game Night, that she was in that. And I was like, oh. And I relived— I don't want to go back into Game Night. God, I love that movie.

I want to watch that again. I tried to watch it with the girls, I don't know, a year or so ago, and we only got through the first 5 or 10 minutes and they just started looking at— Well, because they were looking at me like, Dad, why do we have to watch your shit? We want to watch something else. Or at least that's what I thought they were thinking. And I just started to just get all— And I was like, you know what, let's turn this off. Sorry, guys.

Well, they'll watch it at home.

By the way, I've done that before with the boys too.

What am I doing?

But trying to fall asleep with the facials is a good trick.

Yeah, but how did you discover that hack, Sean?

I don't know, because I always fall asleep if I get a facial. I'm gonna get like a few a year, but you know.

So you thought if you watched somebody getting a facial that— Yeah. And like literally that was it?

What if Sharon calls you and goes, you changed my life?

That's right. I'm— it's gonna happen.

Huh.

She's gonna call me.

Right.

Anyway.

JB, do you have trouble falling asleep?

No, he's asleep now.

You know what I— for me, the best thing for falling asleep, honestly, works like virtually every time, is I just— I listen to a really cute little lullaby.

Bye! Oh, that was a beautiful, beautiful end there. I didn't even see it coming.

Bye!

Bye!

Smart.

Nice.

Smartless.

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