Ted Harris here with the warmest greetings for the new year. We made a new story called THE YULETIDE CHERRIES. It’s based on the story of The Tale of Sir Cleges, adapted and written by me and my sister Lindsay. I feel it’s a great story, and I hope to see it as a book one day.
The voice actor is Owen McCuen, who has worked in many different audio drama and fiction podcasts, commercials, and more. Plus, he’s a great guy and a good friend.
We also made our December episode of LIFE IN THE TED LANE, where we talked about winter holiday customs. We talked about Christmas, Hannukah, Kwanzaa, and many more holidays, and how people celebrate them.
(Editor’s note: we also discussed strategies to make the holidays easier for autistic folks. ~Lindsay)
Ted wants to talk about Christmas, but his big sister Lindsay made him research and share all of the December holidays and the reason for the season. Plus, the Muppet Christmas specials that are hard to find, and strategies to help people who have autism cope during this cold, busy time of year. Additional resources: Feeling overwhelmed? Help is available: dial 988 or visit SAMSHA.gov. Winter Solstice – The Long and Short of it at The Franklin InstituteHow To Celebrate The Winter Solstice from MotherMag Hanukkah | Reform JudaismOfficial Kwanzaa WebsiteThe Real Festivus by Dan O'KeefeStolen Lightning: The Social Theory of Magic by Daniel O'KeefeYule History and OriginsIt's a Very Merry Muppet Christmas Movie Is BonkersA Muppet Family ChristmasChristmas tips for autistic people and their familiesHosted, Written, and Edited by Ted HarrisCo-Hosted by Lindsay Harris FrielMusic by Vincent FrielMore info: 6630 Productions Tell us what you think of the show! Write us a review on Podchaser or Apple Podcasts. Transcript available at https://lifeinthetedlane.buzzsprout.com. Do you want a 4" sticker with the LIFE IN THE TED LANE art? Take our survey!Audience Survey for Life In The Ted Lane(You can also answer anonymously and still get a sticker, just follow the instructions at the link.) for more information, visit us at 6630 Productions Write us a review on Podchaser or Apple PodcastsMay your life be filled with magic!
When we worked on The Yuletide Cherries, we learned about editing audio, we learned that editing audio is different from video audio, it takes great concentration, we learned how to pan audio so it goes from left to right and about Dolby stereo and how to equalize sound, I showed Lindsay how I show the sound of someone walking in the snow how to go from left to right by mouth, a skill I learned from acting classes. It is like you put your teeth together, put your tounge on the upper teeth and make short little blows with your breath, but you start quiet at first and then start getting louder, then get quiet again. Lindsay had been trying to figure it out for herself, but when she heard me do it, she was amazed. It’s a difficult skill, but one I had acquired after years of study.
Ted’s Hopes for 2023
This year I hope to do a second season of LIFE IN THE TED LANE, and maybe some more puppet videos, and hopefully do a audio play of my sourdough starter story or my Brigantine Castle story, and maybe do my first art show in one of the Philadelphia galleries, and maybe introduce some new puppets to Roxborough.
In six days, Vince and I are going to take A Big Risk. We’re going to get on a plane (Vince hates flying) and go to Minneapolis, Minnesota. There we’re going to hand a script to a room full of people, most of whom I haven’t met (first-draft readings take a pint of my blood), and we’re going to read it, rehearse it, record it, and make a serial podcast out of it.
This is Jarnsaxa Rising. Ancient Norse Gods use humans as pawns to battle each other. When an ancient giantess takes human form to engage in eco-terrorism, a corporate team tries to stop her, and learns who the real enemy is.
Vince testing our portable recording setup.
The script is stylistically different for me, in narrative and in craft. I’ve never written science fiction or fantasy before. Adjusting to audio drama is also new for me. Vince has done a lot of sound engineering and still experiments with it for fun. He’ll be performing all of the sound engineering and writing all of the music. We made a sketch comedy podcast episode to prove to ourselves we could do it. Now we’re getting involved with other people and going on a journey.
Carin Bratlie believed in me enough to produce Traveling Light years ago, and now we’re going to go take a leap of faith together again. She’s assembled a solid, smart cast, and she’ll be directing.
They say life is a bowl of cherries in Minneapolis.
Right now I feel like my viscera is all clenched up in the center of my chest from excitement and anxiety. I’m rewriting the big final battle of the story, and I want to make everyone proud.
I know so many people who complain at being left out of opportunities. There’s so much “they don’t want me because I’m too (x, y, z) for them” that I hear, and I want to be in a culture of saying “yes, and.” This is one of those times where we can step up and build the sandbox in which we want to play.
Speaking of building your own sandbox, progress on Jarnsaxa Rising continues. In addition to the script, I’m working on “meet the artist” posts for the podcast’s blog. Every time I open up my e-mail, see the performers’ headshots and read their bios, I get all warm and giggly inside. This project is going to be Really Good.
And last night it rained, finally, so the garden is getting wild again. The red lilies are blooming and doubling and trebling, and the morning glory vine has started to fight with the lavender, but they’re no match for the mint, so I have to get in there and break up some of this battle.
Mint vs. Lavender vs. Morning Glories. QUIEN ES MAS MACHO?
Once upon a time there was a playwright who was really, really bored.
She sent a Facebook message to a friend, a director, who was never bored, halfway across the country. The message was, “I need something new to write about, throw me a prompt.”
The director said, “Just above the 60th parallel in the Baltic Ocean, a team of researchers arrives at an abandoned wind farm, to investigate some unexplained energy surges. They discover that the wind farm has become sentient. And hungry.”
The writer said, I like this, and she researched and thought and imagined. Five years later, we have this:
It seemed like a great play idea, with multiple characters and the wind turbines themselves being played by actors who rotated giant rain sticks, as if the gods and humans and everyone were all embodied in the wind turbines. But the story was too unwieldy. It made more sense to break it into episodes and do it as a podcast. So, basically, it’s a science fiction fantasy revenge tragedy that takes place in a dystopian future and the ancient past.
and that’s what I’ve been up to lately.
So, I’m writing the script. I’m eight episodes in, with hopefully only two more to go. although two of the episodes may get merged into one. Vince is doing all the sound engineering. Carin is directing, she’s found a cast, and we’re going to Minneapolis to record it in July. We’ll edit the files in August, and launch the podcast in the fall.
I’ve been taking a Coursera course, called Sagas and Space, about Norse culture and how they thought about themselves. It’s been inspiring and helpful, particularly Terry Gunnell’s guest lecture on “Spaces, Places, Liminality and The Supernatural in The Old Nordic World.”
I’ve been learning a lot about Indiegogo. This is our campaign, in case you like this and want to help. We’re just over 5% funded, with 41 days to go. I get about two messages a day from people who want me to pay them to retweet the campaign or add it to a directory. which feels like adding my needle to a haystack.
“OMG! This is, like, SO much better than Serial!”
Tonight, I have writer’s block. I know what needs to happen next, everything is outlined. As I write, I feel like I’m stumbling. There’s a lot of new things that I’m learning: writing purely for audio instead of live audio-visual performance, using episodes, using non-linear narrative. some information is missing, and I don’t know what it is, but without it, I can’t confidently move forward. I’ll get it, I just have to find it. I also know that writing doesn’t come from inspiration, inspiration comes from writing.
Fortunately, I have a really good cast, good people who have said, “sure, I’ll climb aboard your wagon.” I just want to make sure I don’t disappoint anyone.
I wanted to go to bed early tonight, so I can get up early tomorrow. It was hot today and it’s supposed to be hot tomorrow, so I’d like to have some of the cool hours of the day at my disposal. I want to get up early, pull weeds and water the flowerbeds before the rest of the world gets moving. The local amateur pyrotechnic aficionados are setting things off, which upsets the dogs. They’re being pretty good about it, but I can hear them shuffling around anxiously.
I think I’m just going to lie down and listen to an audiobook, and hope that settles me down.
Not only are the Sestras of Team Leda my personal trainers, but also, as a result, I can survive car crashes, get stabbed through the side with rebar, run, fight, shoot with accuracy, and dig a grave through a cement floor. Impressed?
Don’t be. I may be exaggerating. Let me back up a bit.
During the summer of 2013, I lost about eighteen pounds. This happened through a combination of hopping up and down on an elliptical machine at Planet Fitness, and eating mostly blueberries and almonds in order to win the respect of [popular Philadelphia actor and local vegan] Doug Greene. It was fun, for a while. Then,
a) I learned that Doug Greene’s kindness is so vast that he really doesn’t care if I eat things which can not be easily foraged, and
b) The televisions at my local Planet Fitness succeeded in driving me out of there. That’s right. The terrorists’ televisions won.
Here’s the battle. I had a pretty good system for making regular exercise part of my life. Roll out of bed, pull on the pile of work out clothes I thoughtfully placed [okay, dumped] on the floor next to the bed the day before, put earbuds in ears, and with my gym only a few blocks away, I’d be at the gym and on the elliptical, chugging along to “Doctorin’ The Tardis,” before I really woke up.
Unfortunately, the Wall Of Televisions across from the elliptical machines were extremely distracting. The morning parade of anorexics, invented health scares, and celebrity bullshit which passes for news drove me far away from sense and sensibility. One day I saw Olivia Wilde, being interviewed about her role in a movie in which her character allegedly liked to drink a lot of beer. I thought, she doesn’t look like she’s ever touched a beer in her life. She’s as light and luminous as a snowflake. She probably eats nothing but organic arugula and pure mountain spring water. Then, some weird part of me thought, you could look like that if you ate only twelve handfuls of almonds a day. It’s possible. And just look how much better her career is than yours.
Fortunately, some reasonable part of my brain (the part that likes eating, moving around and having cognitive function) said, NOPE, that’s not a healthy mind set. I got my priorities in order. After that, the televisions at the gym made me so angry, that I stopped going to the gym. Music wasn’t enough to keep me going, with TV flashing and flickering away in front of me.
Recently, I was talking with some friends about how I wanted to write a Tv drama spec script for my portfolio. My co-worker Kevin suggested that Orphan Black might fit my sensibilities. I hate sitting and spending copious amounts of time staring at something without doing something else along with it, so I thought, I’ll watch it at the gym. I bought the iTunes season pass for the first two seasons, and away I went on Leda’s Big Adventure.
This show is absolutely ideal as a companion for cardio, especially if you’re stuck indoors at one spot*. Its style, as a one-hour adventure-sci-fi-drama- is ideal for a 45-minute workout.
TV writing is formulaic, even for a genre-defying show like Orphan Black. Dan Harmon’s narrative structure method shows this formula best. Essentially, with a 40-45 minute show, you’re going to have moments of tension every five or six minutes. Every other moment of tension will be a major moment of tension, and they will increase in intensity throughout the story.
To try to make things simple, these are your big turning points of story.
1) A person is in a place of comfort
2) But they want something
3) They enter an unfamiliar situation
4) Adapt to it
5) Get what they thought they wanted
6) Pay a heavy price
7) Return to where they started
8) Having Changed.
In the case of a serial thriller like Orphan Black, you’re not going right back to the beginning, necessarily, you’re only back to square one in the sense that you’re still fighting The Bad Guys. Your favorite clone makes progress, but not enough for her to win freedom for herself and her family.
So, when you’re working out, these points of tension will make you move faster. The first ten minutes or so, even if they start with Sarah or Cosima or Allison or Helena in a major pickle, are at least a pickle with which the viewer is familiar. The episode is establishing itself, and this gives you time to get warmed up. After about ten minutes, our heroine gets presented with a new difficulty, and that makes the tension pick up. Usually, by about fifteen minutes into the episode, there’s a bar fight, a critical code to be cracked, or a chase that makes the viewer more tense. So, the natural response is to do what? Move faster. Each conflict increases the tension, leading to a plateau, and then another increase, until the inevitable cliffhanger ending, which leaves the viewer wanting more.
Mirror Neurons being what they are, we can’t not get tense along with our favorite characters. Every time they get into trouble, we do what they know they should do; tense up, and run, or fight. It’s a perfect thing to keep you going when you’re at the gym. There are some exceptions, however. When Paul pressed the stolen (spoiler object) into the palm of Felix’s hand, I hauled on the brakes on the elliptical foot pads so hard that I almost fell off of the machine. So, be careful. This show is not to be taken lightly.
It’s true that many television shows follow this formula, and probably any one-hour drama or police procedural could fit the bill. Why not just go to the gym a couple of hours after dinnertime, and catch one of the many variations on CSI or Law & Order? Because this is Orphan Black, and it’s a whole new modus operandi in story.
The more things change, the more they stay the same.
One actress, Tatiana Maslany, plays the main characters, all of whom share the same DNA, but are as different as chalk and cheese. Each of them has secrets, and has to pretend to be something she’s not. Anyone who wants transformation, or has just had a very bad day (why else would you get on an elliptical machine?) can empathize with Clone Club. The clones battle and support each other in similar but unique voices, much as different facets of one human’s personality. Yet they all work toward a common goal; independence and safety for themselves and their family. Because one actress plays all the roles, the viewer gets pulled into the concept of transformation. The body becomes immaterial; what matters is the clones’ desires, actions, and manners of self-expression. For someone who’s trying to get more exercise, this hits home. Ultimately, the premise of Orphan Black is, “Is biology destiny?” Is our body all we are, or can be? For all women, we want to feel like our bodies are less important than our personalities, thoughts, and desires. In the case of Orphan Black, the human body is a part of oneself, but not the entire existence.
Having this show accompany me as I work out makes me more excited to go to the gym. It makes me think about the body in terms of strength, health and autonomy. It distracts me from all of the usual chatter in which we engage, concerning fitness and working out. Maybe I’m not doing this because I want to look like the women on The Today Show or Good Morning America. Maybe I’m doing this in case I ever have to dodge a sniper’s bullet or run for my life or fight off a bunch of armed goons. The characters on this show are flexible but tough, capable of change, but focused, and always moving up. It’s the best workout companion I’ve ever had.
I have not yet seen Season 3, other than the occasional trailer or sneak peek. Like I said, I don’t have cable (although Episode 1 of Season 3 is available online. BUT FOR HOW LONG???). As far as I can tell, some of what the new season concerns is how big business (i.e., Dyad), can control the human body, how the government and military can get involved (such as in the case of copyright), and what people can do with their bodies. These ideas scares me, particularly since we see this all the time. We see it when women starve themselves to fit a business’ idea of what a clothing size is, when people make choices about food, self-care, residence or birth control based on what corporations say is safe and healthy. I’m glad this show is exploring these ideas, in an interesting and inventive way.
And no, I never wrote the spec script, because I was too busy being in love with the show. I probably will eventually, anyway. Wide Open Spaces made the semi-finalist level for the National Playwrights’ Conference at The Eugene O’Neill Theatre Center, so I can’t possibly be that bad at this whole thing, right?
Paul Williams accepting the Academy Award for the song “Evergreen.”
Last night we watched the documentary, Paul Williams Still Alive. It was okay, but problematic. It might be interestingly problematic. Stick with this, because there is a point. I promise.
Basically, this guy, Stephen Kessler, was amazed to find out that award-winning, chart-topping soft-rock songwriter and television personality Paul Williams was not dead. In his joy and amazement, he set out to make a documentary about his childhood hero, hoping that maybe it would culminate in the two of them having a sleepover and staying up all night watching old tv clips from his many appearances and swapping tales of 70’s celebrity wacky times. Probably sitting in a pillow fort, wearing their pajamas and drinking Kool-Aid.
Result: the documentarian becomes the documented, and the experiment in narcicissm becomes really freaking tragic. It’s worth watching, if you want to see how what could be a very good documentary can go totally tits up.
This movie’s most annoying attribute is not Kessler’s strained relationship with Williams’ wife, the shaky filming, or the fact that Williams knows how run an interview and how to direct a documentary better than this guy. It’s that not once does he touch on Paul Williams’ songwriting process.
Kessler does not spend any time discussing Williams’ collaborations with The Muppets. Unforgivable.
Kessler concentrates on the fame, tv appearances, booze, drugs, and sobriety, all the things about which Williams doesn’t want to talk, what should be the painful third act of your documentary, a part of it, not the end goal or sum and substance. We see Williams touch a keyboard once in the entire film (other than archival footage), and then only for a second. Paul Williams is now the president of ASCAP, and I can’t imagine a better advocate for the rights of songwriters. Although I have to admit I’d love to hear a discussion between him and Jonathan Coulton about songwriters’ rights in a mixed media world. I think Coulton’s experience with audience relationships and the Internet would be interestingly balanced by Williams’ decades in TV, film, and recording.
Kessler totally missed the fact that when you hear a Paul Williams song, you know it’s his, even if you don’t know the title, and haven’t been told anything about it. He has a particular style, once stamped on a song, which pulls the listener in, and then turns just as soon as a comfort level is established. He has an aural relationship with exposition, conflict, escalation and resolution which makes the listener always want a little bit more.
Kessler’s documentary is watchable, and shows us an intimate and painful side of a guy who has made a lot of people happy for many years (particularly in the Phillipines). But it doesn’t show Williams’ productivity, never asked once how he worked on music while getting clean, or how he works on music now. THIS IS REALLY IMPORTANT STUFF. This is the kind of thing that helps artists and listeners and ARGH ARGH ARGH Come on, pal. Grow up.
The documentary was made in 2011, so it was made years before Williams became the president of ASCAP, and long before Daft Punk would have tapped him for involvement in their work.
Paul Williams wins a Grammy in 2014 for his collaboration on Daft Punk’s Random Access Memories. Photo by Allen J Schaben, Los Angeles
If you listen to this, even without Williams’ unmistakeably unique voice, you can hear his style, despite the layers of electronica and Daft Punkiness of it all. Particularly at about the three minute mark, where the music fills your head with curly-haired women in glittery gowns twirling under colored lights, and Muppets playing sax and juggling silk handkerchiefs. But then the song widens and deepens, and this is the work of a really grown-up master of the art form. This might not be The Only King Of Pop, but he’s certainly a King Of Pop. This is The Phantom of the Paradise and Evergreen.
So, yeah, nice try Kessler, but before you spend a lot of time on the tree’s tinsel, why not water its roots?
Today I took a huge risk, which un-nerved me to my very core, the name for which not even Autocorrect recognizes. I tried steeking.
Steeking, for those of you who aren’t knitting geeks, is the process by which knit material is cut and sewn to make it into something else or smaller or whatever. In my case, I had pretty much given up on the project, and figured I had nothing to lose by trying out the process.
I tried knitting a hat, using Plymouth Yarns’ Gina in 0001. I wanted a loose, slouchy hat which would cover my ears, without mushing my hair irretrievably flat against my head. So, I looked at Bohoknits’ Sockhead Hat (which is a terrific pattern) and modified it to accept the different gauge of this thicker yarn.
I also wanted a diagonal rib for the 4″ band at the hat’s brim, because I think it’s more interesting to knit. Unfortunately, despite measuring my melon and taking careful notes, I ended up with a giant family-sized salad bowl of a hat.
My head is smaller than a 2-liter soda bottle. I promise.
In this case, a normal person who wanted a hand-made custom-fit hat should do one of two things:
2) Frog, or unravel, the knitting, and start over.
Unfortunately, when it comes to clothing myself in cold weather, I am more stubborn than rational. So, I know that if you run wool through the washer on a warm cycle, it will shrink. This process is sometimes called felting, and sometimes called tragedy. I decided that this hat was so big it could afford to participate in an experiment in shrinkage. So, not only did I run it through a clothes washer on a hot cycle, I ran it through a hot dryer.
For what it’s worth, let me show you how pretty the stitches looked before felting.
Thank you.
I also have to say that this yarn is as soft as a baby lamb’s earlobe. I knew felting would take away that feel. But baby, it’s cold outside.
So, a risky hot water wash and hot air dry later, I ended up with a hat that felt more tightly knit, but, guess what, was EXACTLY THE SAME DAMN SIZE. This is truly a testament to the resiliency and durability of Plymouth Yarn. I’m sure they make a yarn specifically for felting projects. If you want a yarn that won’t get ruined in the wash by mistake, I recommend this. And yes, it’s 100% wool.
Meanwhile, I still had a fuzzy floppy fruit bowl. I thought, I give up. I can’t frog it now, because it’s about 50% felted. I tried wearing it, and it flopped and any breeze threatened to blow it off my noggin. Finally, I folded up part of it and pinned it with a safety pin to make it fit more snugly.
Then I remembered steeking. I’d read about it in some knitting books, but never actually done it, nor seen it done. I looked up some YouTube tutorials on the process, and saw that it required more skill and foresight than I had for this project. Today, I said, screw it, I have nothing to lose at this point.
I measured out how much had to go, turned it inside out, and sewed a row of stitches across the hat, making a dart.
Then I took a pair of scissors and a deep breath, and cut the extra part off.
And here’s what I got:
Yes, that is a giant Darth Vader Pez Dispenser on our tchotchke shelf.
I like it. It fits, it’s comfortable, it looks cute. I am running it through another hot wash to see if I can get the new stitches to felt and mush with the rest of the yarn, so that seam will be more durable.
So, yeah; it’s been a while since I’ve last posted here. I’ve been applying for jobs and submitting scripts to opportunities. My track record has averaged one submission a day since last May. So far I’ve had a few good things come back (for example, The Wreck Of The Alberta had a reading with Athena Theatre Company, and it went Really Well, they’re good people). But it must be reading season, because I haven’t heard much lately.
If you are, or plan to be, in the Los Angeles area on Thursday, November 13, you owe it to yourself to head down to Casa 101 Theatre in Boyle Heights to see Teatro MOZ.
@Jules Dee Photography 2014. Jeanette Godoy and Katie Ventura in rehearsal.
Tickets are now available for a showcase of Latino-American love for the man whose voice helped redefine masculinity, Morrissey. The short plays are all culled from a nationwide call for submissions. I took a gamble with my friend, DJ and cultural connector, Rhienna Renee Guedry. We wrote a play about bicycles, not having sex, and woman-loving-women who love Morrissey, and sent it in, crossing our fingers and clapping our hands because we believe in fairies.
A few weeks later, we were fortunate enough to have our play, Pretty Petty Things, chosen as a finalist.
Unfortunately, I’m unable to get to Los Angeles from Philadelphia right now. BUT, if you can, you should! The cast is not only talented and skilled, but also gorgeous. The show promises to be a tour de force, complete with live musical performances and a lot of sweet and tender hooliganism. It’s only playing for one night, Thursday, November 13, at eight pm.
@Jules Dee Photography, 2014. Jeanette Godoy and Moises Rodriguez in rehearsal.
How often do you get to see a theatrical event that combines Latino contemporary life and California culture with the Anglophilic pop sensibility of the former frontman of The Smiths? Come to Casa 101 Theatre, 2102 East First Street, Los Angeles, California, 90033, for a singular dramatic event.
So, Vince and I have been working on a podcast, and I’d love it if you’d give it 20 minutes of your time, a listen and a look-see. It’s called Radio Free Tacony. Comments and criticism are welcome.
Bill Hader hosted Saturday Night live this past week, and, surprisingly, ranked historically low ratings. Despite Hader’s status as an SNL favorite and his new movie, The Skeleton Twins (with fellow SNL favorite Kristen Wiig) out in theaters, even I didn’t watch it. I like Bill Hader, particularly for his bizarre portrayal of Julian Assange.
The one character that seems to resonate most with the zeitgeist is his adorably esoteric nightlife pundit, Stefon. His mannerisms- the face-covered giggle, the sleeve plucking- remind me of my nephew, and his love of surreal entertainment usually cracks me up.
Honestly, I think I’ve been to some of those parties, particularly when Vince was playing with The Absinthe Drinkers. Preponderance of guests with mechanical arms? Check. Improvised jazz theramin? Check. Woman using a live python as a hair ornament? Check. Three witches making out under a giant paper-mache tree? Check.
Two things bother me, though. Hader’s inability to keep from laughing on camera rubs me the wrong way. I don’t find it as endearing as the character. It’s wonderful to be reminded that this is live, and chaos can happen, but it just seems like whoever’s operating the teleprompter is playing a joke on the audience.
The other bothersome thing is when Stefon’s love of the freak-show element becomes the disturbing recurring gag about human machines, which inevitably turn into some kind of riff on dwarf-tossing. If it were a woman being shaken until she says “ask again later,” it’d be rapey; if it were a person of color, it’d be censored. True, Stefon’s descriptions are lavished with variance in ethnicity, gender and age, but a person being used as a machine seems less consensual and more cruel.
Peter Dinklage has appeared on SNL’s Weekend Update, as a Drunk Uncle, and he was no stranger to cruel humor. It’s surprising that SNL’s writers would continue to make the human machine joke, if the popular, award-winning and really fucking smart Dinklage is a friend of the show. What I’d really, really, really love to see, is for Stefon to get started on one of his explanations of human traffic cones/fire hydrants/boom boxes/suitcases/kites/piñatas/Magic 8 balls/whatever, and have Dinklage slowly, deliberately, roll up right next to him, just out of his line of sight.
I mean, come on, writers. If you’re going to do rough comedy, do it in an interesting way.
6630 Productions 