S1 Ep. 10 - “THE GROUP” with Laraine Newman

Jeff and Susie discuss *The Group* from season 1 with special appearance from Laraine Newman. 

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Episode Transcript

Speaker 1 (00:00):
Hey guys, this is Susie and I'm sad to say
that we're going to take a two week little break here,
but we're going to be back on April twenty fifth
with season two of the History of curbr Enthusiasm.

Speaker 2 (00:11):
So enjoy the finale and when you're lonely.

Speaker 1 (00:13):
For Curb because there's no more season twelve to watch,
you could listen to us me and Jeff Garland on
the History of Curb Your Enthusiasm on iHeartRadio or wherever
you get your podcasts. Hi, I'm Jeff Garland and I'm
Susiasm Man.

Speaker 3 (00:34):
And this is the history of Curb Your Enthusiasm and
I hope you enjoy yourself.

Speaker 2 (00:38):
So this episode is the group.

Speaker 3 (00:41):
Yes, and by the way, from the title in the script,
you don't know what that means, but oh what.

Speaker 1 (00:47):
That means we will find out. Yes, it's quite a group. Yeah.
We start with Larry gargling always of Pleasure, and we
find out that Uncle Nathan is coming to La Thursday.
That his name was Uncle Nathan because of course his
father ended up being called Nat. But that's what I'm
talking about continuity. You don't really pay attention. So Sammy

(01:08):
was a boy. Now she's a girl and uncle Nathan
is a lingerer. So they decide that they're going to
go out to eat because they don't want to have dinner.

Speaker 3 (01:15):
This is the great line. He's a lingerer, I'm a malingerer.

Speaker 1 (01:19):
A malingerer, Yes, And they decide they're going to go
out to eat, and then we have the information that
Jeff wants to see Larry and Cheryl wait in his office.

Speaker 3 (01:31):
Hold on a second. Here, we're skipping a whole thing
which has brought up later, which is such a Cheryl thing.
She's yes to all of that. The note still subconscious
that Larry does it. But but they're talking of a
whole conversation about initiating sex.

Speaker 2 (01:45):
No, that's next.

Speaker 1 (01:47):
Then they're in bed and you could tell Cheryl's got
something on her mind, and she says to Larry and
I think this isn't this is a discussion that we
could have about this right now. She says, why am
I always the one to initiate sex?

Speaker 2 (02:00):
Now? This is a marriage which is a.

Speaker 3 (02:02):
Recall from the last episode, by the way, initiate.

Speaker 1 (02:06):
Yeah, but this is a marriage or relationship thing. Everything
is a fucking negotiation when you have sex.

Speaker 2 (02:13):
You walk into a restaurant, where are you going to sit?
She wants to sit here?

Speaker 1 (02:17):
I want to It's all an entire relationship is about
a negotiator.

Speaker 3 (02:20):
Well, life is about two things, boundaries and negotiations to
make those boundaries happen.

Speaker 2 (02:27):
Just saying yeah, it's about those things.

Speaker 3 (02:30):
You can actually quote me on that. Jeff Garland says, says.

Speaker 4 (02:33):
I'm available for sex all the time basically, so anytime
you want to have it, you can have it. Wow,
But anytime I want to have it, I can't just
assume that I want it all the time. So whenever
you want to, just tap me on the shoulder.

Speaker 5 (02:52):
Okay, that's so not how it should go. Well, otherwise
I'll be making moves all the time. Do you want that?
Do you want somebody just mauling you all the time?
That's what I will do. I will treat your breasts
if their mind. You want that once in a while.

Speaker 2 (03:05):
I mean I don't when you walk, I.

Speaker 5 (03:07):
Walked around like that. That's how I walk around. If
you if you know, I need I need borders, I
need boundaries.

Speaker 2 (03:13):
Okay, once in a while, I'll give it a try.
That's all I'm saying. Okay, okay, all right, not not
so what's your experience, Jeff?

Speaker 3 (03:23):
With that, I completely concur with Larry's side. By the way,
in my room, I.

Speaker 2 (03:29):
Think men are always ready and so.

Speaker 3 (03:33):
Oh, I think that's one hundred percent true to me.
I rely on the sexual excitement of my partner, not
that I'm talking about me. So I don't understand how
they would ever be remotely interested. And that's completely true.
But I think that stems from even high school being rejected.
There's been so much rejection for most men all the year.

(03:57):
So finally when they get with a partner of any
sort and they feel like or if they're basically it's
like if he's with Cheryl, the minute she doesn't accept
that he wants to have sex and she wants to
to and you're reject He's rejected from that moment on.
You have to initiate you, Yes.

Speaker 1 (04:17):
So I but of course then he then he moves
in and she says, not now.

Speaker 3 (04:21):
Right, because the mood is over the way. The mood
in those situations can really move like the wind, just
like I think for men too, the littlest thing can
make us go nah, it feels forced nice. Yeah, but
she was just in the mood. So it's one of
those winds, you know, knocks it off, all right.

Speaker 1 (04:42):
So they go through the negotiation with the sex and
it lays that all out, Larry's always available, et cetera.
And then they go to see you in your office.

Speaker 3 (04:52):
Hold on, there's a key thing here. Cheryl is kind
of negative about me in their life. But what's interesting
about that is that that was the only note that
we got from HBO. Was we noticed in the first
episode or whatever that there's no conflict between Cheryl and

(05:13):
jeffs No, no, I know that. But the point is
she's done a few references to that in episode's past.
And Larry did not agree with that note from HBO,
and he was like, no way. But even in your
subconscious I don't care if you're Larry David down to
anybody who just kicks in whenever he gets a note
from a network or a studio. Even Larry David subconsciously

(05:37):
wants to please HBO. So even though he said no
and he meant no, in his subconscious unconscious, I think
he implied that or he didn't stop her. That's all
I thought that was really interesting.

Speaker 1 (05:50):
It was actually the very even subtle.

Speaker 2 (05:54):
He didn't want that. It was a subtlety. It was
not a big you know, I said, I would.

Speaker 3 (05:58):
Also saying it was egregious.

Speaker 2 (06:00):
It wasn't egregious.

Speaker 1 (06:01):
And they go to your office and you tell her
that you got a call from Wendy Prager, who's a director,
and she's directing the Vagina Monologues, which I actually did
off Broadway. I remember in real life, I know, and
my sister was the producer.

Speaker 3 (06:16):
By the way, at this point, I want to say,
because when I say vagina monologues, Larry laughs hysterically, and
I can tell you that no comedian, I can't speak
for women comedians. I never used that term comedian that
people will have, which is non ut but we've all
laughed at the Vagina monologues, and who the fuck would

(06:39):
watch the Vagina monologues? And yes, vaginas are interesting, you know,
as I mentioned later, But holy crap, it's just one
of those things that I think, by the way of
that era in time, I would rank that as number
one absurd thing that I noticed from that time, and
it was very much.

Speaker 1 (06:56):
Let me just let me just correct you, Okay, it
is not about vaginas. It's about women's sexuality, is what
it's about, and women's God. It's not about there not
up there talking about.

Speaker 3 (07:08):
By the way, what we're laughing at is not the
content it's laughing at. It's the name and imagining what
kind of monologue you're going to write about a vagina?
You know what I'm going to write the penis monologue?

Speaker 2 (07:21):
Is that all me about?

Speaker 3 (07:22):
Penis monologue? Would you come penis monologue?

Speaker 2 (07:25):
Okay?

Speaker 1 (07:27):
Because that's every male stand up All they do is
penis monologues in my lifetime.

Speaker 2 (07:32):
A lot of them do, Yeah, a lot of them do.

Speaker 1 (07:34):
A lot of them get up there and they talk
about Richard Pryor.

Speaker 3 (07:37):
Took care of sex and stand up most of the
sex and stand up and anything like that.

Speaker 2 (07:41):
Okay, he did it better, he did the best, and so.

Speaker 3 (07:45):
After him, I never went down that path because.

Speaker 2 (07:47):
I know there was a big brew haha at the time.

Speaker 1 (07:51):
And this was in the year two thousand around when
it came out, or maybe it came up ninety nine
or something. They wouldn't mention the name of the show
on network television if like, if somebody went on The
Today Show, for example, to plug it, they wouldn't say
vagina on television in those days.

Speaker 3 (08:08):
It was obviously absurd because that's a bidetual appropriate word
for it. That's the correct word. It wasn't well pussy
monologues exactly, they wouldn't.

Speaker 2 (08:18):
They would not say vagina. There was a lot of
the whole big brew.

Speaker 1 (08:21):
And what struck me as a comic doing stand up
at the time was I, you know, used the word
vagina in my act multiple times, you know, many many
times I used it. But they were making such a
big deal about the fact that this was called the
Vagina Monologues and they were using that word, and it
was like, to me, it was nothing. I used that
word all the time in my head.

Speaker 3 (08:41):
By the way, it just was absurdism to me. And
by the way, how far TV has come. What happened
in the fifties in the early sixties, if you were
a married couple, you'd still sleep in separate bed. No,
you couldn't sleep in the same bed.

Speaker 2 (08:53):
That's right.

Speaker 1 (08:53):
So anyways, when I did the Vagina Malegs, I did
it with Donna Hanover, who was at the time Rudy
Giuliani's wife, right, and he was mayor at the time.
This is two thousand, two thousand and one, and Robin Givens,
who had been Mike Tyson's wife. Yes, so it was
an interesting it was an interesting evening. So then Jeff

(09:14):
then tells Cheryl that that Wendy Praeger, the director, saw
Cheryl in something and she wants her to do the
job in the Vagina Mollas.

Speaker 2 (09:22):
And Cheryl's thrilled.

Speaker 1 (09:23):
You know, she's just been given this part and it's
opening in a week. And he Jeff pans her the
script and Larry then says, you know, maybe get him
a bottle of scotch. And then when they leave Jeff's office,
they run into Lucy, who was clearly an ex of Larry.
Now I'm going to tell you, as a wife, as
a girlfriend, as whatever, when you run into an ex,

(09:45):
you always know it's an X. It could they could
be completely high high and acting like they don't even know.

Speaker 3 (09:50):
Reach even bring up an X, because it's an irritant
it is to even talk about somebody, even if it
was a fact that I I thought was interesting.

Speaker 1 (10:01):
No, that's right, and you know what happens, Your back
goes up the minute you hear about that X. And
Cheryl clearly and this woman's wearing little cut and she's got,
you know, big boobs hanging out, and Cheryl clearly senses
gets a sense of what's going on here.

Speaker 3 (10:16):
I had the exact same moment. I had split up
with my ex and I went on a first date,
which took me for fucking ever to do. And I
went to a restaurant and who walks in twenty minutes
later with her friends but her my ex, and it
created such a brew haha.

Speaker 2 (10:36):
Oh god.

Speaker 3 (10:37):
The woman with me slinked out and she was terribly embarrassed.
And I went by their table because I thought, don't
be a pussy, don't slink out. And I went to
the table and nothing but stares in anger, and I said.

Speaker 1 (10:50):
Okay, well we're going to get to that because we
didn't get to that scene.

Speaker 3 (10:53):
No, no, I know, but I'm just saying, I guess.

Speaker 2 (10:55):
Yeah, it's awkward. And there's a vibe.

Speaker 1 (10:58):
There's a major, major vibe between lou and Larry, and
Cheryl picks up on it, and they mentioned that Cheryl's
doing the vagina monolags and Lucy's like, oh, I was
dying to do the vagina monologue. And then Lucy tells
him that she used to go out with Larry, and
then they're obviously need having a tete a tete Larry
and Lucy, and Cheryl is smart enough to walk away,
and Larry.

Speaker 2 (11:17):
Throws the keys.

Speaker 3 (11:20):
He throws very bad keys, and then he sends her
to the car and says, to be.

Speaker 4 (11:25):
Very turn the air conditioning on, make it a little
cool that yeah, yeah, I'll be just a second.

Speaker 3 (11:31):
Can you turn the air conditioning on?

Speaker 2 (11:33):
Like you make insight to injury?

Speaker 3 (11:36):
But that way, that's a man being an idiot, in
which I believe, like so often in television, when a
man is stupid, it's clearly a comedic ours is a
comedic choice too, but a very false, exaggerated comedic choice.
The throwing of the keys and turn the air conditioning
on is something most dumbass men, which.

Speaker 1 (11:57):
Includes also in the Very Big Getting. He didn't even
introduce Cheryl. My husband's done that to me. Will we
run into something, and I could always smell if it's
an ex, or even if it's not an ex. He
won't introduce me, and I'll be standing there like a
fucking idiot, and they'll say later I forgot her name,
so you know, what Just introduce me and I'll say
to the person, what's your name.

Speaker 3 (12:20):
By the way, what you're describing as being upset with
a mentally challenged person, why are you doing it?

Speaker 2 (12:27):
Men are idiots?

Speaker 3 (12:28):
Are idiots and mentally changed we all. By the way,
if someone says they're not, go fuck yourself. You must
be even a professor at Harvard. We're just innately. Women
are so much better than us. There's no comparison.

Speaker 2 (12:42):
You get no argument from me, my friend.

Speaker 3 (12:43):
Yes, so you compare dumb women to dumb men. I
still like the dumb women better, just saying all right.

Speaker 1 (12:51):
Well yeah, hunters and gatherers were the gatherers men are.

Speaker 2 (12:55):
In the highway.

Speaker 3 (12:56):
That's all. Go ahead, let's move on.

Speaker 2 (12:59):
All right.

Speaker 1 (12:59):
So the Cheryl goes away and Lucy tells Larry that
there's something she needs to talk to him about and
can they have lunch. So he says, yes, of course,
I'll have lunch with you. Later on they're in bed,
Cheryl taps him on the shoulder. Larry said to her,
all you need to do is tap me on the shoulder,
and she taps him on the shoulder and he's not

(13:20):
in the mood.

Speaker 2 (13:21):
He tells.

Speaker 1 (13:21):
He says he's all tapped out, meaning that he did
a little self loving and was he thinking about what?

Speaker 3 (13:31):
Wait, wait before you go there. I don't know. This
is getting personal for me, and I don't know if
I should talk about it. But I've never had a
woman in all my relationship that is pleased that I
do that. Ever, No, you have to wait, even if
you wait six months. You should never ever do that. No,

(13:51):
I don't agree with that, not about shame, but about hey,
what about me? Why would you do that? You know?
And also where about to get to a place with
who were you thinking about?

Speaker 2 (14:04):
Question? I guess get well, I'm not going to get there?

Speaker 3 (14:07):
Okay.

Speaker 1 (14:08):
Well, well Cheryl goes into your tapped out after running
into Lucy with the large breasts you know, and Larry
admits she made a brief appearance, and Cheryl says, did
I make an appearance?

Speaker 2 (14:19):
And then Larry says, I.

Speaker 4 (14:21):
Wouldn't defile you like that. You don't know what goes
on in those things. You don't want any part of
that world. You don't want to be involved in that.
It's complimentary to you involved in.

Speaker 6 (14:30):
That, yes, but it is a great idea to bring
your ex girlfriends.

Speaker 5 (14:33):
I could and defile her.

Speaker 2 (14:35):
I wouldn't defile you like that. You don't know what
goes on.

Speaker 3 (14:42):
No, it's not a place for her.

Speaker 2 (14:45):
It's not a place for her. Now that that thinking
is so bizarre to me as a woman.

Speaker 3 (14:50):
He did it twice in the show.

Speaker 2 (14:52):
He did it.

Speaker 3 (14:53):
And by the way, it was about masturbation and Cheryl
to the other scene of what were you thinking about?
It's the women aren't included. That's Larry and I talking
about it. And he's pissed because remember I masturbated to Cheryl.
She was the one, Yes, don't put my wife on
your bench? Who else was there? And I said, it
was your wife and Jenna Jamison the porn star. And

(15:15):
then he says, all I've got is a young Sophia Laren.
He does that reference again, so clearly has done it twice,
which must be he did it.

Speaker 1 (15:21):
In this episode as well, and that Sophie Lauren was
his heart throb when he was ay.

Speaker 3 (15:26):
Any man that doesn't get excited as wrong?

Speaker 2 (15:30):
Okay?

Speaker 1 (15:30):
And then then he said and then he tells Cheryl
this is so twisted to me. He tells Cheryl that
he could think about Lucy because I can degrade and
defile her. But that Lucy had a bad attitude, she
wouldn't get involved in a three way. And this is
all in his fantasy. This is not in reality. This
is all in his fantasy. She wouldn't get it. So
then now he's going back to a young Sophia Arren,

(15:52):
which is safe hole. By the way, I suggest to
any man listening, go with a young Sophila Wren. This
safety in that no woman in minds.

Speaker 3 (16:00):
You can't get wrong. But imagine if you're in your
twenties and you say young Sophia Laren, your girlfriend or
wife is going to say, who's that question? But anyhow,
I love that he promised this was her last appearance.

Speaker 2 (16:12):
Yes, her last appearance.

Speaker 3 (16:13):
In other words, she's been in his brain. She'd been
booked for his brain. He's firing her from his brain.

Speaker 1 (16:18):
And by the way, I really think it's a bad
idea in general in relationships to know what your partner's
fantasies are. By nature, those should be private. The other
partners should not know what they are. I have no
interest to know what my husband fantasizes about. If it's
not me, I don't want to know it. I don't
want to have it in my head. It's his, that's
his private little space. Let him have it.

Speaker 3 (16:40):
And do you know who's in his private little space?

Speaker 2 (16:43):
No, I don't want to.

Speaker 3 (16:44):
Know what if you talked about Ben Vereen, Ben Vereen,
doing any.

Speaker 2 (16:49):
Be a little disturbed by that? And maybe I might
find it humorous. Okay.

Speaker 1 (16:54):
So then Larry comes to see Jeff and he gives
him the Scotch a beautiful blue label Johnny Walker blue
Lie both for Cheryl as a thank you, and then
Larry goes to meet his ex for lunch and Jeff
wants to go with them. Hold on, Jeff has seen
this woman. She approaches, that's she approaches, and I'm clearly excited.
And the way I want to comment, I already can

(17:15):
see growth from the stroke that I had in the
last two episodes nine to ten.

Speaker 2 (17:20):
Okay, notice nobody else would notice.

Speaker 3 (17:23):
No, no one else would. But I also want to say,
so she comes out and she introduces whatever, and I'm clearly.

Speaker 2 (17:29):
Practiced a large breasted woman.

Speaker 3 (17:32):
And then he thinks of her from that hurricane movie.
She corrects him it was Jamie Gertz from a Tornado movie.
She goes, I was in the Asteroid movie, and I
actually say asteroid hurricane.

Speaker 2 (17:44):
Same thing, same thing.

Speaker 3 (17:46):
And by the way, those movies are exactly the same.

Speaker 1 (17:48):
And you're clearly attracted to her, and you're clearly fishing
for an invitation to go to lunch with them, but
they're not having it because she has to have a
tete a tete with Larry and it comes out in
their lunch hold.

Speaker 2 (18:01):
On, hold on, hold on, abuse kind of want to
go back. Okay.

Speaker 3 (18:04):
I say two things that I at least the first
half of Curb Your Enthusias, in the first half dozen
episodes whatever that were quote my catchphrases. I didn't use
them as a catchphrase. Big bowler wrong. I call her
a big bowler wrong because I'm like, oh boy, oh boy,
big bull wrong, which HBO actually made t shirts of. Okay.

(18:25):
And then I say, as I'm walking away, good night, nurse, nurse,
which actually used in an episode. So those are two
things I said all the time, and that's the first
time I said them, and of course I was improvising
no one, you know, all right, Sorry for the.

Speaker 2 (18:39):
Delay, all right.

Speaker 1 (18:40):
Then they go to lunch and we find out that
her stepfather abused her and that Larry is the only
one who knows that Larry's the only one shed all away.

Speaker 3 (18:49):
Sometimes with women from my past, they tell me, remember
you're there, By the way, I don't know if it's
very common, but I've been told from somebody that I
would never imagine them saying this to me, You're the
only one I ever told.

Speaker 2 (19:03):
I find that unusual.

Speaker 1 (19:05):
I find it extremely unusual that Larry David would be
the only one she want.

Speaker 3 (19:09):
By the way, on the other hand, is something he
was so understanding and respected her.

Speaker 1 (19:14):
Yes, but he does then question her does a stepfather
qualify as incest?

Speaker 3 (19:20):
Which, by the way, to me is the funniest moment
in the episode.

Speaker 1 (19:23):
Because she mentions that she wants to go to an
incest survivor group and she asked Larry to go with her,
and of course Larry's looking for an out, so he says,
does a stepfather qualify as incests? He's trying to figure
out away, which is hilarious, and at that moment, Cheryl
and her friend Nancy walk into the restaurant at.

Speaker 3 (19:42):
That exact moment, so it kind of saves him but
makes things.

Speaker 1 (19:45):
Worse extremely awkward. As you were just saying happen to you. Yeah,
he invites them to sit, but they don't want to sit,
and you see Cheryl's face and she's not the same
accepting Cheryl in this episode as she was in the last.
She's kind of had it with him, and that's because
there's another woman involved, and that's the always the thing.

Speaker 3 (20:03):
By the way, she covers it, but we see it,
so we still haven't seen her explode in any way
that you have or any woman that I've been with has.
Whereas she's hiding it, she's being very poised. She's it's
kind of but she's she's well, no, no, we know
that as an audience, but again that's her in a
horrible situation, still being calm.

Speaker 1 (20:27):
And then Larry's in the car and then Jeff, the
dog that he is, runs over and wants to know
she married and wants her number about Lucy right right, And.

Speaker 3 (20:37):
This is the first time we see that he's a
real lothario or real pig. And by the way, this
episode a lot of fat references, a lot of fat references.
You're not even in it. There are I think three
fat Like when I ran up to him in that scene,
he says something that he would have cut out at
this well obviously now because I'm not I'm fat, but

(20:57):
I'm not fat fat you big. I'm a large man anyhow,
I'm you're a large man. Yeah, but I'm not strapping.
I'm large, but I'm not strapping one. I've loved him
and strapping. I'm not strapping anyhow. As I'm running over,
he goes, hey, fat boy. Yeah, there's another time. I
don't think it's I can't remember.

Speaker 2 (21:18):
But it was something else I noticed it as well. Yeah,
so yeah, I want to know.

Speaker 3 (21:23):
But it's the first time we really see that I'm
a pig that Yes, you're tough, but my reaction is
to that is to be a pig.

Speaker 2 (21:31):
Yeah. Yeah, I wrote a dog. So there we go.

Speaker 3 (21:34):
Dog, same thing. You know, no either, Actually pigs are
very knowledgeable. We don't accept them for how smart they are.
We think dogs are the smartest, but it's actually pigs.

Speaker 2 (21:45):
Do you know that?

Speaker 3 (21:46):
Do you think I'm making that up? Did you know that?

Speaker 4 (21:48):
No?

Speaker 2 (21:48):
I know that.

Speaker 1 (21:49):
I know pigs are quite smart, but there's a lot
of smart dogs too. You had border colleague, you know
how smart they are?

Speaker 3 (21:53):
Yes, but still pigs. I'm here for the pigs. I'm
representing pigs.

Speaker 2 (21:58):
But you're you're, you're you're you're a lethario, yes, I am, yes.

Speaker 1 (22:03):
And a philanderer yes, And you're cheating on your delightful wife.
And then he's not going to give you the number.
And we see the woman's face. Who's the leader. Cynthia
is her name, And then we cut to the next woman,
the Lorraine Newman, and the next woman and the next.

Speaker 2 (22:18):
One, and then we see Larry and we see Larry.

Speaker 3 (22:21):
You're skipping, you're skipping here. First off, the idea that
I'm working with Lorraine Newman blew my mind because one
of my biggest influences.

Speaker 1 (22:30):
Well, no, I'm going to get to her. At first
it was just the camera shots. We didn't get to
her yet with her.

Speaker 3 (22:34):
My mistake, you have the discovery. I thought you were
going to get the direction. I apologize.

Speaker 1 (22:38):
Yeah, no, no, no, she says a lot. We have
a lot to talk about with her.

Speaker 2 (22:42):
We'll be right back. Stay tuned and we're back. Okay,
we're here with the legend Newman. And you've already you've

(23:02):
already done this episode.

Speaker 3 (23:04):
When people call you a legend, you're the last person
to think of yourself as a legend.

Speaker 6 (23:09):
That is so true, Jeff, I'm not even talking to
my therapist.

Speaker 3 (23:14):
Well, by the way of all the people people call
me a legend, and I'm like, who you talking to?
Is there a mistaken identification?

Speaker 2 (23:22):
Legend? Me? What are you talking about?

Speaker 1 (23:24):
Clarene, we already recorded this, did this episode, so we're
gonna insert you in some fashion.

Speaker 2 (23:30):
Who knows? So this and as you know, this was done.

Speaker 1 (23:33):
What was this two thousand and two thousand and one, Yes,
two thousand, two thousand and you were brilliant, Yeah you do.
You look fantastic and you were brilliant in it. I mean,
just so much.

Speaker 6 (23:43):
Brilliant, Susie, thank you.

Speaker 2 (23:45):
It was just I just so having not seen it
in all these years and.

Speaker 3 (23:49):
Watched it, I laughed at it. Then I laugh at
your performance. Now, what do you the pure joy on
your face and horrible things is hilarious.

Speaker 2 (24:00):
What do you remember? What are your memories of it?

Speaker 6 (24:03):
Well, first of all, the idea that you had to
audition for curb was interesting, and I thought I was
auditioning for the part that Cynthia Saghetti eventually did, so
I was whichmart was that she was the moderator of
the Incessant Survivor group. So I was all ready to
do that and then they said, no, we want you
to be a survivor. So I said, let me go

(24:25):
out of the room and think about that. So I
was thinking about a meeting that I had stumbled into
in Japan, and it was actually an alan on meeting.
But the sharing was so horrifying. So was it in Japanese? No,
these were English speaking people. Okay, some girl talking about
a repressed memory about her parents being in a sex cult.

(24:47):
Just I mean, anyway, oh my, it was horrifying. So
that's kind of what I was armed with, even though
I didn't talk about that, and I went in and
it worked out great. So fun to just have who
your character is and what's going on. It's just so
fun to improvise with that. Yeah, we know, yes exactly.

(25:11):
So I also remember that we actually shot it at
the Hollywood Roosevelt Hotel, which was pretty fun. And I
do remember at the end when they were trying to
do the setup for me and Alan what is his
last name.

Speaker 2 (25:25):
Though, the uncle who played the uncle?

Speaker 6 (25:28):
Yeah, setup.

Speaker 2 (25:32):
He's a brilliant character. I mentioned it before.

Speaker 3 (25:35):
Yeah, we mentioned, but he's really in every seventies high
falutint movie, like the great movies of the seventies, that
dude plays a part. Yeah, yeah, yeah, he was kind
of cool to be around. He was not as cool
as you. Why I wasn't you know? I was in
awe of you back then, because what no, hold on,
hold on, hold on. You have to understand. When SNL

(25:58):
came on the air, I believe seventy five, Yes, was
this it? Okay? I was twelve thirteen years old, watching
in a rented apartment in Florida. We had just moved
from Chicago to Florida. My parents went out. I'm obviously
old enough to watch my brother. He's asleep, And I
remember so clearly watching it on a small TV in
our kitchen and thinking to myself, oh my god.

Speaker 1 (26:22):
This the only thing that was like that before.

Speaker 3 (26:25):
No, but not only that, the only other thing that
I was influenced by. Around the same time, there were
two other things, Python and SCTV, So this was like
way more accessible than those, not commercial in any way.
I mean now it would be a performance art what
they were doing. People would be very confused by it.

(26:48):
It's so sad now, but I remember watching it just like, wow, wow,
and I remembered everything you did so when I got
a chance to work with you, and you were a
a big ball of a doll and so fucking great
forget this and didn't disappoint you exceeded and I already
thought high level for you. I even when we were

(27:10):
shooting it, I had to control myself from.

Speaker 2 (27:12):
Laughing, well, you're kidding.

Speaker 6 (27:13):
Well, you were so supportive and so sweet, and you know,
I didn't know anybody, you know, so you.

Speaker 2 (27:21):
Didn't know Larry.

Speaker 6 (27:21):
I did not know Larry, and I never expected him
to be so lovely and kind and.

Speaker 2 (27:27):
People are always surprised by that.

Speaker 6 (27:29):
Yeah, and such a good audience. You know. It was
just a completely supportive set and I so appreciated that.
And the improvising was so easy.

Speaker 3 (27:39):
Yeah, when you do it, it doesn't look like you're
putting any work to it. And the way I'm telling you,
you played every horrible thing you were saying with a
slight grin, which made it insane, especially first off, I
told you, but I told you a million times. Then.

(28:02):
I don't know if I fed this word to you.
I don't remember if I did it or not. Ambrosia.
It's very up my alley to find a word interesting.
But whether I did or it didn't doesn't matter. You
took that for such a ride. And when you said
it in that scene, oh my god. And then in
a later scene to say that your your uncle's invited

(28:23):
you in and you're talking about the ambrosia as they're
abusing you.

Speaker 2 (28:27):
Yeah, oh my god.

Speaker 1 (28:34):
Yeah, but you walked it because you were completely in character.
And I mean, I think if you know how to improvise,
curb is so easy to do because the story is
so set up, so it's it's If you're an improviser,
it's just it's just a thing of joy. If you're
not an improviser, it's hard.

Speaker 6 (28:55):
Well, I must say, everybody he's had on has been fantastic,
you know.

Speaker 2 (28:59):
I think around them. Laurien, What was your improv background?

Speaker 3 (29:04):
Well?

Speaker 6 (29:04):
I started taking improv when I was sixteen, and so
I did it in high school as well. I was
this was an outside class, and then I was in
Paris I studied mime with Marcel mar.

Speaker 2 (29:16):
So, oh really, it's not going to be let go,
Hold am I going to do with that? Yeah?

Speaker 3 (29:22):
Yeah, take a step back. Hold on a second. I
don't let things pass. You went to Paris and studied
mine with Marcel Marcel Marcel Marcel Marcel, Marcel Marceaux. The
only people that we know is Mime's outside of him
are Shields and Yarnell. They don't count. He was the

(29:42):
only guy that you'd watch in awe. How was he
doing that? It was a thing of beauty. It was
like a dance almost.

Speaker 6 (29:49):
Well, that's how I responded. I saw him when I
was sixteen at Royce Hall and I went, I don't
know what gave me the balls to do this, but
I went backstage and asked him if he could recommend
a teacher in LA and that's the teacher I went to,
not knowing that aside from teaching mime, they were also
teaching improvisation. Okay, so that's when I started. And then

(30:12):
when I came back to LA, I saw people like
Shields and Yarnell and Mime had become cute.

Speaker 2 (30:19):
Yeah, yeah, I don't.

Speaker 6 (30:20):
I don't like that.

Speaker 3 (30:22):
It was one of the one of the two worst
things in comedy, cute and clever. They're the death of comedy.

Speaker 1 (30:31):
So so then you went to Paris, you studied there,
and then and I came back and I just was
point aimless.

Speaker 6 (30:38):
A friend of mine asked me to be his audition
partner for cal Arts, so I did that, and then
they offered me a spot there in the theater school.

Speaker 3 (30:47):
So a quick question here, because I interrupt because I'm curious,
so I don't interrupt to be clever or cute. So
you go, You're at kell Arts auditioning for your friend
very fame like the movie that happened in a big way.
Did he get.

Speaker 2 (31:02):
It or she?

Speaker 6 (31:03):
I don't remember. I don't remember. I don't think he did.

Speaker 2 (31:08):
That is hilarious. So then you're at cal Arts.

Speaker 6 (31:11):
Yeah, And so I joined the improv group there, and
I met this guy from Florida with hair this long,
but in gringlets and it.

Speaker 2 (31:20):
Was Paul Rubens and oh my god.

Speaker 6 (31:23):
Yeah. But they also had the theater department. And I
was realizing, as I was taking you know that class, that.

Speaker 2 (31:29):
It's just not for me.

Speaker 6 (31:32):
Yeah, I don't really belong in this kind of thing.
And I was complaining to my sister, Tracy, Tracy Newman,
the great Tracy Newman, and she said, well, I'm in
this improv workshop. Why don't you come and do that?
So I left cal Arts, and I joined this workshop
which was being taught by a guy named Gary Austen.
And here's some of the people that were in this company,

(31:53):
Pat Marita Jack, Sue, Tim Matheson, and Valerie Curtin. These
were the well known people in the group.

Speaker 2 (32:01):
Wow Wow.

Speaker 6 (32:02):
And then eventually, you know, we'd have scene nights and
we'd put on shows, and eventually we thought, hey, let's
form a company, and that's how we became the Groundlings.

Speaker 3 (32:11):
Oh you're kidding me, So that was the start of
the Groundlings.

Speaker 2 (32:14):
Yeah.

Speaker 1 (32:15):
I had a similar experience, Lorraine, that I was acting
because I didn't know what else to do until I
took an improv class and it was like, Oh, that's
what I was meant to do, not this acting shit.

Speaker 2 (32:25):
That's so boring. Same thing.

Speaker 6 (32:27):
Although you were great on Hacks.

Speaker 2 (32:29):
Thank you.

Speaker 1 (32:29):
With your daughter, the delightful Paula. I always call her
Paula because I grew up with a girl named Paula Einpinzer.
Oh no kidding, yes, And the word Paula it's like
in my unconscious it always comes out okay. But I
have to say she has grown in this second season.
I thought she was magnificent.

Speaker 6 (32:50):
Thank you. So much. Thank you, Wadely see season three.

Speaker 2 (32:54):
Yeah.

Speaker 3 (32:54):
Is she having a good time doing it?

Speaker 6 (32:56):
Yeah?

Speaker 3 (32:57):
Wow, that's great.

Speaker 1 (32:59):
And she's a all to work with. I really enjoyed
her company. You know, there's so much downtime, you better
like who you're hanging out with. It, you know, a
craft service.

Speaker 3 (33:07):
So so let me get this straight. You and Jane
Curtin started. We're in a group that started the Groundlings.

Speaker 6 (33:12):
No, Valerie Curtains Valerie Curtain.

Speaker 5 (33:17):
Is.

Speaker 3 (33:17):
Yeah, but I know who Valery Curtain is. Valerie Curtain
has been very funny in a lot of movies learned.
So how did SNL discover you?

Speaker 6 (33:25):
Well, Laurene Michaels was producing a Lily Tomlin special, so
he and Lily came to see our show and they
hired me from that. So I actually had worked with
Lauren before SNL and that was a great experience and
Lily was magnificent.

Speaker 3 (33:40):
Yeah, she's I.

Speaker 6 (33:40):
Met some people that were eventually writers on SNL.

Speaker 3 (33:44):
Wow, so that's wonderful. Was your experience on SNL as
joyful as the one on Curb your Enthusiasm?

Speaker 6 (33:52):
No, it wasn't, Jeff, and I think you knew that
was the answer.

Speaker 2 (33:55):
Yeah, but you know, no I did, but I didn't,
you know what I'm saying.

Speaker 6 (33:59):
Yeah, Well, in retrospect, here's a really important good thing
about that show is that there were no clicks and
nobody ganged up on anybody, which can often happen in
theater groups. But because we come from a cooperative art form,
which is improv everybody liked each.

Speaker 2 (34:17):
Other, you know.

Speaker 6 (34:19):
So while I may have suffered tremendous jealousy with people
getting more airtime, I didn't resent them, you know.

Speaker 1 (34:26):
You, and I resented the powers that be that were
giving them the airtime.

Speaker 6 (34:31):
Well, it's there were so many factors, you know. I mean,
some people just you know, are more appealing to the audience.
What are you going to do?

Speaker 3 (34:38):
Just take a step hold on, let's take a step
back on that. I don't remember any moments where I
rolled my eyes when you were on screen. I beamed
when you were on screen.

Speaker 6 (34:47):
Oh I'm not suggesting that.

Speaker 2 (34:49):
No, no, no, but I know you're not.

Speaker 3 (34:51):
But I'm also saying that I never thought to myself,
oh there's not enough of the rain. I didn't think
that about anybody. I would notice if it was criminal,
you know what I mean, Like what the fuck are
they doing? But to me, I was so happy when
I saw you and everything you did was gold.

Speaker 2 (35:06):
Oh thank you, Lorien. How many seasons were you on?

Speaker 6 (35:09):
Well, the original cast with the exception of Danny and
John and Chevy were on for five years.

Speaker 2 (35:15):
Uh huh. That was a good run.

Speaker 3 (35:17):
And bel Murray came on season two.

Speaker 6 (35:19):
That's right. Yeah.

Speaker 1 (35:21):
And to be on an iconic show like that is
you know, I mean it was it was culture changing.

Speaker 3 (35:28):
I know.

Speaker 6 (35:29):
Well also just you know, seeing what's going on with
the Groundlings too, and how they pretty much became the
farm team for SNL. You know, at the time when
I was doing the show, nobody had heard of it,
and Danny and John would tease me all the time
and say, hey, what's the group you're in? The Groundhogs.

Speaker 2 (35:46):
No.

Speaker 6 (35:48):
So I'm so glad that they've really prevailed and are
going strong.

Speaker 1 (35:53):
And a lot of Groundlings come on Current because they're
improvers and a lot I mean Cheryl was a ground Link.

Speaker 3 (36:01):
Yeah, she taught at the Groundlings too. Yeah, but I
didn't know we would take people from the Groundlings who
nobody had ever seen before or heard of. Yeah, that,
by the way, you know, what's Really funny is people
now when I tell them how revolutionary the original Sarah
Night Live is. When I say it's the younger people,
they say, you're just saying that because you're old. No,
I'm saying it because it's a fact. Is there a

(36:23):
better jazz musician than Miles Davis or John Coltrane. Now
they came out in the fifties, you know, so don't
tell me. It's an old person's game to say that. Oh,
it's a fact.

Speaker 2 (36:33):
You know.

Speaker 1 (36:34):
The old people would say that to us about your
show of shows. But they were right. It was revolutionary
when it came out, you know.

Speaker 6 (36:40):
Well, but you know, they've always had great writers and
great casts. So from what I've observed and what I
believe to be true, is that the best cast was
the cast that was on when you were twelve or
thirteen in your formative years.

Speaker 2 (36:53):
Because I just told you.

Speaker 3 (36:54):
That in twelve thirteen. Yeh, by the way, no exaggeration.
At Summer Camp, we'd put on a show and all
we did was re enact Sara live scenes for the
whole show. I put the show together and we did
everything from weekend up date to you know, all the
stuff which I used to love when what's his name?

Speaker 2 (37:16):
Uh?

Speaker 3 (37:17):
He wrote the graduate Buck Henry, that scene with you
as his niece or the.

Speaker 2 (37:24):
Baby boy Uncle Roy.

Speaker 3 (37:27):
Oh my god, I tell you what, it's just so
so funny. And then of course you did the cone Heads.
I mean, you did a bunch of stuff there. So
I'm just telling you you've brought me a lot of joy.

Speaker 1 (37:40):
And thank you. And you brought us a lot of
joy on Curb also the Ring. Then go watch it again.
You'll be delighted.

Speaker 3 (37:47):
And by the way, I have a bonus question that
is really from left field. Did you date Andrew Gold?

Speaker 2 (37:53):
Yes?

Speaker 3 (37:53):
I did, and I was a huge Andrew Gold was
the keyboard player I believe for Linda Ronstadt. That's true
with the guys from the Eagles. But he had this
beautiful solo career. He was kind of like Nielsen, uh huh.

Speaker 6 (38:07):
And he wrote thank you for being a friend.

Speaker 2 (38:10):
Yeah, but what was the song you wrote for you?

Speaker 6 (38:14):
Never let her slip away?

Speaker 3 (38:15):
Never let her slip away? And I didn't know that
for a fact that I never asked you when you
did the show. But I was like, I wonder if
that's true. All right, there you go. And he passed
away way too young.

Speaker 1 (38:26):
Thank you so much for being with us.

Speaker 6 (38:30):
No no, I was just going to say, if you're
interested in the other musicians I dated, you can listen
to my memoir on older Okay it I will live
in interesting times as you did. It's the history of
like the beginning of the Comedy Store and the beginning
of the Groundlings and all the things.

Speaker 3 (38:52):
That you were involved in were one of the big
reasons I went. I was always into comedy, and I
love comedy with a passion. But it's one of the
reasons that I took seriously my journey to becoming today.
Where we don't live in interesting times.

Speaker 2 (39:09):
Well I don't. I disagree with that. We live an
overwhelming time.

Speaker 1 (39:12):
I think we I think a pretty much most times
are interesting. It's your perspective on it.

Speaker 2 (39:17):
Well my perspective is this is overwhelming and I don't
like it. Okay, all right, I disagree.

Speaker 6 (39:21):
Thanks you guys, Thanks for having.

Speaker 2 (39:22):
Me, Bye bye, Thank you so much. We'll be right back.
Stay tuned. Okay, we're back.

Speaker 3 (39:39):
Lorain Newman was on the original Saturday Night Live. That's right,
and she was fantastic and I couldn't believe that I was.
I don't remember if we were acquaintances before this, but
I'm working with the Rain Newman, which for me was
like an explosion in my brain of like, oh my god,
you're working with the Rain Newman. So the the whole

(40:00):
time that although I'm not in a scene with.

Speaker 2 (40:02):
Her, you were a scene however, for whatever.

Speaker 3 (40:05):
Reason, which thrilled me, she came to me for thoughts
and advice after every take and now going and her monologue,
and by the way, let me also point out she's
sitting yoga style, Indian style, whatever you want to call it,
with her legs over her legs in the chair, which
is a nuance, but a beautiful nuance that when.

Speaker 2 (40:25):
She goes off on her monologue.

Speaker 3 (40:27):
It makes total sense.

Speaker 2 (40:29):
All right.

Speaker 3 (40:29):
That's the background.

Speaker 1 (40:30):
And her monologue was just completely improvised, I'm sure, and
absolutely his hilarious her and it was on and on.

Speaker 6 (40:38):
My first perpetrator was my grandfather. It was a very dashing,
handsome man. He looked like Tyrone Power.

Speaker 5 (40:48):
He would come.

Speaker 6 (40:49):
Into my room wearing a mask and we would play
Zoro and Consuelo and he would make a z on
my tummy with a feather and then later.

Speaker 5 (41:00):
With his sword.

Speaker 6 (41:04):
The next incident was at a family reunion up at
our house in Kassaic. They had laid out platters of
great food, one of which was my favorite dish, ambrosia,
you know that fruit salad with the marshmallows and the
coconut and the cherries. And my uncle Pete on my

(41:24):
father's side, and my uncle Ned on my mother's side,
approached me and told me that they could help me
with the recipe and teach me how to make it.
So they took me into the house, into a back
bedroom and became overly a bunkilar.

Speaker 1 (41:41):
Their grandfather Fuctor, and they used to make her play
Zoro and Cosuello, and then her uncle Pete and her uncle.

Speaker 3 (41:49):
The way she's telling it is was such innocence, and
looking back on it, what was funny about it was
she looked at it with a kind of yeah, those
were the days, kind of added to like it didn't
bother her. She liked Zorro, and she mentioned after he
did the feather, he used his sword, which is an
implication that let me see a reaction Shoto of Larry

(42:10):
of what the first I.

Speaker 2 (42:11):
Don't agree with you. I don't think she liked it.
I think she was no, she's at the meeting.

Speaker 3 (42:15):
But I'm telling you the way she recants it, it
never cants it. The way she shares it. She's warm
about it, which I found striking. She's not fuck my
grandfather fucked this. Can you believe they did this to me?
She's like.

Speaker 2 (42:29):
And then he came in the room.

Speaker 3 (42:30):
And everything is very quiet and thoughtful to where you
thought she was talking about all boyfriends. I'm not talking
about whether she really felt that way.

Speaker 1 (42:39):
And then she goes through the litany, and then she
comes to the stepbrother, and she turns to the leader
and she says, does step count right? And the leader says, yes, yes,
the step does count. So we have that call.

Speaker 3 (42:51):
And also she what's her name, the actress with Larry
not her, but the character turns to Larry and says.

Speaker 2 (42:58):
See, yes.

Speaker 3 (42:59):
There's one thing that it was in her monologue that
I laughed the whole in video village, which is where
we watched the takes with all the monitors, I was
laughing hysterically from her. But she said one thing that
really struck me. She mentioned at the top the first
time she did the monologue that Ambrosia, which is a
funny word that you never heard anyone using, which is

(43:21):
pretty much a fruit salad with marshmallows. And she's saying
the ambrosia the fact that that's part of her memory
and the part of her and it's important. So I
say to her when I go, please say ambrosia. You know,
I get stuck on words. Keep saying ambrosia. Keep saying
ambrosia as much as you can. And then when it
comes to the uncles coming to the house, that's the

(43:42):
way they get her in the back.

Speaker 2 (43:43):
Room to work with her.

Speaker 3 (43:45):
And she says they're going to help her with her
ambrosia recipe. And then she adds, so we went back
to the back bedroom. This is why I'm saying she's son.

Speaker 1 (43:55):
And they were avuncular and bickering, which is now Lorraine.
Let me say about Lorraine. Lorraine was one of the
founders of the ground Links.

Speaker 2 (44:05):
Right, so.

Speaker 3 (44:07):
Just like the la version of Second City.

Speaker 1 (44:09):
Of Second City. So she's an extremely experienced improviser. But
if you just watch that monologue and the detail that
she uses in the monologue is it shows the brilliance
of her Improphositiontorial.

Speaker 3 (44:23):
I look at that monologue and I go, that's the standard.
That's what every improviser when they do a monologue should
look to, because it doesn't. I can't imagine doing a
better improvised monologue than that. It's so specific and so
but what she's describing is pure insanity. Ambrosia's salad uncle.

(44:43):
They didn't get along, but they were getting along there
and then arguing who's going to be lookout? But she
didn't say this at all negatively, so I'm not saying
she didn't feel that way, but it was insane.

Speaker 1 (44:54):
And then after Wendy does her monologue, we go to Trudy,
who's also hilarious.

Speaker 2 (44:58):
Who you know what she does there, you're not there's
very funny.

Speaker 1 (45:03):
And then they come to Larry and Larry says his
name is Todd.

Speaker 3 (45:09):
Wait wait. The setup for this though, is yes, everything
that's occurred before, but in that moment when they come
to him and ask him to share, there's a good
twenty seconds of him in terror. What am I going
to talk about? So when he opens up with I'm
Larry and I'm incest survivor.

Speaker 2 (45:30):
That Todd toddry Todd.

Speaker 3 (45:33):
And by the way, the choice of Todd is so
fucking funny. I'm Todd and I'm an incest survivor. That
becomes hysterical beyond belief because he set it up. Then
he added the name Todd, and it's all there to
laugh at. And then his story.

Speaker 4 (45:48):
My name is Todd and I'm an incest survivor. Hello,
sex with my uncle when I was twelve. He lived
in Great Neck. He was a doctor osteopath.

Speaker 5 (46:13):
I don't even know what.

Speaker 3 (46:13):
They do, but I know their doctor.

Speaker 2 (46:18):
Something to do with muscles.

Speaker 3 (46:19):
Side.

Speaker 5 (46:19):
That's not that you know that.

Speaker 1 (46:23):
And then later on he's in bed with Cheryl and
Cheryl asks him, how come you broke up with her
about Lucy, And of course that becomes a whole thing
that that Cheryl doesn't Larry says he broke up with her,
and Cheryl doesn't believe it for one iota that he
broke up with her and that she didn't break up
with him. They're in bed and Cheryl starts reading a
sexy erotic part from the Vagina Monologue that she's reading it,

(46:47):
and so then Larry gets a little turned on and
he starts initiating, but she doesn't want to.

Speaker 3 (46:54):
She's scrap I don't know if that is that part
of the real monologue or did.

Speaker 1 (46:58):
Larry make that was the exit? That wasn't exact monologue
that was exactly that's like.

Speaker 3 (47:03):
A Penthouse Forum type thing.

Speaker 1 (47:06):
Well it was actually not in the context because actually
a young girl and it was a lesbian thing.

Speaker 2 (47:11):
So well that's Penthouse Forum, isn't it?

Speaker 3 (47:15):
The theater get enough lesbian things?

Speaker 1 (47:18):
Yeah, so Larry starts initiating forget about it. Then she
needs a ride to go meet with the director, so
Larry gives her a ride. Again, no uber, you know,
it's a completely different world. And they're they're sitting in
the office for the director. Larry's carrying on about a
world without pillows, you know, just some silly, ridiculous thing, which.

Speaker 3 (47:38):
By the way, I watched that and I thought, as
much as the absurdism I do, and how often do
I ask questions?

Speaker 2 (47:44):
Why leave?

Speaker 3 (47:45):
You know? And I know not why I leave that? In?
Who the fuck thinks of that? That's all It's kind
of been cut, But I also liked it.

Speaker 1 (47:53):
Yeah, And then the director enters and lo and behold
who is the director but Wendy the incess serve iver
played by Lorraine Newman, And she looks at Larry and
she says.

Speaker 6 (48:04):
I saw you in a production of Company. Oh my god,
your station. Thank you, Todd.

Speaker 5 (48:13):
What are you doing here? It's Larry.

Speaker 2 (48:20):
Wait, you guys know each other.

Speaker 6 (48:23):
Oh well, we can't talk about it.

Speaker 2 (48:26):
Todd, which makes it all See.

Speaker 3 (48:32):
Everything after that is icing on the cake, because literally,
if we wanted to, we could have cut with her
saying Toddy.

Speaker 2 (48:40):
Yeah, but that was great. Now I have the teasing
reading dog fancy. Now I have dog fancy, So I
don't know what I wrote do fancy too.

Speaker 3 (48:48):
But that's also Loraine Newman saying we met at a
news stand and he laughed at me.

Speaker 2 (48:53):
That's right, that's what it is.

Speaker 3 (48:54):
For reading dog fancy. And then uh, there was some
reference to why he called her Todd. Oh, I said
his name was She said that, he said that was
his name. And then Cheryl obviously is very concerned.

Speaker 1 (49:07):
And this is when Cheryl gets confrontational. Finally gets confrontational
and she storms out, and I don't know.

Speaker 3 (49:14):
There skipping, you're skipping hold on. Larry David says, sometimes
he gets sick of his name, so he goes to
Todd and then he goes I use other names like
Thor and Toby Gee. I wonder who told him to
use Thor and Toby. Those are from my thing. But
whenever I see that now in the earlier stuff, it's like, oh,

(49:36):
of course he's saying, I had to have told him
used Thor and Toby, which whenever he does, brings great joy.
But also when they leave the office she storms out.
Lorraine Newman says to him, you can't tell anyone about this,
you know.

Speaker 2 (49:50):
You can't tell anyone.

Speaker 3 (49:51):
And then we cut took.

Speaker 2 (49:54):
To Larry telling her everything.

Speaker 1 (49:55):
She fucked, the uncle, then the grandfather fox her, then
the step of the te.

Speaker 2 (50:00):
Just spilling Larry everything.

Speaker 3 (50:02):
I remember trying to get Larry to say the word
ambrosia in his recap, just saying, yeah, he didn't want
to know.

Speaker 2 (50:09):
He's like, it was nothing. I would never betray you.

Speaker 1 (50:12):
And I understand why Cheryl's nonplussed and feels threatened in
this way, and what the hell is going on is
using a false name and the ex girlfriend, Yes, there's
a lot going on there, and as.

Speaker 3 (50:23):
Should be, is very understanding, and she calls it.

Speaker 1 (50:27):
She calls Wendy and and oh and Cheryl. But the
thing that we forgot was that Cheryl quit. When Cheryl
storms out, She quits.

Speaker 3 (50:36):
Says, I can't do the show because clearly Larry. She's
thinking Larry's of the Tharios two women.

Speaker 2 (50:43):
That's right, Yes, that's right.

Speaker 1 (50:44):
And when Cheryl calls Wendy, she says, well, he told
me it was all about Gambler's anonymous and that he
has a gambling problem, nothing about incest, et cetera. But
apparently the part has already been recast that quickly with
Lucy Montone, courtesy of Jeff, his manager, right, And then
we cut to Jeff in the hotel room with something

(51:07):
working this Scotch hold on.

Speaker 3 (51:08):
I had some written down that and maybe I don't
know when this was, but somebody was asking Lorraine what
she did before or something about that, and she said
she appeared on the New Dark Shadows and Rock.

Speaker 2 (51:22):
Cop, which I don't remember that.

Speaker 3 (51:24):
Yeah, why of course, and I did not. I'm sure
I gave well, now I don't know that I gave
her New dark Shadows, as I often mentioned dark Shadows,
but rock Cop I know I didn't say to her.
So New Dark Shadows and Rock Cop is fucking hysterical
to be on her resume. And I don't know where
that came up. I forgot, but I wrote it down.

Speaker 1 (51:44):
So you're in a hotel room with Lucy. You pour
the scotch and you say, here's to the vagina.

Speaker 2 (51:49):
So you got Lucy.

Speaker 3 (51:50):
She says give monologues and then they say, here's to
the vagina.

Speaker 1 (51:54):
And I clearly once you knew that that Cheryl quit,
then you you immediately called Lucy because you knew that
was your in to many things and gave her guy.

Speaker 3 (52:05):
By the way, give not know that she was an
incest survivor.

Speaker 2 (52:09):
No, no, no, you didn't know that. You didn't know that.

Speaker 3 (52:11):
Yeah. Also, here's the bit of trivia. As far as
I know, this is because I remember it being strange
when I did it. This is the first scene that
we filmed that Larry David wasn't in. Can you think
of one earlier that I missed, because, as I believe,
because I remember feeling strange that he wasn't in this one,
it stood out to me and I didn't remember that
from many past seasons. So this could very well be

(52:33):
the first time Larry David's not on camera, which now
happens a lot more often that it did then it did.

Speaker 1 (52:40):
Then he was in every which is exhausted still in
a lot, but there are scenes where he's not well.

Speaker 3 (52:44):
This one stood out because it was the last episode
of the season before it happened, where it was a
scene that he wasn't in.

Speaker 1 (52:51):
Okay, Then we cut back to their house and Uncle
Nathan arrives. Who is Alan Arbis, who formally married to
Diana or Arbis.

Speaker 3 (53:00):
Yes the time, and also Allan Arbis was in so
many of my favorite nineteen seventies films.

Speaker 2 (53:07):
Yeah, he was a working character actor, worked on all the.

Speaker 7 (53:09):
Working character but in great movies. Yeah, in great movies,
always great. But was married to Diane Arbis. I actually
looked that up and I didn't know that. And he describes, oh,
I just saw a car. Her name originally was Diane
schwartz Is that married.

Speaker 1 (53:25):
Diane Arbis has a better ring to it. But anyway,
so Uncle Nathan enters, and of course we knew from
way back in the first scene Uncle Nathan was coming,
and now here in the very end he finally shows
up and he describes, Oh, I'm sorry, I'm late. I
just saw a car accident. A jazzy woman and a
big fat guy in a fifty seven Chevy and they
were drunk, and previously we had seen Jeff and Lucy

(53:48):
drinking the blue label.

Speaker 3 (53:50):
Sund By the way, what Allen arbis, do you say
to describe me extremely fat?

Speaker 1 (53:55):
Yes, he says, A big fat guy in a fifty
seven Chevy.

Speaker 3 (53:59):
Right, that's three times this episode.

Speaker 2 (54:02):
So now we know.

Speaker 1 (54:03):
And I wasn't even in it, Jeff and I wasn't
even in it, And so now we figure out obviously
that was Jeff and Lucy that got in a car accident.
Lucy can no longer do the vagina monologus. Cut to backstage.
There's Cheryl alpha pitste which is a Yiddish term meaning
all made up and getting ready to go on stage.

Speaker 6 (54:22):
Cheryl is now doing the.

Speaker 1 (54:23):
Vagina monologues and Larry is backstage with Uncle Nathan, and
the director comes in and Larry introduces Uncle Nathan to
Wendy and says, this is my uncle, and Wendy says,
the osteopath, And of course we know from the incest
he had said that he was molested by his uncle,
the osteopath, and Wendy goes crazy, and that's the end.

Speaker 3 (54:48):
And by the way, this is the first time that
Laray Newman's character loses her shit. Yeah, because in the
meeting she's all all calm and but it shows you
that how the deep the out rages yea and so.
And by the way, Alan, I could it be better
cast than Alan Arbis because when he's walking out, he's
still confused and smiling. He doesn't know what's going on.

(55:11):
And then the last line of the episode is I'll
meet you in the parking lot after the play.

Speaker 1 (55:16):
Yeah, yeah, and then it's over. I think it's a
great episode. It's a very compact.

Speaker 3 (55:22):
I think it's fantastic episode. There's a consistency, Like I
think the last two episodes were the best of the season. Yes,
I know Beloved Aunt is popular and should be and
funny because that premise you cannot ignore.

Speaker 2 (55:37):
Yeah, and then.

Speaker 3 (55:38):
Obviously the Glasses and the Wayne Fetterman episode. Why yes,
I think those are both great and I think that
they're pointing to the future. But these two are the future.
We've reached the future at episode nine and ten, not
the end of the future. We always developed or became.

(55:59):
Our show came something else from what it was, and
I'll explain that later. It's now a totally different it's totally.

Speaker 1 (56:08):
So interesting, you know, since this is episode ten and
we could wrap up this season season one. I mean,
I really think you saw the development of what this
show was going to be and how it became that
you saw the end, which.

Speaker 3 (56:20):
Is very interesting when you can look back on it,
like I watch I just got done watching the first
season of the Andy Griffiths Show, and you see as
it goes along what it becomes. It became what it
became very quickly, basically because of Don Knots. And now
I'm currently watching the marytider Moore Show and it's fascinating

(56:40):
to watch that developed from where it was and the characters.
By the way, when you do something in a show
that's proven later on not to work, I think every
show and we've done that, like with you being being
pregnant and all that stuff, or the restaurant the next season,
there's no much of it that you just drop it. Yeah,

(57:01):
and shows him be doing That's one thing I'll say,
long before us, it shows him been doing that forever,
you know, even looking at the Seinfeldt pilot whatever, you
know that you'd make the changes and yeah.

Speaker 1 (57:14):
So for you, Curb Officionados, I hope this season one
has been an interesting look back to how future seasons developed,
and we'll see you next time, right.

Speaker 3 (57:25):
Jeff, Who doesn't love a good look back? Young people
love it especially and older people. Actually people look back then.
Young people do not look back. But I always say
who and the young people. That's one of my stupid
things that I annoy Susie with that I annoy Larry
with blankety blank young people.

Speaker 2 (57:46):
Goodbye, everybody.

Speaker 1 (57:47):
We'll see it for season two very soon, well right away.

Speaker 3 (57:50):
The next episode will be season two. There's no break,
so we'll see you then. Boy, I have to say,
our endings are pretty lame. Now leave it on, don't
stop recordings, dings. They don't have to be grand or hysterical,
but they're are, all right.

Speaker 2 (58:07):
No, endings are very hard, and a script is the
hardest thing.

Speaker 3 (58:11):
Okay, but I think we need more of a Hey, No,
we got the music coming on.

Speaker 2 (58:19):
Now, are you right?

Speaker 3 (58:20):
I'm going to Clippers tonight. I'm taking Duke. It's very exciting.

Speaker 1 (58:24):
All right.

Speaker 3 (58:25):
We will see you very shortly to begin season two.

Speaker 2 (58:31):
The history of Carver Enthusiasm is the production of iHeart Radio.
For more podcasts from iHeart Radio, visit

Speaker 1 (58:37):
The iHeart Radio app Apple Podcasts or wherever you listen
to your favorite shows.