The godmother of UnCabaret reflects on 30-plus years in alternative comedy
Beth Lapides has a new book out, but it’s exclusively an audiobook, so you have to decide if you want to hear “So You Have to Decide”! Get it? I know. I’m sorry. Get it, please! Her book, I mean.
This snippet from Bob Odenkirk in particular is quite illuminating, in which he talks about his early years as a writer at Saturday Night Live, where he could have remained largely successful yet also fairly unknown.
Odenkirk’s decision to leave, of course, led him to Los Angeles, to UnCabaret, and ultimately to his partnership with David Cross and Mr. Show on HBO and everything you now know and love about him!
You can find the links to listen to my talk with Lapides here:
But since Thursday Transcripts is all about the fundamental FUN of reading, let’s get to the transcript!
Sean L. McCarthy: Congrats on your audiobook! Last things first, is there any truth to the rumor — that I am just now starting — that the people who wrote Sex & The City / And Just Like That… started referring to stand-up comedy shows as “comedy concerts” because of UnCabaret?
Beth Lapides: Oh my god! Start that rumor! I love that rumor. That’s hilarious. I mean, maybe? Michael Patrick King (the show’s writer/director) was an UnCabber. I mean he still is — he did UnCab on Zoom a couple of months ago. They would all hang out at UnCab. And a lot of them, you know I used to produce a night that was called “Say the Word” and it was TV writers writing just the stories from their own lives, and all the Sex & The City writers did it, so maybe.
But enough about that show.
I mean, I love that you were sort of on the forefront of trying to treat comedy like an art form. And in some ways, why not call comedy concerts concerts? Why don’t we? We don’t, but maybe we should.
Certainly some comedians once they get to arenas, act like rock stars.
It is a concert. I mean, I love the word concert. I mean, it’s sort of you know, con is with, and cert I don’t comes from a not word but like, certainly. To be certainly with somebody…
Certified, certifiable.
So to be sort of with people in that way. I mean, I love the word concert. I love going to concerts and the word show? I like the word show, but maybe not as much as I mean, show is almost more limited than concert. Let’s do it.
Well, in that sense: What is Un about UnCabaret?
That’s an interesting question.
Well, as long as we’re talking linguistics…
As long as we’re going there. OK, what is un about it? The first thing that was un about it was, the way the name came to me was very in the moment, very unmediated because I was doing a show out of an offbeat downtown Los Angeles venue called the Women’s Building. And it was a show where the audience was, I don’t want to say too responsive but they were like definitely peeking the meter of how responsive they can be to the material where it was. You know, you appreciate that as an audience and then it makes you better because they’re so responsive and it’s a back and forth conversation, but at the end of the show, afterwards, you know, the meet-and-greet part I was like, was I quite as funny as you thought? I mean, when was the last time you laughed? And they said we don’t laugh. We’re women and we’re artists and we’re lesbians. When we go to comedy clubs, they just make fun of us. And just in the moment, I said I’m gonna get back from tour and make you a show. It’s going to be un-homophobic and un-xenophobic and un-misogynist. It will be UnCabaret. And I don’t know where UnCabaret came from. I wasn’t a cabaret girl. I was a downtown girl. I was art spaces and theaters. I don’t know if I’d even ever been to a cabaret.
Had you even seen the movie or the Broadway production?
I had seen the movie with my boyfriend and his boyfriend. It was an immersive experience. Anyway, so in some ways it’s a miscue and I’ve always wondered if like I should have changed the name. But sometimes I think you get an assignment, sort of, from the universe. And I feel like that’s what it was. It was a total download. The thing in about the un of it is, it sort of almost makes it feel unfriendly. And it’s definitely not unfriendly. It’s un hacky! But it’s not like an F.U. show and the Un maybe gives it a feeling of that. But of course I’m aware as I go through life anytime we see un words, you know, unpacking, unmitigated. There’s a lot of un-ness. So the UnCabaret is un-hacky. But the un is also a kind of un status quo. The status quo wasn’t OK, I was dissatisfied with that in the world. Anyway, I could talk forever about Un but that’s probably enough.
Well, one of one of the things that I enjoy about your audiobook, “So You Need to Decide,” is that in doing the book you realize that yes, there’s the decision to launch UnCabaret, but there’s actually a lifetime of smaller decisions that lead up to that. And then also when you’re interviewing comedians and performers, so many of them talk about not the decision to start something but the decision that they made before that to quit, the thing they already had, whether it was Bob Odenkirk, leaving Saturday Night Live or Dana Gould leaving The Simpsons. And those are both prime examples of people who have like prestigious entertainment, comedy jobs that you could have for the rest of your life. It gives you security gives you credibility. And the idea that you will leave that and then start something else is terrifying. And it reminded me also that, almost 400 episodes into my podcast, in the early days, one of the standard questions I would ask — a lot of my questions that were pinned to the words last or first — and one of the questions I always asked in the beginning was What was your last day job? And your book and that section the book reminded me that that decision is really the paramount thing for any comedian or creative person, because they have this stability of the day job. And then they have they reach this point where it’s like, Can I leave this behind to pursue my dreams?
Yeah, yes. Yeah. I mean, it’s the eternal question we all struggle with, whether we’re in show business or any business is the balance of trap-ness versus anxiety. I used to say like little ditties to myself, you’re just trap-dooring. Too much security, you’re trapped, too little security, you’re anxious. I mean, there’s a lot of different ways to work on anxiety and some boundaries create freedom, that’s a truth. That’s why people get married. That’s an idea in a yoga practice. There’s a lot of different ways you experience boundaries, giving you freedom. Too many boundaries, though, no freedom. Too little boundaries also no freedom because of the anxiety.
How does this apply to you especially with UnCabaret because you had to make you have to make a decision three, at least three different times. Right? There was the initial decision in the late 80s. Where you’re like, Well, I can perform at The Comedy Store. I can go on the road. I can do shows. I can be a working comedian, but that’s not what I’m supposed to do. And then years down the road you made a decision to stop doing UnCabaret. And then a few years after that you made the decision to start it back up so it’s a very roller coaster ride. So take me take me through it from the long climb. Before that first…
Before the first decision?
What was that like for you? And at what point did you realize that wasn’t cutting it? Just being a working comedian?
It wasn’t cutting it ever. I mean, I kept thinking it might start to cut it, but I never had the kind of, I never was able to have a very satisfying life in the comedy club circuit. I kept leaving and going back to doing one=person shows which I would also do in theaters and art spaces. I think in some ways I felt like the more I worked in clubs, the worse my work was getting. I don’t know if that was true, but I felt like it. You know, I just never felt like I could I wasn’t necessarily connecting with the audiences that were there. It wasn’t awful. I mean, I definitely was getting spots. I was getting gigs. I was meeting people I loved. I was really in love with comedy. Once I realized you could be onstage and doing your work or be doing your work and trying to make it funny, I was like, why would you do anything else? Why wouldn’t you? If you’re gifted with some amount of it. I never thought about quitting comedy. I just kept thinking how can I make it work better? And part of that was trying to meet the clubs where I was. Every now and then there’d be a great gig. There were enough great gigs that you kept going. There was enough discovery. I was so in love with the writing and performing. You know, I kept putting up with less than great situations.
How much of that was solely the difference between the New York comedy scene versus Los Angeles in the 1980s?
That’s a really good question. Some. I mean, I don’t think I understood how much everything in Los Angeles was a showcase. But at the time, New York was a little more process and doing the work for itself. And people were doing, you know, three sets a night, five nights, seven nights a week, you know, if you hadn’t been onstage for two days, how could you? It all had gone away. People would freak out. And in LA there was a lot of, you know, pilot season. Who’s in showcases. Everybody trying to get your sitcom deal and your holding deal and you’re tight 10 so you can get your late-night set. It was not good for me. I never been great at the tight 10. It’s just not for me.
You weren’t high on was Jim McCauley’s radar for Johnny Carson and The Tonight Show?
(She laughs loudly). Not that I know of. When I came to town, I had an agent tell me that I was too original. And I laughed, and I just thought that was the funniest thing and how is that even possible? It just seemed like a joke. And then I realized he wasn’t joking. Now I see what he, I understand what that means. I still don’t think it’s possible, but I do understand what it means. So I do understand what the problem was. So I was frustrated but still hooked. I was frustrated with the situation as it was, but so engaged by comedy and so wanting it to work, I just thought, there’s got to be a better way. So when I did that set that I talk about in the book. At The Comedy Store. I was in the Belly Room and Andrew Dice Clay was going on before me, and just everything in me was so allergic to him. And you know, his audience was buying it so hard. So then I’m hating him for doing the misogynist work. I’m hitting them for laughing at it, hating myself for being so reactive and hating, but didn’t have the spiritual tools to get out of the reactiveness and I’m not good with hate. I mean, you know, at another time, I mean, now either I would, you know, plug into the hate and try to channel it and go with it, or work you know, to transcend but I just got sort of frozen. I was younger. But I really knew at that point. I mean that night, it really was the night for me, just the sentence in my head was like there’s gotta be a better way. And I didn’t necessarily know at the time that would be to create a different kind of space, but it opened me to the answer.
Were there any theaters or any productions out there that gave you hope or that inspired you to go: Well, this could work?
Well, it wasn’t necessarily a theater, but I would see people’s work that I loved. I mean, I loved a lot of the comedy that was happening but it didn’t have a place to coalesce.
I know New York Magazine did this big thing about this bookshop, Big & Tall, but that started after you. (That magazine piece lists UnCabaret’s beginning as 1993)
You know, I wasn’t aware of it before me so I don’t know whether I can’t say for sure. But I think so because the Women’s Building was actually in the 80s, the late 80s. And then we did that for a while and we did a couple shows. They lost their funding. Then I moved the show to Highways and we did it there for a bunch.
Where was Highways?
Out in Santa Monica. Highways performance space. It was started by a friend of mine who in New York had created PS 122. I’d done a lot of work there and I’d done a lot of shows at Highways. It was a performance art space that was open to all sorts of things, and I had been doing my comedic one-person shows there and had an audience there. So I brought Taylor Negron and Judy Toll, and we did a couple of months of late-night shows there that were very I think of the Women’s Building as kind of the insemination. It really began there. But then I think of Highways as the gestation. A lot of what UnCab would be was formed in those shows. The confessional nature of it. Judy Toll was sublime at that she very connected and personal. Taylor’s sort of poeticness and his groundedness in LA culture. He also had a little bit of the (she makes a rim-shot noise), I don’t want to say hacky but he did have a part of him that was like how to tell a joke and still sort of funny about telling jokes.
Well, he was in the movie Punchline.
He was! But he was a great storyteller. I mean, really, really great storyteller. It just really happened there. Then I took a break to run my First Lady campaign. Once that was over, I was really looking for somewhere and that was when Jean-Pierre Boccara, whoe was an impresario of nightclubs in Los Angeles. A really important cultural creator. He was a really a person who saw performers and put them in his spaces. And it wasn’t finances. He was a more of a New Yorker, and he was French. You couldn’t just call to say I’ll pay so I’ll be in your space. He really curated that space and it had a feeling and so this was his third club that he was opening. He asked me if I wanted to do something and I said, Oh, yeah, I’m working on the show UnCabaret, it’s comedy, you know, blah, blah, blah. And he said will it be funny? I was like, no, Jean-Pierre, it’s not going to be funny. So we were booked there for three Sunday nights. Then I say we really were the Gilligan’s Island of comedy shows because we booked it for three nights and we stayed for seven years.
So you’ve already used the words insemination and gestation. And godmother has long been attached to either yourself to the show or to both. When did any sort of maternal instinct actually kick in for you? In terms of comedy, not of actually having kids but in terms of like, oh, I’m giving birth to something here?
I feel like at the beginning I was more like one of those girls in like, babies having babies, teenage moms on MTV? Because I don’t think that I was. I was so young! I was young and I was naive too. I was very naive. And I was really in some ways unprepared. So I do think though I was operating in a maternal way, it was not a mature maternal way.
It was a Teen Mom way. So when you made those initial bookings with Jean-Pierre for those three weeks, you weren’t thinking oh, this is going to be my baby that I need to nurture that I need to keep an eye on, that I need to grow and develop. It’s like, Oh, I’m just doing this show for a month.
I was just horny! I want to have sex. You know. I just want to do these shows. I would just want to do shows.
Doing shows is slightly orgasmic, like that feeling from the laughter from the crowd.
Yeah, I was just driven by the experience. I wasn’t calculating. Like, I wasn’t like thinking like how can I innovate and be going as an innovator? I just was hungry to make a space that would be a good space for people.
At what point did you start to realize that UnCabaret was having an impact on the comedy scene?
In those early Luna Park days, it became pretty clear pretty fast. Once we were there, and it seemed like we were gonna be able to stay you know, maybe after a month or so because you know, it didn’t happen like super fast. Because even so, you have to remember now, comedy is what it is and you know, partly because of you. And people who’ve taken this seriously, but at that point, you know, there was a lot of clubs where it was just tourists coming. So I would ask my friends you know, come to the show! They were like, I don’t know. I don’t want to see a stand-up show. It’s not that kind of stand-up show! Even within you know, friends who were screenwriters and in the film, TV business, you know, people were very resistant to coming to see a stand-up show because of what it was. But slowly but surely, people would come, and they go, oh! And then they’d bring their friends back. The audience was really part of it. And then what was happening is, you know, people on the show were bringing in people. So Janeane (Garofalo), I think brought Bob (Odenkirk) and Judy (Toll) brought Julia (Sweeney) and Kathy (Griffin) and we were all bringing in the people that we knew and liked to create this group. And once the group started to form. I’d say like the first season, like, I think of life, it’s you know, we really we think of days and months but I also always think of that three month chunk. And I think probably after the first season, it started to be clear, wait, this is something. There was an energy. There’s definitely an energy and it was definitely like this is a thing that’s really happening. I don’t know if I could say in comedy, but I knew in the room, this was really happening.
So then would it be season four or so that Comedy Central became interested?
Something like that. Yeah, so we were optioned pretty early on. I mean, there was a huge article in the LA Times. You can’t skip over that. And now there’s so many different, print isn’t what it was because there was this and there’s so many things, but at that time, it was very limited. You know, the ways you could connect to an audience. And print was a major thing. And the LA Times, God bless Oscar Garza, assigned a reporter. And this guy, Chuck Crisafulli, started coming and he wanted to be a comedy writer. And like you, wanted to be really serious about it, and was having a hard time finding a way, and then he found us.
July 26, 1997, piece in the Los Angeles Times by CHUCK CRISAFULLI, headlined, “What’s The Frequency, Andy?”
He didn’t just come once. He came show after show after show. So when he wrote about it, he really knew what he was writing about, and I think probably articulated a lot of things that maybe I couldn’t even have articulated at the time. And then there was an article on a Friday. In the Calendar section of Los Angeles Times above the fold, it was the whole above the fold. It was like a giant, like you know, a new breed of comedians. And, and it did talk about some of the other shows, but of course, UnCabaret was highly featured and primary and it was huge. And then it went from like, are we going to be able to stay open? To oh my god, it’s exploding. People are fighting to get in. We’re adding second shows and you know, it’s a madhouse. Executives were flying in from New York. Jean-Pierre is saying there’s no room. And from there we were optioned but Comedy Central didn’t want me to host so we didn’t do it.
Is that what also led to the pilot for MTV, your talk show The Couch?
I think that the pilot for MTV… we did end up doing a couple of years later we did do a show for Comedy Central. And after that, that’s what led to doing the pilot for The Couch.
Here you can watch a 1997 special taped for Comedy Central, hosted by Lapidis, which featured Kathy Griffin, Dana Gould, Scott Thompson, Andy Dick, Taylor Negron and Julia Sweeney.
But when those things didn’t mature…
That’s a very nice way of saying it!
I’m just trying to keep the metaphor going. If corporations are people, then UnCabaret, and your career also is a person. So when Comedy Central and MTV deals didn’t mature and become full-fledged series, how did you deal with that in the short-term?
Badly. I was just devastated. When we did do the special it was very exciting. I was super thrilled to do it and I’m happy with how it came out and we got great numbers but I didn’t quite know how to read the room. At one point it was in the can. It was scheduled. And we were starting to get a lot of press and my partner was very good at doing press. And Comedy Central asked us to not get press. Don’t do press. Now I would be like, no, but I wanted to play nice? We were launching like the next day or the day before South Park and obviously I mean, they obviously knew what they had in South Park and they were just like, we’re going all in on South Park. That’s what’s happening. And I get it. I mean, sure. Who wouldn’t? You know, good decision probably. But at the time, I didn’t get it and then even though we got good numbers, it would ended up not being as they say a backdoor pilot. It ended up being only an actual special. But then from there. We did The Couch. So it was a little disappointing, but we at least got on the air and it was what it was.
I think there was a feeling that I couldn’t really do anything else until that happened. So whether or not it became a series, at least we had done that. And I was happy with it and I learned a lot. But then when we did the pilot for The Couch and it was getting great buzz. Everywhere I was going, everyone was telling me they have heard such great things about it. And I loved doing it so much and it happening. It was in Variety that it was happening. Greenlit! And I came home one day and there was the call. My agent called and said it wasn’t happening and that was devastating. In subsequent years I have learned…they went with a Tom Green talk show instead.
Tom Green, who I mean was being classified as alternative, but not the same kind of alternative comedy as that of Beth Lapides.
It was hard. That was a really hard one to get over, and then we shopped it, and Bravo was gonna do it and they didn’t do it. It was very disappointing. And I think about that show now. I mean it was very ahead of its time as UnCabaret was. I was trying to do a talk show where people were not just on the air promoting stuff. And we have that now because podcasts, I mean, look we’re talking about the book, but we’re talking about so much else. And the idea of the show, I love the show so much I would do it now if somebody wanted to do with me. The idea was that I’d been on Politically Incorrect a bunch, and I just loved the green room. The thing I loved about the green room was that people were meeting for the first time. And as a host, which, you know, I had spent a lot of my time at that point being, and kind of becoming, I know how much happens when people first meet. So we thought, Oh, we’re gonna book people very specifically. And then we’re going to keep them separate. So the reason they’ve come together, they don’t even know and it’s happening on camera. So some examples in the pilot we had Mike Mills, who was one of the guys from R.E.M., and Scott Thompson from Kids In The Hall together talking about being one member of a creative group. And what that’s like and what that experience is. That was a great conversation, we talked about money and money keeping people together. And then we had there was a guy who was the head of the Sierra Club at that point. He’s very young guy. Really interesting. And Andy Dick. The Sierra Club guy had written a book called “Act Now, Apologize Later.” And of course Andy Dick had a lot to apologize for. Anyway, it was like that. We had John C. Reilly with a voodoo priestess because his dad had just died and that was a very interesting conversation. It was really an exciting show. And then we shot long and edited, which you don’t see in talk shows but really makes it beautiful. Anyway, I was happy with how it came out. But it didn’t go. I was devastated. But in some ways, in retrospect, what you learn later on, I think Bob talks about this in the book. You know, everyone has devastation. It’s not until you get a little into it that you realize like all the people that you think are so successful, have had their own devastations. It’s hard to know that at the beginning. I Maybe it’s not now. There’s a lot of information. Or maybe I was just naive, I didn’t know that. But that’s not, you can’t take that personally. It’s not about you. Everyone’s gonna have this, and just keep doing the work and do the best work you can, and don’t look back. But it still hurts. But it hurts in a different way. If you know to not take it personally, to feel the feelings and move past them, all of that stuff. But I didn’t have those tools then.
But you did have UnCabaret to come back to.
I did have UnCabaret.
So tell me then, because there was a brief period, four years maybe, 2008 to 2012 where UnCabaret wasn’t happening. So when you decided to start up again…
Why did I close? Why did I start up again? What the fuck happened? Is that what you’re asking me?
When I bring it up, what comes to the front of your head? What is the searing, lasting feeling or image or memory from that time?
It was a particular time in my life. I would say that the closing happened very quietly. And we had made a big point at other times, This is the end! No more shows! But in this case, I had been evicted from my what I thought would be my last apartment until I could buy a house. I could say it was no fault of my own. It wasn’t unpaid rent, there was no meth lab. There were new landlords moving in, moving their whole family and blah, blah, blah. But I should have seen it coming. There was a for sale sign. The landlord told us that, you know, they weren’t going to evict us which always in Hollywood I did at least know at that point, opposite speak. Generally if people are telling you something so like that they mean the opposite. And I really wanted to buy house. I’d done a radio show and a little bit saved up from that. My now ex-husband’s grandmother. It’s a long funny story but we ended up buying a house and it’s hilarious.
It was your personal life that was taking precedence over the professional life.
Yes, that’s a good way of saying it. My personal life took precedence. And it was an adventure and, you know, in some ways, because I was hosting UnCab, don’t forget, not just did it go on for a long time, but it was every week. It was every Sunday, and the whole show was about being in the now and doing new material. So for years I was doing new material every single week. And it doesn’t give you that much time to process. And I always had a little bit of jealousy for the performers because generally, the regular performers would be in rotation every couple of weeks. Maybe somebody would be on two weeks in a row but generally once a month. Or twice a month or once every two months, you know, so there was a lot more time, for them to collect and process and refine before you were in the moment onstage. And then a lot of times, the shows, somebody would say something and somebody would bring up something. It was very in the moment but I just didn’t have that kind of processing time before being onstage so I think part of it was that. And I just felt like I hadn’t done like, I’m gonna just put it in air quotes, “my work.” So I didn’t so much as stop doing UnCabaret, start doing these other things and UnCabaret just kind of fell away.
But then it came back and kind of came back with a roar, right? Because you did produce these four specials that are on Amazon.
Four separate specials showed up in 2012 for Amazon Prime Video, with a trailer featuring Greg Behrendt, Tig Notaro, Rob Delaney, Alec Mapa, Andy Dick, Jen Kirkman, Garfunkel and Oates, Margaret Cho,
I love your narration of this story. When it came back I was resistant. In the intervening time I’d written a book. I’d done this one person show “100% Happy 80% of the time.” And the person I had done it with, Mitch Kaplan, somebody brought us to a space and we met the guy. It was great space. I was coming up with other things we could do. And it was Mitch who said, Let’s do UnCabaret and I said no no no no, that show is dead to me, it’s sucked everything from me. I have nothing more to give. But he said everybody loves UnCabaret! We’ll just do one for your birthday. Let’s just do one for your birthday. It’ll be different and I’ll do it with you with live music. And the room was so great and I really didn’t have another idea of what I wanted to do. So I said yeah, alright, let’s do one. But then we did the one and it was so great to be back and it was just so exciting and it was the same but it was different. If we’re gonna stick with the birthing, it was a rebirth. And I felt like things had really changed in the world. The comedy world, a lot had happened in that time that I‘d been gone. Yeah, it was gonna be different. Yeah, Let’s go. So it was new. It was a re-discovery.
And the specials, you can still see there on Amazon Prime Video. Those are kind of pioneering, too, because they’re older than most of the original Amazon programming.
It’s so weird, you know, you just have destiny. Even with these books. I mean with audiobooks, I got connected with this book agent. And then you know, before I know it, I’m doing an original audiobook. Like what even is that? I thought I was doing a book. The old school. New York literary agent. London offices. Go back in the Wayback Machine, to the Olde Paper Time. And then I’m doing an original audiobook. I don’t know. And even the Amazon original stuff was just sort of fluke-ish. It was a friend of mine from Brown, said, oh, UnCab’s back, let’s do some Amazon shows! Sure. We made those shows, by the way, they look pretty good don’t they? The budget was like a pack of bubble gum. I mean, we did those shows. It was a miracle we pulled those shows off. Anyway. They were fun! I learned a lot. You know, I have produced by default. It’s not my favorite thing. I’m proud that I was able to pull those off.
And now you’re still pulling off uncapped during the pandemic, whether it’s on Zoom or you have a live show in-person, Omicron willing.
Omicron-willing, I mean that’s a decision. I’m sitting here today. You know, just meditating on that decision, you know, should we do it? Shouldn’t we do it? The tickets also are very low. audience might decide. I think people might decide, we don’t want to be in a room right now. It’s been great. I mean, we’ve been sold out and the shows have been amazing and it’s so exciting to be back live, but, you know, I’ll canvas the performers and figure out if everybody’s comfortable and whatever. I’m gonna give a few days because everything’s changing so fast.
And hopefully we’ll be back in a good place. But the Zoom shows have been a lifesaver. We did pivot so fast. I mean, we did our first show, I think March 17. Just super fast. I just knew this is, we’re going to try it. I don’t know what it’s gonna be but we’re gonna do it. And UnCab, because it’s partly a talk show anyway, was very suited. I’m suited because we had this back mic and that’s one of innovations. The performers are used to being in conversation with me. I just felt like it would work. And it has worked. We’ve been able to connect with people all over the world and it’s been fun. I missed the live in-person shows but I’ve enjoyed the Zoom shows enormously.
And one of the people on the next upcoming show whether it’s at El Cid or on Zoom is Jamie Bridgers. Who you’re apparently working on a TV show with?
I have pilots with two different people. I have a pilot with Jamie. That pilot is her and Phoebe Bridgers, her now very famous and becoming more famous daughter — you’ve seen her on Saturday Night Live, she’s playing Coachella this year. She’s amazing. You know, we had her on UnCab before she hit big. Anyway. She and Jamie, they have, their family story, we have that in progress. Then I have another pilot with an Instagram influencer. We’ll see.
What’s that like? Developing a TV show with an influencer?
It’s been great. I love her. She’s a special person. her Instagram account is called Dope Ass Mom, and she has a really good sense of humor about what it is that she’s doing and I was working with her, coaching her before she became an influencer. And it’s been a great process. She’s really fun to write with. You know, it’s like this. I’m gonna get this tone in my voice. Yeah! I mean, yeah, I love them both. I love both these projects, and there’s been interest in both of them. And you know, if God is willing, this time next year, we’ll be discussing those shows airing, and why on your show do you go to a concert, Beth?
Well, that’s for the TV suits to decide. Thank you for deciding to sit down with me.
Thank you so much, Sean. It was so delightful talking to you. I’m glad you like the book. I can’t wait for people to hear it because I think it is super helpful. I mean, there’s my story about UnCab, but I think this idea of living in a world where we all have such decision exhaustion and then to be led through areas of family, work, love spirituality and moving by some of the funniest people that you could ever hope to hear stories from. It was a great thrill to do this product. I can’t wait for people to hear it. Thank you for having me.
So if you’re listening, so you need to decide to buy the audio book, “So You Need To Decide.”
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