She's able to cut through you with one look, and that translated on camera, so that was great. So, for my character, the scene becomes funny because of her skepticism, the way she sort of buys into it and then kind of doesn't. And Aurora, again, she's so good at playing the truth of something. I'm going to swing by and see what I can get." It's free food! So just the idea that some of these games have gotten a bit out of control, but also, why is it just for the moms? There's a lot of people who are hungry walking through the park. You know, she's walked by this park many times and is like, "Huh, I'm kind of hungry. I also always imagine my character's backstory. There are fruit kabobs and smoothies and gourmet cookies at some of these things, and there is that element of people kind of outdoing each other with all of these snacks. It's a comment on that as well - not just stealing food, but that it's not really about an apple and a cup of coffee anymore. One, the moms in our group were like, yeah, some of these events have crazy catering now. She's a Canadian comic who lives in England now, and she's killing it on the British scene and Edinburgh. That sketch came from the brain of Mae Martin. When we're approaching scenes, what's relatable, what's the emotional truth of the scene, and allow the premise to be the star of the sketch.Ĭan you tell me a little bit about how the "Soccer Mom" sketch came to be? The approach is to ground the characters, especially when we go to an absurd place, and that makes it way funnier and way more relatable, because then you're watching, going, "Oh my God, that could be me and my friends after work." We treat it completely straight, completely real, and that's where the comedy is. Crazy wigs or big costume choices would cloud what's funny about the sketch. You want it to be presented in the purest form. It absolutely is a conscious decision to ground all the scenes, whether it's emotionally grounded or the language is relatable, even down to how the women or the characters are dressed, so that if we go to an absurd place, like "F**k, Marry, Kill," for example, that's absurd in itself. Is it a conscious decision to not go absurdist even as you're heightening scenarios? The sketches mine everyday situations very well.
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