Dana Carvey

Yeah. Yeah.

Yeah. Yeah.

Yeah. Yeah.

No, don't do that. It's kind of a death knell to get up near the piano and sing a song. The only thing you get, you get the pressure, but it's a comedy compression. The room is so tight and the ceiling is so low compared to 8H where the show is that you get the laughs are big.

No, don't do that. It's kind of a death knell to get up near the piano and sing a song. The only thing you get, you get the pressure, but it's a comedy compression. The room is so tight and the ceiling is so low compared to 8H where the show is that you get the laughs are big.

No, don't do that. It's kind of a death knell to get up near the piano and sing a song. The only thing you get, you get the pressure, but it's a comedy compression. The room is so tight and the ceiling is so low compared to 8H where the show is that you get the laughs are big.

Oh. Oh, definitely. Yeah. Well, Shane's funny.

Oh. Oh, definitely. Yeah. Well, Shane's funny.

Oh. Oh, definitely. Yeah. Well, Shane's funny.

What can we look forward to potentially on the show? Yeah, what can we look forward to on the show without giving anything away?

What can we look forward to potentially on the show? Yeah, what can we look forward to on the show without giving anything away?

What can we look forward to potentially on the show? Yeah, what can we look forward to on the show without giving anything away?

When I first went out there, you were having a rough couple of weeks and you'd stop me in the hallway and go, yeah, I got cut, you know, whatever. And then I saw the evolution where Sarah Sherman died.

When I first went out there, you were having a rough couple of weeks and you'd stop me in the hallway and go, yeah, I got cut, you know, whatever. And then I saw the evolution where Sarah Sherman died.

When I first went out there, you were having a rough couple of weeks and you'd stop me in the hallway and go, yeah, I got cut, you know, whatever. And then I saw the evolution where Sarah Sherman died.

It's really like trying to catch the wind or something. There is just wanting to relax, be centered. Don't get stuck on the card. Let the audience know you're feeling their vibe. There's a lot of metrics that go into it. And then sometimes it just happens. And all of a sudden, you know, You're on air and it's really working and then you kind of float away.

It's really like trying to catch the wind or something. There is just wanting to relax, be centered. Don't get stuck on the card. Let the audience know you're feeling their vibe. There's a lot of metrics that go into it. And then sometimes it just happens. And all of a sudden, you know, You're on air and it's really working and then you kind of float away.

It's really like trying to catch the wind or something. There is just wanting to relax, be centered. Don't get stuck on the card. Let the audience know you're feeling their vibe. There's a lot of metrics that go into it. And then sometimes it just happens. And all of a sudden, you know, You're on air and it's really working and then you kind of float away.

You don't feel the kind of metrics of turn toward that person. Here's my card for this line. So the show's impossible and it's emotionally violent and it's ridiculous, but that's why it's so fucking compelling. As an outsider, if the show's bombing and I'm watching a show truly not do well, I'm just as entertained. It's more fun. They must be freaking out. This is real. There's no laugh track.

You don't feel the kind of metrics of turn toward that person. Here's my card for this line. So the show's impossible and it's emotionally violent and it's ridiculous, but that's why it's so fucking compelling. As an outsider, if the show's bombing and I'm watching a show truly not do well, I'm just as entertained. It's more fun. They must be freaking out. This is real. There's no laugh track.