Jake Tapper
👤 PersonAppearances Over Time
Podcast Appearances
Thank you.
Thank you.
There's anthrax in the building. We have to get out of here.
There's anthrax in the building. We have to get out of here.
There's anthrax in the building. We have to get out of here.
Can I tell you that I wrote a sketch very similar to that before you got to SNL? It was a family having dinner and I think Farrell and I can't remember who the host probably came to the house and we're like, we're brothers. We grew up here. Can we look around? And then they just told stories and they were just the most horrifying stories that you've ever heard. And I thought it was very funny.
Can I tell you that I wrote a sketch very similar to that before you got to SNL? It was a family having dinner and I think Farrell and I can't remember who the host probably came to the house and we're like, we're brothers. We grew up here. Can we look around? And then they just told stories and they were just the most horrifying stories that you've ever heard. And I thought it was very funny.
Can I tell you that I wrote a sketch very similar to that before you got to SNL? It was a family having dinner and I think Farrell and I can't remember who the host probably came to the house and we're like, we're brothers. We grew up here. Can we look around? And then they just told stories and they were just the most horrifying stories that you've ever heard. And I thought it was very funny.
And Shoemaker used to decide the order at the read-through, put it up very high. It was like number four in the read-through. And that was always a good sign because it meant that you were optimistic about it if you're Shoemaker. Yes. And it, I mean, like everything I wrote my first year, it just played to like dead.
And Shoemaker used to decide the order at the read-through, put it up very high. It was like number four in the read-through. And that was always a good sign because it meant that you were optimistic about it if you're Shoemaker. Yes. And it, I mean, like everything I wrote my first year, it just played to like dead.
And Shoemaker used to decide the order at the read-through, put it up very high. It was like number four in the read-through. And that was always a good sign because it meant that you were optimistic about it if you're Shoemaker. Yes. And it, I mean, like everything I wrote my first year, it just played to like dead.
Like my memory of it, and I'm sure you have this too, is of the only sound in the room is the sound of 150 scripts being turned page by page. Like there's no, like that's a silence that doesn't exist elsewhere in nature. It's like the absence of sound. More than it is a sound. And that's how that sketch played.
Like my memory of it, and I'm sure you have this too, is of the only sound in the room is the sound of 150 scripts being turned page by page. Like there's no, like that's a silence that doesn't exist elsewhere in nature. It's like the absence of sound. More than it is a sound. And that's how that sketch played.
Like my memory of it, and I'm sure you have this too, is of the only sound in the room is the sound of 150 scripts being turned page by page. Like there's no, like that's a silence that doesn't exist elsewhere in nature. It's like the absence of sound. More than it is a sound. And that's how that sketch played.
And like every one of those read-throughs in my first year was brutal, brutal to sit there.
And like every one of those read-throughs in my first year was brutal, brutal to sit there.
And like every one of those read-throughs in my first year was brutal, brutal to sit there.