![]() ![]() 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. Ĭan you tell me a little bit about how the “Soccer Mom” sketch came to be? It’s really exciting to be like, “This is what we want to do,” and have the support from the network and producers to really try and fulfill that vision. So as an artist I find it so rewarding to be able to explore a creative vision and work with other great artists and really not having people tell us we can’t do things that often. Whether it's writing, the collaboration with others, improvising, performing, producing or showrunning, I feel like my brain is constantly engaged. What is your favorite part about doing sketch with this group of women? On the IFC site, it says this is your dream job. She always brings that little extra something that might have never been on the page. She brings so much strength to her characters. While she's not trained at improv like the rest of us, she's a natural improviser. She's a trained actor, and she can break down a scene and she's great at riffing on ideas. She's a passionate person, a passionate performer. What strength do you think each woman brings to the team? 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. 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. When I introduced Meredith to the others, it was like instant friendship and connection.” It made for a great team, and we all got along famously. “The talent is obvious, but the intelligence and respect they have is huge. When you have a group together, it's so important that people are respectful and kind and talented,” she explained. “Everyone had such kind hearts and came from such a good place. Taylor and Whalen ended up writing together at This Hour Has 22 Minutes, a political sketch show in Canada that MacNeill later acted on and, according to Taylor, “stood out, even in the small part she was playing at the time.” As alumni of the esteemed improv school, they all became friends and performed around town. Though the quad hadn’t formally worked together before, they were overlapping circles: Taylor improvised with Browne at Second City, where Whalen had played before them. The Just For Laughs alum was the mastermind who formed the sketch team specifically for TV, honing the concept together with MacNeill. ET spoke by phone with Taylor, who was preparing to film season three in Toronto. ![]()
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