They Might Be Giants
They Might Be Giants have always been a little obsessed with death.

Over the course of their 30-plus year career, renowned college-pop experimentalists John Flansburgh and John Linnell have never shied away from joining the lyrically macabre with bold and often unusual instrumentation—whether it's talking about being reincarnated as a bag of groceries on 1990's Flood or having their remains shot out into space (and coming back as a ghost) on 2016's Phone Power.

The duo's 20th studio album, I Like Fun (arriving on January 19, 2018), is similarly—if not more so—interested in personal oblivion.

"At some point we realized we could call any They Might Be Giants record 'Deathtrip,' and it would be appropriate," jokes Flansburgh. "But it wouldn't be very welcoming.

“I think the truth is, as a band, and as writers, the mixed bag of writing melodic songs with dystopian content is a winning combination for us. I think it speaks more to the persuasive power of melody than it does to the inevitability of dystopian themes. Because ultimately, I think people find a lot of optimism in what we're singing about, even when it's relentlessly pessimistic."

“[Death is] a great topic,” concurs Linnell. “It never gets old, and there's a million different ways to talk about it. It's never lost its juice as far as I'm concerned. I love making up songs about death. It's not the only thing we write about, obviously, but I think it's the gift that keeps on giving.”

Take I Like Fun's lead single: the harmonizing, mid-tempo “I Left My Body,” which contemplates what becomes of the mind after the body is finished living and likens death to a nondescript waiting room.

“There's a receptionist, but the receptionist isn't there,” says Linnell. “It has a slightly mysterious, we-don't-know-what's-happening quality that I liked, that's sort of bureaucratic.”

Written over the last year and designed by TMBG's longtime graphic collaborator Paul Sahre, I Like Fun is the result of Linnell and Flansburgh sending each other material from their respective residences in New York City and State. It also found the band in familiar territory: Reservoir Studios (formerly Skyline Studios) in New York City, where the duo once recorded their commercial breakout, Flood.

"[Skyline] has a lot of great memories for us,” says Flansburgh. “Last year our producer Pat Dillett and his partner Steve took over the space, brought it back, and in a bunch of ways made it even better. I know believing a studio has any kind of special power is believing in voodoo, but when the voodoo is working for you, that's okay!"

"The idea that this album took about a year to make surprises me because I wouldn't say we fussed over any particular track that much,” Flansburgh continues. “This album is kind of under-produced for us and certainly by 2017 standards. It's more like a ‘60s psychedelic production with a featured sound or instrument, maybe a vocal double, but not a ton of overdubs or processing. For me, just being a little more confident to keep things simple keeps it all much fresher. We just made a lot of recordings and just took advantage of being able to pull the best set out of a much larger stack."

So, why call an album with such worrying titles as “Let's Get This Over With,” the aforementioned “I Left My Body,” “An Insult To The Fact Checkers,” and “Push Back The Hands” I Like Fun?

According to Linnell, the title (which is also the name of a song on the record) felt right on a gut level. “I think it connects up with another album title from the recent past, which was Join Us, which was a very positive vibe,” he says. “It's kind of refreshing in a way—not everything has to be snarky.”

“It's funny because it's a tautology—it's obvious,” continues Linnell. “Of course everybody likes fun. That's the definition of fun—it's something you like. And yet there's a nice simplicity to it. And it contrasts with a lot of the material on the album, which is complicated and challenging.”

Flansburgh also points out that the song for which the album takes its name is nowhere near as one-sided as it sounds: "The song itself is basically about waiting for your painkillers to arrive."

Then, there's the twinkly “Push Back the Hands,” which sighs with longing for a foregone time. “‘Push Back the Hands' is sort of maybe about this wistful nostalgia—a false nostalgia, like there was a better time than now, and how do we get back there,” acknowledges Linnell.

Additionally, the apocalyptic “By The Time You Get This” contrasts the optimistic way we once imagined the future with today's more fatalistic vision. “The narrator of the song is projecting all this stuff that is not correct about the future,” Linnell says. “Apparently there was this belief at the end of the 19th century, so I'm told, that people had a kind of Utopian vision of the future, that they had this notion that, by the end of the 19th Century, that maybe war and disease and all these things were going to be eradicated. Of course, they had no anticipation of the two world wars or the Holocaust or the atom bomb or any of this stuff that then happened. Nowadays, we have this more Blade Runner-y notion of what the future is like.”

Meanwhile, "An Insult To The Fact Checkers" is just a good old-fashioned kiss-off anthem (despite its politically relevant-sounding title). "I guess in our post-factual media environment, you might assume that it's political commentary," says Flansburgh. "But it's really just an 'I Hate You' song, in the proud tradition of 'I Hate You' songs. Everyone has had unreliable friends over the years, and it's really just about a friendship going sideways.”

Even album closer “Last Wave” leaves you with a pit in your stomach by, as Linnell points out, “reminding you of your darkest fears.”

“On an album with a fair share of death imagery we went a little overboard with this one, but perhaps the music is kind of uplifting,” he says.

Though They Might Be Giants have built a lengthy, successful career around blanketing perturbed themes with springy, experimental melodies, the one thing Linnell and Flansburgh remain assured about is their band's future.

"There's not a lot of job security in music,” acknowledges Flansburgh. “You see how quickly the best acts you've ever seen explode or implode and you come to realize every turn is really a chance to crash the project. Somehow we beat the odds.

“A long time ago The Onion had a piece spoofing the Behind the Music of They Might Be Giants and how disappointing it was that there was no sex or drugs,” he continues. “But maybe that's not the worst strategy—don't take drugs in public.”

(Photo by Shervin Lainez)

2024 PERFORMERS & GUESTS

Jonathan Coulton

Jonathan Coulton

Jonathan Coulton is from the Internet. While a struggling music industry fell to pieces over file sharing and shifting business models, he quietly and independently amassed a small army of techies, nerds, and dedicated superfans. Featured in the New York Times, NPR and slashdot, his songs cover an eclectic range of subjects, from zombies and mad scientists to marriage and parenthood. In concert he moves fluidly between pathos and ridiculous fun. Seeing your first Coulton show is like walking into an insider club meeting, but one that gleefully welcomes and indoctrinates you in short order.

Jim Boggia

Jim Boggia

For more than 20 years, Jim Boggia has been winning over fans, critics, contemporaries and luminaries alike with his uncompromising devotion to the sort of winsomely nostalgic, emotionally direct songcraft that’s impervious to age. His sonically intelligent retro-pop manifesto informs three studio albums—2001’s Fidelity Is the Enemy, 2005’s Safe in Sound and 2008’s Misadventures in Stereo—and he’s worked with a startling array of artists, including Aimee Mann, Juliana Hatfield, Mike Viola, Tracy Bonham, Bernadette Peters, David Poe, NRBQ’s Big Al Anderson, famed Beach Boys lyricist Tony Asher, MC5 guitarist Wayne Kramer, Attractions drummer Pete Thomas, esteemed ’70s pop misfit Emitt Rhodes, and Canadian songstress Amanda Marshall. Also an accomplished singer and guitarist, Boggia performs with the well-known New York City-based Beatles tribute band, the Fab Faux, as well as Mad Dogs & Dominos, an 18-piece collective headed by a heavyweight roster that includes Blues Brothers alum Lou Marini and producer John Leventhal. Oh, and he plays a mean ukulele.

Ty Franck

Ty Franck

2020 PERFORMERS & GUESTS  the home office FAQs Contact Us Affiliate Program Carbon Roadmap  JOIN THE MAILING LIST ©2019 JoCoCruise | Agency of record for JoCo Cruise 2020 and 2021 is Worldwide Travel and Cruise Associates, Inc. a licensed seller of...

Vance Gilbert

Vance Gilbert

2020 PERFORMERS & GUESTS  the home office FAQs Contact Us Affiliate Program Carbon Roadmap  JOIN THE MAILING LIST ©2019 JoCoCruise | Agency of record for JoCo Cruise 2020 and 2021 is Worldwide Travel and Cruise Associates, Inc. a licensed seller of...

Jean Grae

Jean Grae

Critically acclaimed lyricist, producer, writer, director, cinematographer and all around consummate entertainer Jean Grae has been challenging the boundaries of artistry since her debut in 1996. Whether creating music with imaginative narratives that immerse the listener in a dark world of Grae’s design, or spilling her most personal stories of love and life experiences, she always delivers an honest performance that strikes the most vulnerable parts of her audience and keeps them wondering, “what will she do next?”Well into an almost 20 year long career that maintains not only relevancy, but continues to push the envelope of perception, marketing and branding. Grae has worked alongside Mos Def, Talib Kweli, The Roots, Pharoahe Monch, and a list that this very small bio cannot contain. Sorry, bio.Grae recently made her directorial debut and created her company, “KAGD.” With videos for The Hellpit Faeries, Talib Kweli and herself under her belt, she created “Life With Jeannie” a half hour sitcom, written, directed by and starring Grae. “Life With Jeannie” premiered on 12/25 on JeanGrae.com and Grae’s latest releases: Gotham Down cycles 1-3 is available on JeanGrae.bandcamp.com.

John Hodgman

John Hodgman

2020 PERFORMERS & GUESTS  the home office FAQs Contact Us Affiliate Program Carbon Roadmap  JOIN THE MAILING LIST ©2019 JoCoCruise | Agency of record for JoCo Cruise 2020 and 2021 is Worldwide Travel and Cruise Associates, Inc. a licensed seller of...

Aimee Mann

Aimee Mann

Interested in the full range of human faults, foibles, dysfunction, and self-delusion? You could spend your evening re-reading the DSM-IV Manual. Or you could opt to spend some time with an even more entertaining catalog of idiosyncracies: Charmer, the latest album from Aimee Mann, as fine a chronicler of the human comedy as popular music has produced. Names have been obscured to protect the guilty, but you will almost certainly recognize yourself in these short narratives, along with the fellow travelers who have conned, enabled, victimized, or (yes) charmed you.

Mann has the presence of mind to write songs about narcissists, which is a little different from the 90 percent of rock songs that are about being a narcissist. “The first song I wrote for the album was called ‘Charmer,’ so that’s kind of what started it,” she says. “And there are obviously songs that aren’t really on that topic, but it was a thing that I kept coming back to, because I do think people who are super-charming are really interesting. And I see how charm is on a continuum that goes all the way from people who can talk you out of anything to people who are manipulative to people who are almost a little sinister. They’re usually people who you really like being around in the beginning, because they’re really good at creating an impression that perhaps is tailor-made for you, and that’s very seductive.”

You might say it naturally follows that an album named Charmer would need to be musically seductive, as well. And this one certainly delivers its own charm offensive with a production style that sometimes harks back unabashedly to an earlier era, three decades or more ago, when electric guitars and synths walked the earth together in harmony. The full sound is in stark contrast to her much starker previous album, 2008’s Smilers, which was not so big on the new wave. She might even have been inspired by some fellow former Bostonites.

“This time, we bring the guitars back in.” she says, “and the bands we kind of listened to for reference were the Cars and Blondie and Split Enz. And ‘Jackie Blue’ by the Ozark Mountain Daredevils, that awesome song—that was a big point of reference.” And she won’t disagree if you suggest that this might be her fullest-sounding album since the I’m With Stupid era. “I think if you’re emulating or inspired by that sort of era of radio pop, it’s just by nature more ‘produced.’ On the last record, our template was Area 51, because it was acoustic guitars and this kind of deserty, tumbleweed feel,” she laughs, “with synthesizers on top. This time, I wanted to use more analog synthesizers, because the music I was inspired by was that real ‘70s kind of thing. You know on Parallel Lines, when they were first putting synths in, but they were still being played almost like guitars? When I go back and listen to that stuff now, I go, ‘Oh, this is basically a rock band with just some bloopity bloopity keyboards on top.’” Make no mistake: “I love that,” she affirms. “I wanted to go back to: Remember when synthesizers were super-fun and brand new?”

Super-fun is not a term that everyone would expect to escape the lips of Mann, who well knows that she has an image—and possibly preternatural gift—for songs some would consider sad and downbeat. But there is a subtler kind of levity in her music that, followed to its natural end, leads to the kinship she feels with certain comedians and explains why she frequently does shows with the likes of Patton Oswalt and Paul F. Tompkins. And perhaps it explains why you’ll hear some of the biggest laughs this side of a Bridesmaids screening at a Mann show, sometimes arguably morose subject matter notwithstanding.

“There’s probably a little bit of relief of ‘Oh, I’m so glad that she’s not super-sour and depressed’—so any small joke, I get the laughter of relief, if it’s funny at all,” she says of the mood at her concerts. “Half the shows I still go, ‘Oh, I don’t know what to say,’ but I’ve definitely learned a lot from just being around comics. That’s not to say that I’m funny, but I think just being around it and adopting a little bit of a cadence or vernacular is helpful.” And the wit is certainly there in her songwriting, if you look for it. “There’s an irony that’s implicit through a lot of stuff. There is always a fair amount of moments where I write something that I suddenly realize is a very apt description of a situation that’s uncomfortable or horrible, but that the very accuracy of it makes me laugh, even though I can’t really expect that other people will. It’s a bit of a gallows humor, maybe.”

Articulation of these scenarios is the best medicine, whether or not laughter is part of the tonic, and that’s been the case ever since Mann resisted an overbearing beau’s admonitions to “keep it down now” and “shut up” in “Voices Carry,” the 1985 smash that put ‘Til Tuesday on the map. After three acclaimed albums fronting that band, Mann went solo with the Jon Brion-produced Whatever, and really went solo—label-wise—in 2000 with Bachelor No. 2 (Or, The Last Remains of the Dodo), which she snatched back from the clutches of an unconcerned major label and released on her own SuperEgo Records, beating the indie rush by several years.

This roughly coincided with Paul Thomas Anderson’s Magnolia, which featured a good number of Mann’s tunes as a song score—including “Wise Up,” the tough-love anthem that might still be the best summation of Mann’s entire unflinching catalog. Another song from the film, “Save Me,” was nominated for a Best Song Academy Award, which explains the “Oscar loser” self-description in the tagline on Mann’s Twitter account.

Among the albums that followed were One More Drifter in the Snow, an unlikely Christmas album that inspired a yearly series of holiday-themed variety shows, and the semi-narrative The Forgotten Arm. Plans have long been brewing to adapt the latter piece into a stage musical, although that’s on hold till she has a chance to do some serious work with the project’s book writer David Henry Hwang.

Another planned but stalled stage musical led to the creation of one of the new album’s songs, “Living a Lie,” in which Mann trades lead vocals with the Shins’ James Mercer. “Because it’s such a duet-y duet,” she says, “we wanted to get somebody who really had a great voice, and we were just lucky that he was game.” The tune has its “weird genesis” in Mann’s acquaintance with Aaron Sorkin, whom she met through mutual friends (unrelated to her previous cameo on The West Wing). “He started telling me about an idea for a musical he had, and obviously he’s got 50 million projects, so I don’t know if it’s something that’ll ever happen. But he told me the basic plot of it, and just as an exercise, I thought, ‘Suppose this is the song these two characters sing where their relationship is really falling apart.’ It makes me laugh, because two people singing a duet is usually a love song, and these are two people that are ripping each other to shreds. ‘You narcissist!’ ‘Oh yeah? Well, you’re this has-been who thinks he’s so great‚Ķ’ I should write a whole record of vicious duets.”

The Forgotten Arm dealt with an area of psychology Mann is obsessed with: addiction. She’s also dealing with that on Charmer, but not drugs. Rather, she’s tackling some less obvious but possibly more insidious forms of pathology‚Ķ as seen on television.

“I was watching Hoarders,” she laughs, explaining the inspiration for the oddly titled “Gumby.” “The thing I was fascinated by is that you have people who are desperate to help their loved ones who are living in squalor and often in dangerous circumstances, but the hoarders themselves do nothing but resent the help. They just see that you’re trying to take their shit from them, and they constantly position themselves to be the victim of these people who are coming in trying to help. It’s really delusional.”

“Soon Enough,” meanwhile, is “about an intervention. Of course another show I watch religiously! Everybody’s reading their letters and everybody’s crying, while once again, the target of the intervention is like ‘Fuck all y’all.’ It’s so classic. So the narrator of the song is like, ‘Yeah, I know, we’re all a bunch of assholes—we’re all against you. Just sit and listen to the letters, and soon enough you can say what a bunch of jerks we are. We get it.’” Mann’s co-writer on this one was comic Tim Heidecker, of Tim & Eric fame, who also signed on to direct a video for the tune.

Those are songs about some not-so-charming types. But Mann gets back to the album’s central conceit with songs like “Disappeared,” about the type of popular fellow who “makes a big production out of cutting people off‚Ķ and in your relationship with them, you always think, ‘Well, they’ll never do that to me.’”

Then there’s the hooky “Crazy Town,” about “one of my favorite topics, the crazy girlfriend. I have a friend who does out with these girls who always wear short, tight dresses and high heels. They all refer to themselves as ‘spontaneous,’ which to me is code for ‘I’m crazy, and if we’re driving down the street, I might just hang out the window and yell at passers-by.’ Or if someone describes themselves as ‘passionate.’ I honestly think that’s a code word for ‘I will make scenes and throw shit at you in public places.’ The girl who seems to fun at the beginning of the night, whose hair you’re holding while she throws up at the end. There’s a certain type of guy who goes for that girl—the caretaker, who’s very present and sober. And these people go together. The crazy girl can’t flourish without the fixer.”

And of course there’s the “Charmer” himself—a type Mann is intimately familiar with, having been around her share of entertainers and politicians. “They’re usually people who you really like being around in the beginning, and then they’re very exhausting after a while, because they require an audience. But that’s very seductive. My husband has a line in a song which I always think about when I talk about this subject, which is: ‘When you think he likes you, you like the way he thinks.’ To me, that really sums it up, because you yourself are complicit in the interaction of the charmer. As soon as you think somebody likes you, then you suddenly think, ‘What a great guy!’”

As should be perfectly clear by now, Mann is not mired in the traditional business of strictly writing love songs, but more prone toward diving into the vast majority of human interactions that almost never get a song written about them. “To me, the dynamics of a situation can be applied to anything,” she says. “In a love relationship, it just gets amplified, and then people get crazier about the results. But it’s usually all the same kind of stuff, regardless of who you’re dealing with. You think, where have I been in this situation before? ‘Crazy Town’ is more sort of about a relationship, but it could also be about a friendship, or about a guy taking care of his alcoholic mother. You know, it is very sad to have friends who are crazy and can’t take care of themselves. And you can’t get too far into it, because then you’ll be dwelling in the world of crazy, and there’s no getting out. I can apply that to a lot of different circumstances, and the feelings behind that dynamic never change.”

Mann has been cast in a small role in an upcoming independent film, and she laughs about her thespian aspirations, or lack thereof. “There’s not weeping or anything” required in the role, she points out. “I think I look annoyed sometimes, which I feel like I could probably handle.” Possibly aside from a cameo in the Coen brothers’ The Big Lebowski, her best known part was playing herself in a celebrated episode of IFC’s Portlandia, in which Fred Armisen and Carrie Brownstein are shocked to have hired one of their favorite singer/songwriters as a maid—and proceed to alternately worship and upbraid their heroine/housekeeper. “That was a true story: Carrie had hired a cleaning service and the girl who showed up was a singer in a band they liked. People love that show. I love that show. And yeah, more people have recognized me from Portlandia than music in the last year.”

In the last year, Mann got invited not just to do a fictional Portland couple’s housecleaning, but to join a Pennsylvania Avenue couple at the White House. She was part of a day the Obamas devoted to celebrating poetry (along with a more controversial musician, Common). It shook her up, in a good way.

The White House confab “had a really big impact, way bigger than I expected. Don’t get me wrong, I knew it was a big gig. But I also didn’t think it would have this big spiritual impact on me. Hearing the poets talk was really inspiring and honestly made me think totally differently about the purpose of art, which I think heretofore I thought was just a nice add-on if everything else is taken care of—like, a fun little frill for life. But I started to realize there’s something more essential about art, and it’s kind of the thing that makes the difference from being just a group, like a herd, to being a civilization.”

The characters Mann writes about tend not to think such noble thoughts, but if art is largely making something functional out of dysfunction, then Mann just might be our laureate, whether or not the president has called back with the official designation. She’s the kind of artist who’d rather disarm than charm, though maybe you’d be forgiven for even applying the C-word to her bracing musical bewitchery.

Paul and Storm

Paul and Storm

Paul and Storm (Paul Sabourin and Greg “Storm” DiCostanzo) are known internationally and across the Internet for their original comedy music (often with a “nerd-ish” bent). In addition to their own live performances, they are co-founders of the geek-oriented variety show w00tstock, along with Wil Wheaton and Adam Savage, and co-produce JoCo Cruise. The duo’s original webseries musical, LearningTown, debuted on YouTube’s Geek & Sundry channel in January 2013. Also in 2013, their song “Another Irish Drinking Song” was featured in the hit movie Despicable Me 2, and in July had their guitar smashed on stage by George R. R. Martin (and deserved it). Their fifth full-length CD, Ball Pit, came out in 2014, and was the central item of the duo’s wildly successful Kickstarter campaign. They are staff writers for, and contributed numerous songs to, the rebooted season of Mystery Science Theater 3000.

Riz Rollins

Riz Rollins

writer and dj riz rollins (just ‘riz’ to his friends) has been a presence in the seattle music landscape where he hosts a variety and electronica show on 90.3 fm for almost thirty years. a stalwart in both the club and event scene, he has played alongside a diverse roster of artists that includes nirvana and james brown, die antwoord and funkadelic, amon tobin and osunlade. proficient with a plethora of styles that include disco, hip hop, house, world, r&b,ambient, jazz and gospel he regrets that he won’t be slugging his vinyl on this trip, but maybe he’ll invite you over for tea and rekkid playing hopefully soon.

SAMMUS

SAMMUS

{"dynamic":true,"content":"post_title","settings":{"before":" ","after":" "}} Enongo Lumumba-Kasongo (SAMMUS)—pronouns she/her—is a black feminist rapper, beatmaker, and scholar from Ithaca, NY, which is located on the traditional lands of the Cayuga Nation. Her...

John Scalzi

John Scalzi

John Scalzi is the New York Times bestselling and Hugo-winning author of science fiction, including the books Old Man’s War, Redshirts, and Lock In, all of which are currently under development for television. He’s also written several non-fiction books, including The Rough Guide to the Universe and Your Hate Mail Will Be Graded. He’s the writer of the video game Midnight Star, developed by Halo co-creator Alex Seropian. He was the Creative Consultant for the television show Stargate Universe. Paul and Storm and Jonathan Coulton have both written songs for his books. There was that one time he was covered in frosting by roller derby players on Neil Gaiman’s lawn. He also caused an Internet sensation by taping bacon to his cat. Seriously, what the hell is going on with this guy, anyway. Visit him online at whatever.scalzi.com.

Janet Varney

Janet Varney

Janet Varney is an Emmy-Nominated actor, comedian, writer and producer. In the animation world, she was lucky enough to be the award-winning voice of Korra on Nickelodeon’s critically-acclaimed standout hit The Legend of Korra, a role for which she continues to be invited to comic cons to give sweaty handshakes the world over. On HULU, she can be seen fighting dark forces opposite John C. McGinley on indie darling IFC, in their horror-comedy from Dana Gould, Stan Against Evil, and as the entitled and bitchy Becca on FXX’s You’re the Worst (consistently named as one of the decade’s best comedies). She also created, wrote, produced and starred in the critically-acclaimed IFC online series Fortune Rookie. JV can also be heard as the sarcastic AI “Sorry” on the improvised sci-fi comedy podcast Voyage to the Stars with Colton Dunn, Felicia Day, Kirsten Vangsness, and Steve Berg.

Janet was the most frequent performer on Paul F. Tompkins’ Spontaneanation podcast, in addition to hosting her own podcast for the past 8 years, The JV Club with Janet Varney, where she interviews celebrities about their awkward teenage years. Onstage, Janet performs with Rachel Dratch, John Michael Higgins, Michael Hitchcock, Oscar Nunez, Cole Stratton and more in their improv supergroup Theme Park, and is a WorkJuice Player for the beloved Thrilling Adventure Hour. She is a writer/performer for Rifftrax with Mystery Science Theatre 3000’s Mike Nelson, Bill Corbett and Kevin Murphy, and can be seen on Geek & Sundry’s Escape! which she hosted and produced.
On the development and production side, Janet co-created, co-wrote and co- produced Neil’s Puppet Dreams, a series featuring Neil Patrick Harris and his puppet-filled dreams. She co-programs comedy for Outside Lands music festival and is co-founder/creative director/producer of one of the largest and most acclaimed comedy festivals in North America, SF Sketchfest: the San Francisco Comedy Festival, now in its 20th year.

Janet spent seven wonderful years hosting TBS’s Dinner and a Movie and was a series regular on the beloved E! and Yahoo series Burning Love seasons 1 and 3. She recurred on HBO’s Entourage and showed up on hits like How I Met Your Mother, American Housewife, Maron, Shameless, Key and Peele, Kroll Show, Psych, Childrens Hospital, Bones, and Chelsea Lately. She appeared in films such as Still Waiting, Drillbit Taylor, and Judy Moody and the Not Bummer Summer (sporting maybe her weirdest movie hair to date). She also launched, produced and co-hosted for HuffPost Live, the Huffington Post’s news and conversation television network.

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