It's a nice relationship.

But winter, she really did.

My husband and I, we lost our dog, Langdom.

And winter, we were very, very obviously saddened and depressed.

And my husband works from home.

And he was like, it's too quiet here.

Too sad.

Three, two, one, action!

[laughs]

[laughs] And so, so we went up to Brad, and it was kinda hard because, um, Brad doesn't, he has a garage that's attached to his house, so he doesn't usually go in and out of the front door.

So can you give us an example?

Um, yes.

My, my dad wrote for my mom to read.

It said, "Hello, my, my name is Jen, and, and I wrote this, and I mean everything that I say."

That's great.

Um, and so I think being an improviser, like, you're, you're a viewer of all the things around you.

Like, you have to be knowing, like, what makes this, your scene partner tick, what makes them really happy, how can you fan the flames.

And I think in order to get people out of binds or heighten what is happening and raise the stakes, you need to know what's important for the other person that you're talking with or being on stage with.

And so in life, I- 'cause I, I teach and I direct at Groundlings as well, and I'm like, in life you try to solve the problem.

You know, you try to fix it.

But in, in improv you do, but then you make it worse.

But still, you know, this is kinda driven in part by someone that is k- kind of driving blind at, at, at some points.

Explain to me in detail how you cook the berjol.

So you can use pounded beef filet.

We use that good old-fashioned skirt steak, baby.

And we pound it really, really thin.

And then we stuff it with cheese, parsley, garlic, salt, pepper, olive oil.

We rub that all on it.

And then we now put Italian greens inside of it as well.

Oh, so there's a kernel of truth in it.