Financial Feminist - 221. Behind the Scenes at SNL with 'Domingo' Writer Ceara O'Sullivan

Episode Date: March 24, 2025

Ever wondered what it’s like behind the scenes at Saturday Night Live? Well, you’re in for a treat because today I’m sitting down with SNL writer and comedian Ceara O’Sullivan—the brilliant mind behind the viral Domingo sketch. Ceara takes us inside the fast-paced world of late-night comedy, sharing what it’s like to write and pitch sketches for one of the most iconic TV shows of all time. From the grueling weekly schedule at SNL to what actually happens when a sketch bombs, Ceara gives us an inside look at a dream job that’s equal parts exhilarating and exhausting. But this episode isn’t just about SNL—it’s about the hustle, the rejection, and the financial realities of being a creative. Ceara opens up about her journey from improv in Boston to TikTok during the pandemic, to finally landing SNL (on her second attempt!). We also get into the economics of being a comedian—how she manages money in a field with unpredictable income, when she knew it was time to become an S Corp, and how much it actually costs to build a career in entertainment. If you’ve ever been curious about what it takes to break into comedy, or you just want to hear some wild behind-the-scenes stories from SNL’s 50th season, this episode is for you.  Ceara’s Links: Instagram: https://www.instagram.com/cearajaneo/ Petty Crimes podcast IG: https://www.instagram.com/pettycrimespod/# Read transcripts, learn more about our guests and sponsors, and get more resources at https://herfirst100k.com/financial-feminist-show-notes/221-behind-the-scenes-at-snl-with-domingo-writer-ceara-osullivan/ Looking for accountability, live coaching, and deeper financial education? Check out our exclusive community! Join the $100K Club: https://herfirst100k.com/100k-pod Our favorite travel and cash-back credit cards, plus other financial resources: https://herfirst100k.com/tools Not sure where to start on your financial journey? Take our FREE money personality quiz! https://herfirst100k.com/quiz Special thanks to our sponsors: Squarespace Go to www.squarespace.com/FFPOD to save 10% off your first website or domain purchase. Rocket Money Stop wasting money on things you don’t use. Cancel your unwanted subscriptions by going to RocketMoney.com/FFPOD. Quince Get cozy in Quince's high-quality wardrobe essentials. Go to Quince.com/FFPOD for free shipping on your order and 365-day returns. Netsuite Download the CFO’s Guide to AI and Machine Learning at NetSuite.com/FFPOD. Gusto Run your first payroll with Gusto and get three months free at gusto.com/ffpod. Indeed Hiring? Indeed is all you need. Get a $75 sponsored job credit to get your jobs more visibility at www.indeed.com/ffpod. Public Fund your account in five minutes or less at public.com/ffpod and get up to $10,000 when you transfer your old portfolio. (see disclosures: https://herfirst100k.com/financial-feminist-show-notes/221-behind-the-scenes-at-snl-with-domingo-writer-ceara-osullivan/) Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode has everything. John Mulaney references, SNL 50th anniversary, improvisational skits. It's so good. One of the writers of SNL is talking about becoming a comedy writer, managing finances as a creative, and yeah, we're talking about Domingo. That was my SNL voice in case it wasn't obvious. Okay, let's roll. Hi, Financial Feminist. Welcome to the show. I am thrilled to see you as always. Thank you for being here. Thank you for supporting Feminist Media.

If you're wondering where to get started on your financial journey, you can take my free quiz to get a free personalized money plan. Go to herfirsthundredk.com slash quiz and we will send it straight to your inbox. Today's episode was a really fun one, not only because I got to meet someone that I deeply admire and that I just am obsessed with SNL and pop culture. And I don't get to talk about it a lot because I do money for a living, but it was just a great episode. We also got to meet in person.

We got to hang out a little bit. And it's a really, really fascinating episode, especially during the 50th year of Saturday Night Live airing. Kira Jane O'Sullivan is currently staffed as a writer for season 50 of Saturday Night Live. She also wrote on seasons 48 and 49 of SNL, for which she was nominated for two Emmys and two WGA awards. Kira performed as one of the nine performers in the 2022 Just For Laughs new faces showcase

in Montreal. Previous new faces include Jimmy Fallon, Allie Wong, and Kevin Hart. Kira is the creator and co-host of Petty Crimes, a comedy podcast that was featured in Time Magazine and the New York Times as one of the top podcasts of 2023. An actor slash character comedian from Syracuse, New York, Kira is an alum of the improv asylum main stage cast in Improv Boston. She's currently touring her live show Trauma Bonding

with Jimmy Fowley, who is a fellow SNL writer, who's also lovely, and has a feature film in development. She and Jimmy, and we'll talk about this as well, are also the creators of many SNL sketches, but the one is probably most infamous is the Domingo sketch. You know it, I know it, we know it, we talk about it. It's very fun.

Kristin's dancing off camera. Special thanks to Spotify for letting us use their studios in New York City. This is a fun episode, especially to share with your friends. This is one I'm sharing with all my college friends that I used to sit with every single Saturday and watch SNL. I just found this so fascinating. The behind the scenes of writing, how everything gets done every single week, but also how do you make money as a comedian? And Kira has a bunch of really good advice and is also very financially responsible, which I was so excited to see.

So without further ado, let's get into it. But first, a word from our sponsors. This episode of Financial Feminist is sponsored in part by Squarespace, Quince, Gusto, Rocket Money, Public and NetSuite. Build a beautiful website to get your message out into the world with Squarespace. Squarespace was the first purchase I ever made for my business way back in 2016, and it's still my number one recommendation for business owners or individuals building a website. Go to squarespace.com slash ffpod to save 10% off your first website or domain purchase.

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You're actually like the perfect guest to have on to talk about this, which I fucking love. Okay, what do you do and why is it so important? Ooh, what do I do and why is it so important? I am a comedian and a television writer. I write for Saturday Night Live. Ever heard of it? And it's important because the world needs to laugh.

Now more than ever. Really, really does. Okay, so do you remember the first time you watched SNL? Oh, definitely. Do you remember who the host was? I remember when I broke my collarbone when I was 11, broke my collarbones, sprained my ankle, was on a bike on rollerblades and I was on bed rest basically because I couldn't I couldn't do crutches because of the collarbone and I couldn't walk because of the ankle.

And so I was on the pullout couch in the living room and I was watching a VHS tape, oops, I'm 32, of the best of Gilda Radner, who is like an amazing character median, old school, old school SNL. And the SNL I grew up with was like Kristen Wiig. That's like my darling. That's, you know, she's probably the reason I do comedy and do the kind of comedy I do. But I remember watching Gilda Radner and I was like,

and my family was moving. So they were packing up boxes all around me to move to Michigan. And I was on bed rest on the couch, on the pullout couch in the living room. And I was like, my life effing sucks, but Gilda Radner's really funny. Was that moment the moment where you were like,

I must do comedy? You know, I think like a lot of comedians have like, like a funny aunt or a funny uncle. And I feel like the moment I was like, I must do comedy, was like when I saw how funny my aunt was, and I was like, wow, my aunt Sarah is was like when I saw how funny my aunt was. And I was like, wow, my aunt Sarah is really funny and she's really like owning the room right now.

What was the draw? Was it like, oh, I love making people laugh and that feels very joyous? Was it like being the center of attention? Cause you know, I have a background in theater and it's kind of like, it's like, mm. Yeah, yeah. The center of attention thing kind of gets kind of fun.

It's the making people laugh. Okay. It's the hearing the laughter in the room. Like my favorite person- I know when you did it. Yeah, like my favorite person in the world to make laugh is my mother. Just because like when my mom,

my mom's very shy, but when she really, really laughs, like it's like uncontrollable. And that to me, like that's- She is a snorter, a crier. She's like- A weezer. Yeah, okay. And she to me, like that's... She is snorter, a crier, a weezer. Yeah, okay. And she just like... Yep.

And I like, I'll keep going as long as I can. I love that. That's my favorite sound in the world. That's so lovely. You had a long road before writing on SNL. I certainly did. Most comedians, most actors, anybody in the arts, like that's a very similar path, typically.

Yeah, for sure. Can you walk us through, from where you started doing comedy all the way up to your SNL audition? Yeah, I can. Let's see. I, so growing up, my, you're like, why are you starting a childhood? Growing up, growing up, my dad worked in trucking,

so we moved around a lot. Like- He was like a truck driver? No, he worked in like the logistics of it. I pictured like ice road trucker. Like, you know that show? I wish. You know they drive on the ice road

and it's really dangerous. Do you know what I'm talking about? Yes. Okay, that's what I pictured. I'm like in the cab with him. Yes. Near death experiences every single week. No, he just worked at trucking companies. The trucking industry in the 2000s was really volatile because of the Middle East and gas prices. So we moved every year. So like I went to a different school in a different state for

sixth, seventh, eighth, ninth grade. That's a lot of transition. It's a lot of transition. I think that started to like, make me a little funny. You know what I'm saying? As a coping mechanism, a coping strategy. Yeah. Well, you got to make friends at every single school. And so it's like, what's the easiest way to do that? Be funny. And it was a lot of people witnessing in different states

and different places. And so I absorbed a little bit of that. And then I went to college and I did improv. And during my undergrad, I started doing sketch and improv professionally for I had some really lucky situations with like I interned at a nonprofit comedy theater in Boston and they gave me a scholarship so I could take classes and then I saw a Facebook ad for another sketch and improv theater and I went and auditioned and I got cast and after graduation I found a job a PR job on

Craig's list. Super legit. Yeah, right? I literally like would go, I would ride my bike 11 miles to, cause I didn't have a car and I didn't realize where the job was. This is in Boston? This is in Boston. I was like, surely it's in downtown Boston.

It was not, it was in. You're riding your bike in Boston winters. I'm riding my bike. I'm stopping at the star market a mile away to like change into clothes and act like it's not that far, don't worry about me when I get there. And then every night I'm doing sketch and improv. And then I'm doing comedy every night and that's like where my heart really is. I eventually, the like comedy started to outweigh the day job. I was like

working at Harvard getting my masters. But like what were you getting your masters in? I got a masters in creative writing. Cool. Do you feel like that was useful? It was useful. Okay good. Yeah I wrote. Because sometimes you get master's degrees because it's just like I guess so go to school. Yeah yeah it was useful I think. Yeah you know I actually feel like for comedians all the experiences you can have outside of comedy are good and helpful The wider your swatch of experiences can be for the sake of storytelling the better and that's why I actually feel like Comedians who've been comedians for a really long time. Sometimes people Over time are less in love with their material because it's less about the world and it's more about

They're like insular comedy experiences. But anyway, the road to SNL. So I'm living in Boston, I'm working a day job performing comedy at night. This is like years and years and years. There's this basement theater in Boston where I probably performed, if I had to guess, more than 3,000 shows. Wow. Because like truly 10 a week for years. And I finally like, I'm 26, 27, I felt like the ceiling bumping against my head. I was like, am I going to just be a comedian in Boston who makes a living but doesn't have a career? What's my dream?

What's my dream? What's my goal? I can be, you know, in ads for the MBTA and like do local car commercials. And every so often, hopefully Adam Sandler films a movie in Boston and I can have one line in it. But what do I want? And I actually didn't have the cojones to do anything about it. But my boyfriend, Alex, who's now my husband was like, I'm moving to LA. And I was like, I'm coming. I was like, well, I love you, so I'm coming. And we road tripped across the country

and I was like, this is perfect. I'm gonna do the groundlings because I'm a character comedian. And then my crew is gonna take off from there and it's all gonna be so amazing. And then the second we moved to LA, the pandemic happened. And so that is why I am on TikTok. And it was because I was in LA quarantining.

Because I just left my job at Harvard, my tuition benefits rescinded themselves. So then I owed a bunch of money on classes I'd already registered for. And I was in LA. And I just, it was like, I mean, I was down bad. I was mad at Alex because I felt like he drugged my ass to LA and now a pandemic.

And he's like, he's like, this is not my, I could not have anticipated a global pandemic. Respectfully understood that came around, took me about a month. And so I just started posting old stage bits and stuff on TikTok, and things started to pop off a little bit. And got a manager, did Just For Laughs,

made a short film with Powderkeg, which is Paul Feig's production company. Things were percolating. Paul Feig, for those who are not aware, Bridesmaids directed many, many episodes of The Office. Yes. This man is the comedy director. Yes.

Yeah. And one of my favorite directors of all time. And also dresses in a full suit on set. Yes, he does. Yeah. Yes, he does. He's a handsome man. Yep.

Yeah, and then eventually SNL sent me an email cold to my inbox and asked for a tape. And then they asked me to showcase at the Groundlings. So my first time ever performing at the Groundlings on stage and my first time on stage in over a year and a half because of the pandemic was showcasing for SNL. Okay, when we say showcase for the civilian, what does that mean?

It means a five-minute set, your time. Yeah. For a stand-up they do their stand-up material. For me, I'm a character comedian so it's... And it's just you on stage? Just you, characters and impressions. And there are different like, I won't get too like in the weeds about it, but there are different like ways to approach a set. And I didn't know anybody who worked at SNL. I didn't have friends who worked there on the cast or on the writing staff.

So I didn't know you could slate your characters, which basically is like introducing them. So I'm doing Jennifer Coolidge gets caught in on train. Exactly, which is like, that's the setup and then your character can be the payoff. I didn't know you could slate. I did them like. Well, it isn't natural.

No. You would think, no, I'm just gonna do the impression and it should be so good that you know who I'm doing. And also just for laugh style is you don't slate at all. Right. You're not allowed to, so whatever. Anyway, look, I'm making excuses for the fact that I bombed.

No, but I mean, okay, So one of my very, very good friends is a comedian as well, improv, sketch, all of that. And like, as an actor as well myself, I can't even imagine, we've talked about this, like year and a half not being on stage. The last time I've acted, like, and not, you know, in my work is like my senior thesis in college for my theater degree.

So I could probably get on stage. Would it be good? Probably not because it's been fucking eight, nine years. It's a muscle for sure. So a year and a half, especially if you were doing it, it's like going to the gym every single day and then not lifting a weight for a year and a half. And then getting on stage and trying to deadlift. Yeah. Yes. Yeah. Yeah. So anyway, I bombed.

And then a year went by. I'm still posting on TikTok and I'm like, I guess I'm a content creator. I think I'm going to throw up. This is not what I... I love, I love to perform. Like that's what I'm, I don't know. And then I was doing Just For Laughs and SNL was all set on me. They were like, we're good. I submitted a writing packet. How'd that feel? You know, it was funny because it was like the opportunity

I thought had come at the wrong time because I was like, no, no, no, no, no. You have to see me now. I'm really ready now. I'm good now. I'm good now. I'm good now. I was good then, but it was rusty. I didn't understand, I didn't know the assignment,

but now I know. I can slate, that makes a big difference. But I was like, I've been doing this character set around town in LA now for a year, cause things have been open again, and I've got it, come see my shit. Yeah. They were like, we're good, we're good, we saw you,

we saw you, we saw what you got, girl. And we don't want it. And we don't want it. And SNL was doing a showcase in New York and my like home comedy theater in Boston where I had logged those hours and hours of shows, they had just opened a New York space and SNL was coming and I texted them and I was like,

can I do the New York SNL showcase? And they were like, you want to fly from LA and do the showcase? They haven't asked to see you. And I was like, can you just throw me on? And they were like, yeah, you can go bullet. So- Is it like auditioning for like a Broadway show

where they like, you know, there's some people who like get auditions and then there's like the cold call, cattle call where you're just showing up and you put your name on a list No, okay. The way it is is they go to a few comedy institutions second city Groundlings UCB. Yep, and they see basically a show of comedians who all have five minutes of time and if

Someone at SNL is gonna be there, do you know, do you want to know? You never know. You never know if they're gonna be there or not and you might not even know who to look for. Yeah, okay. It's not like Lauren is showing up and being like, well. Well, I flew my ass to New York to do this showcase for,

I mean, I'm like literally have no money and I'm like, they literally don't wanna see me. They literally already saw me and I literally did so bad. And I'm going first. So I'm basically warming up the audience and I did great. Yay. And I happened to be on the same showcases,

Marcelo and maybe some other people that they hired that year. I remember Marcelo because we had done Just for Laughs together. I was ready to go and it happened to be that Lorne and Colin Jost and some writers and producers were in the crowd that night. And a couple days later, I got a text that they wanted me to screen test for the cast. So I went and did that and then I interviewed

and Lauren was like, we're hiring you as a writer. And I was like, that sounds incredible. If you are a writer, talk to me about how that is different than being in the cast, but maybe also writing. are a writer, talk to me about how that is different than being in the cast, but maybe also writing? Mm-hmm, mm-hmm, yes. The cast does write a lot, and a lot of them are incredible writers.

So I would say the writing job is slightly less pressure, but still a shit ton of pressure. We were talking about this before, that it feels like, well, maybe I'll ask you, what is the pro of being a writer and what's the con of being a writer? The pro is all you got to do is write and produce your sketches. And then the con is all you got to do is write and produce your sketches. So there's really nowhere to hide. Yeah. I think we were saying it's like it's weirdly less pressure yes because you're not on screen you don't have to be like professionally hot. Yeah. Like but if the sketches bomb that's more on the writer honestly than it is on the performer.

Yeah typically. You know what here this is what the answer is like the pro is your Sundays are better. Because if you're on the cast, everyone's blowing up your phone, either they loved what you did, they hate what you did. As a writer, you have a little more anonymity. So that's like the better part. And then I don't really know what the worst, worst part is. I, uh, I think listeners are the shit. I'm a huge Mulaney fan.

And so I've, I know a lot about his work. And of course he says in one of his standups, the time he was pitching Mick Jagger and talked about how just his experience as a writer for people who came in, who were absolute divas, was just like. I've worked with Mick Jagger and I can tell you that anecdote is probably not exaggerated.

Okay, so I imagine that that can be a con of being like, no, I'm actually good at my job and I need you to like, take my ideas or I need you like, you don't work here. I do. Like I would get, I think I would get frustrated by that. I'm just like, just trust me, this is going to go well. I don't know. Is that is that an experience you have? Or are you over it by now? You're like, okay, they're gonna do what they're gonna do. No, it's such a good question. And it's a good point. Because part of the job is convincing people that they want to do your idea. Right. But I always say, like, whether they think they're gonna like it or not, once it goes well at the table read,

then they like it, then read, then they like it. Then they're convinced. They like it when they hear that it's funny. So you can try to schmooze and talk your way there, but I'm like, it's going to show itself. Totally. Is it pretty male dominated, the ratio from who auditions, who shows up, and especially white men? I think they've gotten better, of course, but I remember, you know, what, early 2000s,

it was a lot of white people and Kenan Thompson. Yeah, I think there's pretty good gender parody on the cast. I won't like speak to the diversity of the ensemble because everybody knows the ensemble. And on the writing staff, yeah, it's like, there's definitely more fellas than gals. And a lot of other industries, comedy is very male-dominated.

Yeah. I mean, you probably can't tell specific stories, but are there times that you feel like your gender has been a disadvantage or like, I think in corporate rooms, right? It's often woman with an idea gets shot down or man said same idea, it gets approved. Mm-hmm.

I definitely have had the experience. Like how do I say this without getting fired? No, no, like I definitely have had the experience of like trying to convince the show that what I'm writing about is something people want to see a sketch about. Oh my gosh, my writing partner, Jimmy Fowley and I, the number of Selling Sunset sketches we have attempted,

the number of Golden Bachelor sketches we have attempted. Oh, those are so good. I mean, the Love is Blind sketches, the- Did you know Jimmy before? Because I met him at the- He are so good. Like, I mean, the Love is Blind sketches, the... Did you know Jimmy before? Cause I met him at the, he was so nice. He's the sweetest, we met at the show three years ago. I mean, trying to get a Trader's sketch on the TV. Oh my, I would die.

But like, those are more, you know, so there's- Who's playing Boston Robb? That's my big question. We cast Marcelo. Yeah, I figured. So I sometimes have these brains of trying to get my pop culture, girly ideas on the show. But in general, I feel like I oftentimes

see my gender and my perspective as an advantage because I'm like, only I care to write about love is blind and the traitors and you know, golden bachelorette and the boys, that's not within their purview. Right, that's not even on their radar. So that's actually like, can oftentimes be an advantage, but I just have to say, rather than trying to write the way the boys write or trying to write what the boys are writing, I just try to focus on like what's true to me.

Totally. Well, I think that's great advice to anybody listening regardless of whether you write for SNL or not. It's just like, and that's how I feel about my work is there's a reason my work I think is so successful. And it's because like there were not a lot of voices that were especially very, very feminist. And we're like, no, money is a form of protest

and we're gonna talk about it like it is. So I think that's the reason I have the job I do. Yes. Is because it was like, no, I'm not gonna try to be a finance bro, because gross. Yeah, because then that women wouldn't need you. Right, right, right. It'd just be like everybody else.

Yeah. I would love for you to share, and I'm sure you've shared it on other shows, but for everybody listening, what does a week at SNL look like? Oh, okay. Because that's just really helpful. Again, if you are not in this space,

all of us are a little curious little sneakies where we're just like, oh, tell us what happens. What time are you waking up? What time are you going to bed? Okay. I can say too, if you want like a more in-depth There is like they just did um Documentary that you are also in I am yeah, it's a it's a bad week for you girls

I will say that in the documentary they really they caught me actually I'm my biggest flop in my entire SNL career Can we talk about what that was? Oh my god? Yeah, it was this horrible duck boat sketch Where this what who was hosting? Iowa debris was, yeah, it was this horrible duck boat sketch where this, who was hosting? Iowa Debris was hosting, the doc crew was there, they're following us. So again, for civilians, you're gonna pitch a bunch of stuff and you might not get any sketches that week. Or you might get 17, not literally, but like a ton.

So that's every single week for a writer. It's just, we're going to pitch stuff and it's either going to go all the way to air or it's gonna go to dress and it's gonna get cut. It's gonna go to table or it won't make it to table. Right, or somebody is gonna, no one's gonna say, yeah, you're on this week. So the doc crew came and the host was Iowa Debris. And I was like, oh, she's a Boston girlie.

I bet she'd like to do something like Boston kind of townie. And that's like, I have that. That's your bread and butter, yeah, oh, she's a Boston girlie. I bet she'd like to do something like Boston kind of townie. And that's like, I have that. That's your bread and butter. Yeah, you got that. Exactly. Like, I did comedy in Boston for a decade. And so I was like, oh, maybe on a duck boat. And I really wanted to do it. But Lauren pulled me into the office and he was like,

the sketch you've written is not producible. That's a good one. And... Producible in terms of, like, we can't get the set for it, we can't... Yeah, exactly. It would be really involved, but they figured it out because you really wanted to do it. And what they did is they built an entire duck boat,

which is like an amphibious vehicle that can go on land and in the water. Which props to, like, set, makeup, all of that, like... Insane. Insane. Insane. Every single week. They built an entire duck boat. They split it in half to put it on two separate green screen keys so that there could be the front of the duck boat

and the back of the duck boat. I had to go on Google Maps, draw a picture of the Charles River in Boston, where I wanted a film crew to go to film footage of the river and its shores to go on the green skeins behind the front and the back of the duck boat. I mean, and your sketch bombed.

It bombed. It bombed. Bombed, bombed, bombed. Okay, do you feel guilty about that? Yes, of course. To this day, I carry the guilt. I carry the guilt. You're like, I made you do all of this work.

Crazy. And then, and- Are you still proud of it though? Or do you- No, no, I'm ashamed. And then, and- Are you still proud of it though? Or do you- No, no, I'm ashamed. They were right and I was wrong. Okay. Because I think like,

we all thought it was gonna look shitty, but actually all the departments did an amazing job. He's like, you didn't do anything, but the departments did their job. No, the departments killed it. And like, I never got the writing there. That's so funny. It was terrible.

And there was even a thing in the New York Times where a set designer was asked about like, the most arduous set they've ever had to build. And there was even a thing in the New York Times where a set designer was asked about, like, the most arduous set they've ever had to build. And they were like, well, one time we had built a duck boat and split it in half. Like this fucking writer. And then it, and so this was like my biggest flop. And it happened to be the documentary crew was there.

I mean, thankfully, they gave me a really light touch on the edit. I'm actually putting myself on blast way more than they did. But yeah, if you want to see more about it, you can watch the documentary. But I don't know if I've seen it. I'm actually putting myself on blast way more than they did. But yeah, if you want to see more about it, you can watch the documentary. But I don't know if I've seen it. I'm literally watching the duck boat sketch after we're here. When we come back, we're talking about the grueling SNL schedule,

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Okay. Oh, my original question. Okay. A week at SNL. Yes. So Sunday, what happens? Sunday, you're at the after party until 4 a.m. So your Sunday's a little bit of a wash.

Okay. Is that your recovery day? It's your recovery day. In my case, it's my like, trying to like spend all of my time with my husband. I'm FaceTiming everyone on a loop that I haven't talked to all week. I'm like, I'm shaving my legs.

Yeah, totally. I'm trying to get outdoors. It may or may not happen. That's my Sunday. Sunday afternoon, I start getting some texts and calls. Ideas are percolating for the coming week. Okay. I'm thinking about pitches.

I'm sort of mentally already there. You know who the host is, couple weeks-ish out? It depends, but yeah. Are there any times you are writing the previous week, like let's say we just came off of Timothy Chalamet hosting, and who's the host this week? Nobody, because we're going into the 50th.

Got it, that makes sense. Okay, so let's say, I don't know, it's Adam Sandler this week. So are there any sketches, even in the back of your mind, that you are starting to write for Adam Sandler during Timothy Chamay week? No. Okay. You're like so present.

Yeah, not by choice, by necessity. Yeah, yeah, yeah. Okay. So Sunday night. Sunday night I'm thinking about Adam Sandler maybe for the very first time. Got it, cool. You're like, who is this? Exactly, I'm doing, I'm like, I might watch something,

I might read some things, kind of depends. Start to get percolating. Like watch one of his movies or like watch? Exactly. Okay. Especially watch like their latest project, something they're excited about, start thinking about archetypes,

like parts they would be like, parts that would go against type, like, you know, start to be strategic. Monday we go into the office. I normally get in around one or two. I don't know why we don't go to the office at 9 a.m., but we don't. Well, probably because for the rest of the week,

you're up until three in the morning. Yes. Yeah, okay. Yes, could the whole schedule shift up? Sure, but I'm not the boss. So go in one or two. Eventually, we go get called in to. We have a topical meeting with all the writers.

Talk about like, what's going on in the week? Which celebrities are around that week? Things we're thinking about. For like guest starring? Yeah. They tell us like, the host can do accents. The host doesn't want to sing. They're a really good dancer. Da, da, da, da, da. So like the special skills do accents. The host doesn't want to sing. They're a really good dancer.

Da-da-da-da-da. So like the special skills at the bottom of the resume. Exactly. They can juggle. Exactly. This is why actors, we put special skills at the bottom of our resume. Literally.

So that when we're hosting SNL one day. Exactly. Yeah, OK, cool. Then we go pitch in Lauren's office, which means all the writers and cast like sit on the floor in his office. Yeah, that's the infamous one, isn't it? He says, this is Timothy Chalamet, and we all clap.

And then we go around the room and we pitch a little joke. And it's sort of a, they're like, first impression of all of us, they see all of our faces. And the host knows like, I'm in good hands, is the point of it. Got it. Because they're probably, especially if they're first time hosting, it's extremely nerve racking.

And I think for most camera actors, obviously they're not used to getting one shot mom's spaghetti. It's extremely nerve-racking. And I think for most camera actors, obviously, they're not used to getting one-shot mom spaghetti theater actors are. But yeah, it's a very different experience. And of course, it's oh, so no. So it's like, yeah. Exactly.

And then Monday, you just hear all the doors in the hallway like opening and closing. Everyone's running around. Start writing some sketches. And then Tuesday, really really we go hard. Tuesday I get in around one and I normally leave around four a.m. Wow.

Are you a night owl? Do you have to be a night owl to work at SNL? I am a night owl and thank God. Cause I'm a morning person, I can't imagine the schedule. Like this sounds like my hell. Yeah, I mean at one point during my first season, I was having, like, a little bit of a health issue, and I went to the doctor, and they were like,

you have night shift sleep disorder. What the fuck is that? I guess it's something that, like, emergency room physicians get. And you're like, I'm a comedy writer. Yeah. And we're like, because your cortisol's supposed to be high when you wake up, and then it descends throughout the day, and then you go to bed when it's low.

And like my cortisol is like at its highest at nighttime. Anyway, so maybe you want the job, maybe you don't. But yeah, so Tuesday's writing night, we go hard, write like 50 plus pages of sketches. Okay. Wednesday. Can I pause you for a second? Yes. Okay, if you were doing a like highly produced,

not live sketch, like a lonely island, or like, please don't destroy sketch. At what point is that filmed? Because I would think you have to have that together. No, before the rest, no? No, it's on the exact same timeline. Oh my, okay. Yeah, so you've written that on Tuesday night live pre-tape sketches all getting written

Wow Wednesday morning you pop open your computer in bed you polish things off you hop on some zooms you get everything submitted by noon You're writing it in a Google doc We're using we're using industry standards final draft. Okay. Yes We're using industry standards, final draft. Okay. Yes. Okay. I'm like, you're just in there Microsoft Word.

You're just like, okay, they say this. It does have a funny like SNL format that's dissimilar because I write movies too. I do have to like remember like, wait, what's the weird way we do it at SNL? And then I take a shower. I lay naked on my bed with like a towel wrapped around me, and then I go to the office at two o'clock. And then start running around to the different cast members to tell them like, you're playing Anne Hathaway. But old school Anne Hathaway.

Like, you know. Princess Diaries Anne Hathaway. Yeah, exactly. Like, do it like this, not like this. And then I, you know, make sure the sound cues and whatever tech I need for the table read is set. And then we all sit on the floor of the studio, 8G, for the table read from like 4 to 8 p.m. And then we go up to our offices and we eat some pizza.

And the host goes into a meeting with the producers and we wait for a little email with script picks, which means these are the sketches we're going with, including the pretapes. And so if you've written a pretape, then you immediately are going into a production zoom that night. Otherwise, you're running around the departments to say, like, the set should look like this. These are the props we need.

Here's what we're envisioning for the wigs. Here's what we're envisioning for the costumes. I am in such awe of all of you, first of all, but again, I don't mean to harp on it. The makeup, that's fucking insane. Yes, yes, yes. Especially when we need a full alien costume for six people in three days

with hair and makeup and prosthetics, and that's insane. Especially when we change things. And we do. Yeah, yeah. On Friday, we go like, actually it's not in the 1960s anymore. It's the 80s. And they're like, are you fucking kidding me? I was gonna say, do they get mad or are they just like,

okay, yeah, and it's what it is. It's like the, you wanna learn like to be a Buddhist monk of just acceptance, you work at set design at Saturday Night Live. They definitely like to know things as soon as possible and they get frustrated if they feel like, really, we're building a duck boat. OK.

Yeah. All right. But it is what it is. Sure, dude. We'll do that for you. And then Thursdays are my favorite day of the week. We're blocking. We're shooting promos.

The musician is coming in to try their music. We're at rewrite tables, rewriting sketches, making them better based on the notes from Wednesday and whatever they need. And that's my favorite day because it feels the most collaborative. We're all on the same team rather than competing against each other. And our goal is to make these 10 sketches we picked or 15 sketches we picked as good as they can be. And so that's why I like it. And I just like pitching jokes. It's the easiest. Friday I'm assuming. Friday if you have a pre-tape you're on set I just like pitching jokes. Yeah. It's the easiest. Yeah. Friday, I'm assuming.

Friday, if you have a pre-tape, you're on set at 7, 8 AM, and you probably have a 12 to 16 hour day on set at our studios on the Upper West Side. Pre-tapes kind of rock. They're a blast. Because it's just sick as fuck that a sketch you pitched on Wednesday, you walk on set on a Friday, and you're like, what the hell?

They built, what the hell? Right, so they just working around the clock. They're working 24 seven. Yeah. Yeah. And then otherwise you're blocking your sketches. You maybe are doing some tables for the update features, which is like characters that are going to happen

on weekend update. Friday, you're running sketches on camera. You're doing more rewrites. Everything's getting polished and better. You're checking in with the departments. Saturday, you go in at noon, run all the sketches again, and then dress rehearsal 8 p.m., live show 1130. I guess I have to thank you for being up at 9 30 10 to record this. I really appreciate it. This is my 6 a.m. Yeah, I'm really sorry. Thank you. It's just, it's so crazy to me.

And it's just a testament. Again, so even if, okay, all your sketches bombed, like have some respect people online for like how much work goes into this. That's something like I think about, which I'm like, I don't mind if people, people don't like the comedy, that's them being honest. Like it made you laugh or it didn't,

but you gotta admit the set looks really good. Sure, sure. I'm like, but look at the wigs. Right, right. I mean, I get it. We didn't get the jokes when they needed to. I respect that. Right.

You liked it or you didn't, but come on. You have to appreciate the special effects. Yeah, totally. For someone who is listening, they are most likely not a writer at SNL, but I think we all have the experience of pitching an idea that we really, really care about and getting it shot down. How do you get good at just continuing to pitch, even if it was your baby and it gets shot down, and also just being like, okay, we got to keep moving? How do you not take

it personally anymore? Or maybe you still do, I don't know. Such a good question. In my job, we pitch ideas and are shot down so frequently that you learn to not be attached. And so I think a gift you can give yourself is remembering that your best idea is ahead of you, And so I think a gift you can give yourself is remembering that your best idea is ahead of you, not behind you. And sometimes people say no to you and they're wrong.

And sometimes people say no to you and they're right. Yeah. And that is a gift when people say no, when people are honest to you. But you know deep down if that idea is worth something, so listen to yourself. But I think just remembering, don't get precious about one single idea, just keep going at it.

And yeah, remember your best ideas ahead of you. Well, and I think the vulnerability of continuing to show up anyway, because again, most people are not pitching this many ideas in a meeting all the time. 100%. But I think it's very easy to, yeah, to get the courage to speak up in a meeting

or to go to your boss and they're like, no, it's not really gonna work. And then being like, okay, I'm never saying anything ever again. Yeah, yeah, totally. That vulnerability is, I think, just really key. And I think the other thing I wanted to ask you to before we talk about money is like, again, I did, just really key. And I think the other thing I wanted to ask you, too, before we talk about money is, again,

I did some improv growing up. I have so many friends who do it. The yes and thing is so important, right? And also understanding that you're on stage not actually to be funny, you're on stage to support the other people on stage, to be present. How has that experience helped you in the rest of your career, in your life? Like for someone who's not an improvisational or sketch comedian,

how has that helped you be a better person? I think it has helped me I think it has helped me because I think sometimes when somebody can't picture an idea, they just say no to it. And I try to find what piece of that idea we can make work, like what part of something I can say yes to, even if it's just a kernel of it. And I think also, I think like saying yes to people and showing excitement about their ideas builds relationships and it makes people want to be around you. They feel seen. They feel seen and acknowledged.

And so like, I try to show excitement whenever anybody shares something of themselves. Yeah. Because again, it's a very vulnerable thing. Yeah. It's like, I'm doing something scary. I'm telling you what's going on in my brain. And if you shut it down, I'm going to cry forever. Yes.

This is my transitional question. But hit me. I think one of the incredible learnings of comedy and improv is owning your choices. Yeah. And many women in every field have, I think, a lot of trouble with that, both because society has told you, do not own your choices. But also, it's just difficult. So how do you

get comfortable with that? It's kind of like a part two of like, OK, somebody's going to, you know somebody's going to shoot you down. Like, how do you actually double down and say, no, I know this is going to work? I have like a a couple different ways I can think of answering this question. One thing is, if you really, really have confidence

in your own idea and other people aren't seeing it, do it yourself. Yeah, that's how most, especially female or people of color, like, comedians have gotten their projects produced. Yes. They just did them themselves. Yes. Yeah.

Yeah. You know deep down when an idea is good. You know. Trust your instinct. And also ask somebody else. I know what you're thinking. Yeah, we're going to talk about the Domingo sketch. But we're also getting ready to dive

into the expenses of a professional comedy career, including how she knew it was time to become an S Corp, managing finances when you don't make the same paycheck every month, and I give Kira some advice on her financial situation with her partner. Stay tuned. As a business owner, one of the most important decisions you can make is hiring.

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you're spending less time looking backwards and more time on what's next. NetSuite is one of those perfect products, especially for the larger businesses that continue to grow. And when I get to that point in my business, that's who I'm using. I'm using NetSuite. Speaking of opportunity, download the CFO's guide

to AI and machine learning at netsuite.com slash FF pod. The guide is free to you at netsuite.com slash FF pod. The guide is free to you at netsuite.com slash FF pod, netsuite.com slash FF pod. So something I think many people ignore about people in creative fields, whether actor, writer, comedian, whatever, is that there's a lot of expense occurred in just training and learning how to do that.

So going to the acting or improv classes, flying yourself to New York so you can audition. Yes. Can you talk about some of those expenses and also how do you determine what does feel worth it versus what doesn't? Mm-hmm. Yeah. It's such a good question, and I think it's so important to talk about. And it explains why there is so much privilege in the industry. Because you can afford the acting classes or afford to fly across the country for auditions. Yeah. And you have for auditions. Yeah.

And you have a safety net. Yeah. Yeah. I mean, like, acting classes can cost a thousand bucks. Yeah, like one-day intensives are a thousand bucks easy. So it can be really, really financially draining. And it's especially hard when you are doing your struggle job and you're spending, spending, spending.

I mean, headshots are expensive. Managers are gonna take 10, 20%. Yeah, I mean, an agent makes 10%, a manager takes 10%, a lawyer makes 5%. People that are more successful than I would have a business manager, they would also take 5%. It can be really, really costly. Yeah.

Do you feel like the industry is still swayed by, I mean, let's talk about the neptitism thing first, but also like, where did you train or who did you train with? Or like, again, yeah, were you at the groundlings? Were you at UCB versus maybe like a secondary theater? You know, I think people shouldn't worry too much about that. From my perspective, if you've got it, you've got it. And I think people worry about like, did I go to the right

institution? Did I go to the right conservatory and get the training? Or did I take... People will try to sell you on these programs, and maybe they'll help you and maybe it's what you need. But if you feel like you don't need it, don't do it because you've either got it or you don't. But the bonus is you get to write all of that off. Yes, yes, that's right. One of my favorite things about you is that you shared that you have an S corporation. That's right. Which is so smart and anybody who runs their own business and that's what you do,

yes, can have an S Corp. But I don't think a lot of creatives realize that you can do that. No, and I think people should because it's actually very little maintenance. It really, really is. And take from me- And you get to write so much shit off. You get to write so much shit off. And I'm actually like, I'm really a messy gal.

I'm not particularly organized. Like I'm a creative person. Yeah, you hand it to an accountant. Yeah, you hand it to an accountant, you put it all on a card. Yeah. And then somebody does your taxes. Yes, Yeah.

Can you walk me through when you figured out it was time to put everything under NS Corp? And then how does that help you better manage everything? You know, it's so interesting. In my industry, like, you, it's very feast or famine with projects. Totally. You might book a big commercial, or you

might book a big punch-up job or you're writing on a, you sold a movie, you're taking a TV show out to pitch, you staffed on SNL, and then you don't know when your next job is coming. So you have to make smart money moves. And you don't want to, because you just want to be like,

I'm a comedian, I don't even know what a credit card is but it's like girl learn. I've never loved you more oh my god. No this is what I talk about is I'm like and it's my biggest pet peeve is because I have the right brain creative yeah I'm also extremely left-brained and so I have so many friends who yeah are creatives and they're like oh but it's complicated and that's not what I'm good at. I don't care if it's not what you're good at, you need to find the bare minimum to do. I'm not gonna drive- To protect yourself.

Right, you do it anyway. But I got a driver's license. Yes, that's how, and in New York too, that's incredible. It's just, the thing that drives me so insane is I'm like, you don't get to opt out, especially when there's so many people that I see get absolutely taken advantage of.

Because a business manager comes in and they're like, Oh honey, I'll manage your finances for you. And they're like, okay. And then they take 25, 30%. They invest them and you know, they invest their money into super risky things or like the in sync shit where like somebody was getting paid the entire time, you know? And so no, it drives me crazy. Yeah.

Like this is part of the job you can't just say oh I'm creative and yes and opt out you can't do that no I the once I was at SNL for a year I formed my s-corp yeah yeah so are you a 1099 contractor at SNL are you a W2 yeah you're W2 at SNL? Yeah, contract employee for NBC. OK, so then anything that's coming outside, so movies, you doing shows, you getting paid, your podcasts, that all falls under the business. All of it. Yeah, OK. Everything.

Yeah, so you almost have a side hustle and then the full-time job. Yeah. Yeah, if we're going corporate language of it. Yeah. Yeah. OK, so you got the W2 and then you're handling everything under the S corp Everything. Okay. So are you investing your money? You're getting through SNL. I do it all myself. Okay so you're opening retirement accounts and a self-employed person and I maximize my contributions and a girl I

Tell all my co-workers do the same. Okay. I literally like go into my field especially like my younger co-workers because there's some like amazing writers there like August White and Asha Ward who are in there like early mid-20s And I go into their office and I close the door and I go are we investing? 32 year old woman? They're like, I'm fine. She's a fucking millennial telling me to put my money in an ETF.

They're like, I'm gonna have a long, wonderful career. And I'm like, of course you are. You're far more talented and incredible than I am. But I don't care. Put your money in the accounts. You really do. That's like one of my biggest things with women who are making money.

It's just like, I need you to have something to show for it. Yes. I need you to have something to show for all this hard work. Yeah. Because, yeah, something might dry up, or you might get injured, or you can't work for a period of time. And it's also, the industry you're in is so fickle. Yes.

And so. And that's how I think about it. I'm like, I'm making my money now. But I don't look around and see a lot of 55-year-old female comedy writers. Right. Unfortunately. And I hope that that changes, but ageism is really real. Yep. So I'm making my money now.

Right. And I actually feel kind of old in my industry sometimes. Yeah. I mean, SNL is just the schedule. It's like a young person's game. It is. That's sometimes. Yeah, I mean, SNL is just the schedule is like a young person's game. That's fair. Yeah, as soon as your back starts hurting. I'd love to stop on a sitcom at some point where it's like the office, people go in from 10 to four.

Yeah, totally. And I think also, again, any entrepreneur can take this advice. You know, you are gonna have crazy seasons and then you need to survive on times where you know it's not gonna be as crazy. Yeah. And like, we have a pretty dependable business income at HFK, but there are like,

I know January is going to be really good for us because it's new year, new you vibes. And I know December is going to be terrible because no one's thinking about money because they're spending it all on Christmas stuff. Interesting. So like December, especially since we shut our business down for at least a week, every quarter, we do that to take care of people. And so we know, okay, when we shut it down in February,

February's probably gonna be a lower month just because we're not doing active work. So me as a business owner, it's my responsibility to go, okay, how do I make sure I make payroll, not just the months we're doing great, but the months that, you know, for the rest of the year. And it sounds like that's what you're doing too. Yes, definitely. Because also like crazy things happen, that, you know, for the rest of the year. And it sounds like that's what you're doing too. Yes.

Definitely. Because also, like, crazy things happen. Like, the writer's strike happened. Yeah, can we talk about that for a second? Yeah. What you just added, what happened? I was on the picket line, baby. Yeah. Couldn't work.

Yeah. Could pencils down. Went into pitch for Pete Davidson on a Monday. Wow. And at midnight, the strike happened. So how do you survive during that time? I was really grateful that I picked an apartment in New York with really low rent.

Like, I do ascribe to the idea that, like, I try really hard not to have lifestyle creep. Yep. Although I actually have learned that I sometimes have need to let my lifestyle creep a little bit because You do. I moved to New York and I picked, I picked the cheapest apartment I could possibly find.

Literally because a fifth floor walk up in Hell's Kitchen on Ninth Avenue, I lived above blazing saddles. And I was like, they're going to fire me in a week. So I need an apartment I can afford when I'm working at Old Navy in Times Square. Oh no. But then I realized like- Are're gonna fire me in a week, so I need an apartment I can afford when I'm working at Old Navy in Times Square. But then I realized like- Are you still there? No.

Okay, good, okay. I actually just moved. Oh, congratulations. To the Upper West Side. Oh my gosh, lovely. And I was like, at a certain point I looked around and I was like, I cannot be working the hardest I've ever worked in my life

and living in the shittiest place I've ever lived. Yeah, it's not conducive to... No. That's the other thing I wish people understood is I am not, you know, the finance expert that's like, you can't spend money. There are some times where like, in order to make more money, you need to be, and I'm not saying, there's people out there who are like, book a first class ticket you can't afford because then you experience what it's like to be in first class.

I'm like, no, we're not doing you a badass bullshit. Like, we're not doing that. But I do think, yeah, like where you live, what you eat, do you go to the gym? Are you gonna go to the gym if it's slightly nicer? Like that is worth the money. Totally. Because you show up different for your work

where you make money. Yes. Yeah. You keep your finances separate from your partner? I do. Talk to me about that. Cause again, I'm obsessed. Tori, I think I need advice, honestly. Okay. So I try to do a good job of like, I do my accounts, I try to maximize all that kind

of shit. And you're married, right? And I'm married and we both are in the same industry. Okay. Is he a writer as well? He is a writer, comedian. He's in a very funny comedy band, Tallboy Special. Cool.

And we just like don't talk about money that much. And I... In a way that feels bad or good. Does that make sense? Because people don't talk about money sometimes because they're ashamed or they don't want to be honest. And sometimes it's like, we're doing fine, so We don't need to talk about it all that much. It mostly feels like that. Okay. But we don't have a prenup.

So sometimes I'm like, you do actually. You know that? What do you mean? Do you get married in the state of New York? Yeah. The New York state decided what's going to happen with your money. That's what I wish people understood. If you get married in any state,

unless you decide differently, the state decides how your money's gonna get split up should you separate. So like Washington state, it's 50-50. So unless you specifically say, we want 75-25, we want a different thing, and then you sign that. Now you can get a post-nup if you want, and that's gonna change it a little bit.

But that's the interesting thing is like, pre-nup is such a dirty word for people. And I'm like, you actually, you already have a pre-nup, you understand, like you have a pre-nup already. So whatever Washington or New York state, I don't know their laws off the top of my head, but. 50-50 sounds good, so that's no problem. Okay, great.

But yeah, as long as you're cool with that, I've been great. And we'll be together forever, so it's gonna be fine. But yeah, we just like, I just haven't gone to the trouble, I guess, of like, we don't share credit cards, we don't have joint accounts. Does it work for you? It does, but I wonder, I'm all about like,

not leaving money on the table. So I'm wondering like, would it be, are there benefits to being married and being more intertwined financially? I mean, tax wise, yeah. would it be, are there benefits to being married and being more intertwined financially? I mean, tax wise, yeah. We do file together. Yeah, that's probably the biggest one.

I mean, what I recommend for couples is one, you should never ever ever completely combine your finances. Oh! That is like my number one rule, especially for women. I'm like, I don't want you in a relationship you can't leave because you don't have the money to leave. Gotcha. And like, I want you to you in a relationship you can't leave because you don't have the money to leave. Got you. And like, I want you to be able

to have some of your own money. So should never completely combine. If you want to keep them completely separate, that's totally fine. I think the happy medium is like shared account for joint expenses. Okay. But again, if it works for you, great.

As long as you're not completely combining, I don't have a problem with it. And it works for you, great. As long as you're not completely combining, I don't have a problem with it. And it works for you, then great. Yeah, it just like, one thing I like is that we never fight about money because he has his money and he's making, and he's spending it the way he wants. And I make my money and I'm spending it the way I want.

Yep. Are you like saving for for shared goals together? I don't know, New York probably is not by a house, but do you want kids or is there, do you want to take vacations every year somewhere? No, we each save independently of each other. And we sometimes talk about it. Okay, great. I don't know why.

I think you're overthinking it. It sounds like it's very, very healthy. Okay, good. Yeah. Do you why. I think you're overthinking it. It sounds like it's very, very healthy. Okay, good. Yeah. Do you like talk about like how you're splitting things? Like let's say you do go on vacation. Let's say you go to Mexico or something. Like do you talk about like, oh, I'll pay for the hotel and you pay for the flight or like how does that conversation happen? Mm-hmm. It's all very random. Okay. And but it feels good. You don't feel like resentful or he doesn't feel resentful. No, it all feels good. Except the other day I was like pay for dinner. I want you to always pay for it. I was like I want you to pay for dinner when we go out to eat. I'm just like okay because we have a... That sounds like some shit I would do.

Just out of nowhere. Stop. No, you're paying for my dinner tonight. Yeah, like I have like a city card, like a Costco credit card, and the benefits on it are pretty good, so we put a lot of stuff on the city card. I love that you're a Costco, I'm such a Costco girlie. Cause I'm from the Pacific Northwest, if Costco called me and they're like, we need a kidney,

I'm like, which one? Which one? Which one do you want? No problem. That was like our activity growing up. Costco. Like I'm an only child. My dad still is like, Hey, your mom and I are going to Costco. See if we need anything.

He's like I need bananas for my protein smoothie and I'm gonna see if I need anything else. That was the activity. And would you hit up the three samples? Oh, absolutely. And then you know the pizza which is like two dollars for a slice. Insane. Can't beat it. I love it. You can put like vacations at Costco size, insane. Can't beat it. I love it. Can not beat it. You can book like vacations at Costco and rental cars. This is the shit I wish people knew. You can buy a fucking, you can buy a car, you can buy tires, you can buy,

this is now an ad for Costco, and I don't fucking care. Not like they need it. You can buy like household appliances. You can buy blinds. Like you need window treatment, Costco. Costco. Anyway, okay, so, city card.

Yeah, so we put a lot of shit on the city card. And then- Because you get that Costco cash back. Yeah, because we get that Costco cash back, which is great, except I decided, I was like, we have to do, I want you to pay for it. And he was like, okay. You're like weird stance, but okay.

Yeah, but you have to understand, you've already heard about my SNL schedule. So you got to assume sometimes when I'm saying something, it's just coming from a fatigued woman under duress. Yeah. Yeah. Sometimes I'm stressed from work and I just am picking fights.

Yeah, great. And he's just like, he's like, I'm over this. I'm not engaging with you. I will pay for dinner. Did any of my advice about partnerships and finances surprise you? If you're listening on Spotify, you can leave us a comment and let us know how you manage your shared finances. When we come back, we're talking more fun SNL stories and behind the scenes, including, yes, Domingo. White Lotus is back. We know it's back. It's here. I'm ready for it.

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Okay. I love that you're like such an expert. Oh, that's nice. You know like everything. Oh, I don't, but no, I've watched it for a really long time, especially's nice. You know, like everything. Oh, I don't. But, uh, no, I've watched it for a really long time, especially in college. I was like, that was the thing I did with my friends is like,

and then I watched every single sketch on YouTube, the ones that were like getting a bunch of buzz and the ones that weren't. And who is your favorite? My favorite cast member. It's like pick a favorite child. Oh, God. I think Sly Strong is so underrated. Yeah. Like I love Kate, but Kate got all the buzz when Cecily Strong was there.

And I feel like she was just so consistent every single time. Cecily can do anything. Oh, and just like, especially the like Broadway chops that she has too. Like I just, I love her. Aidy Bryant is fantastic. She was at the party too. And I was like, I'm trying to think who else. I know as soon as I get out of here, I'm going to remember like 62. I mean, Bill Hader's a classic. Yeah. Yeah. Mine was like, I think the first episode I saw, cause I was not allowed, I was like, I grew up in a pretty, like you don't watch PG-13 movies until you're 13 plus. So like the first episode of SNL I ever saw was like,

oh gosh, it was a Timberlake-Fallen duel episode. Oh, uh-huh. Do you know what I'm talking about? Around Christmas time, because I was home for the holidays, I think from my first year of college. And like I had seen, you know, a sketch here or there, and that was the one that actually, because I like watched it live.

And then that's around, you know, where they do the Christmas, like all the Christmas. And I was like, I got super into Lonely Island. So that, probably Andy Samberg is like... The man. Like, oh, the best. I love that man so much. Like, yeah, so I got super into Lonely Island.

Like, obsessively so, and still am. Yeah. And so, yeah, and then I, again, Mulaney's huge for me, but writer not on cast. The best. Yeah. And I think that was the end.

And I have sketch questions too. OK. I'm going to try to, I'm not going to keep you here for six more hours. OK. One last thing before I talk to you about sketches is like the writers versus cast. I think that, again, for most cast members

are going to walk down the street, get recognized, there's something about being a writer, especially the ones that aren't necessarily on camera all the time or on camera at all. There is that sort of anonymity that is kind of nice, but do you also ever get bitter about it? Like you don't get to take as much credit, at least to the general public.

What's nice about being a writer is you can have as much anonymity as you'd like. You can not have a social media, and that's okay. I personally like, I do have a social media because I have a podcast. Petty crimes, you should listen. So I like to take a little bit of credit because it's helpful for my career

to just because I am like a writer performer. I don't ever feel bitter, except maybe when people have the misconception that these sketches write themselves. Or that I will see occasionally people commenting things like you can totally tell that line was improvised. Which is in a way the highest compliment actually. Sure, yeah.

Of like, oh, it felt so authentic and genuine, but it's also like, no, I fucking wrote that. And maybe it means you wrote for the cast member well, so it sounded really natural or something, but like, I think as long as people know that they're writers, I'm good. Yeah, correct me if I'm wrong. I think your most famous sketch to date is probably Domingo.

Yes. Okay. Did we know that was going to be insane? Like, is there sketches where you're like, oh, this is gonna do numbers? No, I don't always know. Cause it felt like a David Pumpkin sketch, where it was like, you know, where it was just kinda like, this is so funny and weird that,

but it works so well. Maybe David Pumpkins is a little more on guard, but. No, I know what you're saying. I definitely did not know. I mean, sometimes like I wrote like a pre-taped digital short that was like a horror movie about taking Pilates and Christian Wigg was in it. And I was like, I think people,

I think women are going to like this. Yeah. And it, you know, it was like a lot of people did like it, but not like Domingo. This was its own thing. And I think it was, it was because the sketch was so good, but then social media got a hold of it.

Like TikTok got a hold of it. And like, that's I think where it was really interesting. Sometimes there just has to be a little bit of extra, like a little bit of extra secret sauce or a little bit of magic. And I think in this instance, the secret sauce was Ariana Grande singing poorly. The bridesmaids wanted a celebration.

Like, I mean, she's one of the best singers in the world. And it's very good, bad singing. It's perfect. Like it's shockingly good. And as anybody who is a singer knows, that's actually really, really difficult. And like we showed her a video of like bridesmaids singing badly at their sister's wedding. Yeah, have you seen the New York Times article recently?

It's not them. That. Ah! Ah! Ah! Ah! Ah! Ah!

Ah! I'm sorry, that's so funny. Okay, so the New York Times just did this huge write up of like, I think they saw you and Jimmy in the interview. And so this bridesmaid was like, oh my God, I'm the inspiration for the sketch. And the New York Times was like, she's the inspiration for the sketch. Yeah.

No, she's too good of a singer. Oh, funny. Cause they did Hamilton, right? Yeah, but I mean, people are in my DMs being like, it's me, it's me, I'm the Hamilton rap that inspired Domingo. And you're like, none of you are? None of them are yet. Wow, okay.

None of them are yet, because they're all too good. That's so funny. That's so good. Yeah, Ariana just got it. Yeah. She just got it. If she wasn't Ariana Grande, she would have been the perfect SNL cast member. Oh, God, yeah.

Like, her impressions are so good. Her comedic timing. It's very good. And then she can obviously sing her ass off and so. Yeah. Oh, okay. A sketch that you wish got more love, that you were like, oh, this could be Domingo, but it was not Domingo.

Oh, like a sketch that I wrote? Yeah. Or that you didn't write, but you were like this. Put some respect on the name of this sketch. Oh, that's a good question. A sketch that I was like a part of, this sketch called Actors' Journey with Adam Driver. It was cut for time, but SNL put it on YouTube.

It's like an actor's talk back series and the actor is giving that classic actor spiel. It's Andrew Dismuk saying, when I first started in this industry, I lived in this crappy apartment. The cockroach apartment. Yeah, there were cockroaches and I stuck with it and I made it happen. And then Adam Driver stands up in the audience and is like, yeah, that crappy apartment you're

talking about? That's my apartment. I'm the landlord. So thanks a lot for talking crap. And then like basically like take so and it's just like an accelerating game of like Andrew inadvertently mentioning somebody from his past and then cutting the audience and that person is there. He's almost like a slumdog millionaire.

It's like, yeah. And it's just a very dumb sketch, but I think it's- That's very funny. I think it's cute. And Adam Driver's really, really good in it. Yeah. Is there a sketch from anytime at SNL that you were like, God, I wish I wrote that.

Oh. Is there a sketch from any time at SNL that you were like, God, I wish I wrote that? Oh, you know, when Alex English and Gary Richardson and Michael Che wrote Lisa, and Eggo Wodham wrote Lisa from Temecula, which is where Eggo does this bit where she's cutting a really tough steak and the entire table is shaking, when Eggo did... Didn't the fork break? Everything broke. It was awesome. And there was this guy...

And she didn't break, if I remember. She was the one... Or maybe a little bit. She mostly didn't. But, I mean... She was the only thing at that table that didn't break. Yes. When she did that sketch for at-table read with a steak, it crushed so hard and the bit is so simple.

Cutting a tough steak, the whole table shaking. There's a guy, there's like different departments that make different things. There's a monkey boy, that's what they're called, under the table, shaking the table with his back. And when she did it for the first time at table read, I remember thinking like, damn, I wish I wrote that. Because it was that good and that simple and that perfect.

Like, I think that those are the kind of sketches that get me really excited. Like, wow, it was that simple and you found it. It reminds me of the Bill Hader plays an old guy in like a hover round and the Cecily Strong's on his lap. And of course, I don't think this was supposed to happen, but they just completely like knocked the set over. And again, it's especially strong who never breaks

is like barely holding it together. And she's like, ah, ah, ah, and just, it's so funny. Yeah. But they're doing nothing. Yes. They're doing nothing. Yeah.

Oh, it's so good. Oh my God. Okay, I got to, you have other things to do like all right. Oh, it's so good. Oh, um, oh my god. Okay, I got to you have other things to do, like, all right. Okay, last question. Yep. If you could go back in time and give yourself any advice, what would it be? I think I would tell myself to be less competitive with other women. Yeah. Yeah. It's going to make me a little teary. I think I might tell myself. They're not your competition.

Yeah. I think I just like, and I still struggle with having a scarcity mindset when it comes to opportunities. But again, with how competitive the industry is, it's kind of hard not to. Yeah. But I think I would try to tell myself that and I might tell myself not to drink alcohol, but yeah, but maybe those two. Oh, and get an OtterBox for your cell phone. That's it.

I did drop mine coming out of a cab. And it's fine, because I think this is an OtterBox. So there you go. Again, Costco OtterBox. Costco. Thank you. Thank you, Costco. This episode is sponsored by Costco. Thank you. Thanks for being here.

Where can people find out more about you? Plung away, my friends. Thank you for having me, Costco. This episode is sponsored by Costco. Thank you. Thanks for being here. Where can people find out more about you? Thank you for having me, Tori. Yay. You can find me on social media if you want to. I'm Kira, Jane, C-E-A-R-A, Jane O on Instagram, TikTok. But mostly listen to Petty Crimes. It's a true crime comedy podcast I host where we investigate just petty drama every week. And it's episodic, it's easy listening. If you love like reality TV and like just gossip, you'll like it. Amazing. Thank you. Thanks Tori. Thank you so much to Kira for joining us. You can listen to Petty Crimes, her incredible podcast.

Wherever you get your podcasts, you can watch SNL every single Saturday night. You can also follow her at Kira Jane Oh on IG. That is C-E-A-R-A-J-A-N-E-O on Instagram. Thank you for sharing this episode. Thank you for listening. Thank you for supporting our show. As always, Financial Feminist, and we'll see you back here very soon. Bye.

That's what's in a done and go. Say you can't sleep. Thank you for listening to Financial Feminist, a Her First 100k podcast. Financial Feminist is hosted by me, Tori Dunlap, produced by Kristin Fields and Tamesha Grant. Research by Sarah Shortino, audio and video engineering by Alyssa Medcalf. Marketing and operations by Karina Patel and Amanda Lafue. Special thanks to our team at Her First 100K. Kaylen Sprinkle, Masha Bakhmakeva, Sasha Bonar, Ray Wong, Elizabeth McCumber, Darrell Anne Ingman,

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