Inside Late Night with Mark Malkoff - Inside Late Night: Jon Glaser

Episode Date: October 7, 2025

Comedy writer and actor Jon Glaser is the next guest on the new season of Inside Late Night with Mark Malkoff. Jon's credits include Late Night with Conan O'Brien, The Dana Carvey Show, The Daily Show, and Saturday night Live, as well as sitcoms like Parks & Recreation and Girls.Make sure to follow us on social media (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@latenightercom⁠⁠) and subscribe on all podcast platforms⁠⁠ to never miss an episode!

From Late Nighter.com, it's Inside Late Night with Mark Malkoff. Hello, everybody, and welcome back to Inside Late Night with Mark Malkoff. My name is John Schneider, a producer for Inside Late Night, and I'm so excited to be here to present to you a great interview that Mark has with John Glazer today on the podcast. He is a fantastic storyteller and talks about his time working for late night with Conan, as well as some other work that he did in the late night. He was, of course, a part of the Second City main stage cast. He did guest write for Saturday Night Live and did a day as a correspondent on The Daily Show.

So he has a lot of experience in late night TV. You may also know him from some sitcoms, had a big role on Parks and Rec and Girls. John Glazer is a great guest, and we are so excited to present to you our conversation here today. So without further ado, here is Mark Malkoff. John Glazer, nice to see you. Nice to see you as well, I guess, for the first time. Yeah, we've been around each other a few times. I've seen you around the Luna Lounge type alt rooms, and you would do some really, really funny, offbeat stuff. I mean, we're going to get to that. I want to talk about some things that I don't know about you, because I know, you know, I used to go to the Dana Carvey tapings, and so I want to talk about

Carvey as well, but I want to go about the summer of 95. You were, you'd been at Second City, you were a pinata full of bees directed by Tom Giannis, and a big, big deal, which I got to see that show. And you, they fly you to New York to audition for Saturday Night Live. What was your audition like, take me through it? It was, you know, at the time, I remember thinking that I, And the way, at least at the time, and I would assume it's the same or if not similar, the head you do, they asked you to prepare a political impression, a celebrity impression, then and then some kind of original character. And so at the time, Bill Clinton's president, I figure everyone's going to be doing their Bill Clinton impression. Everyone's going to be doing like the more popular choices, which is probably the smarter choice. but I decided that I'm going to do something different, so it's different.

And hopefully that would stand out somehow. And so I ended up doing King Hussein of Jordan as my political impression, really for no good reason other than I thought it was funny and different. And I ended up doing a thing where he talked about, and this ended up making it on to Dana Carvey show, although I did not do it. but I did King Hussein of Jordan just talking about how he really loves to relax in the in a bubble bath and the bubbles really help him de-stress, you know, being the leader of a country in that region is obviously very stressful. And the bubble baths really help him relax and he talked about he had a friendship with sting. And I remember at the time, you know, this is, I'm old, so this is before internet where you can just click on a picture and print it. You know, I had to go to the library, look up a photo of King Hussein of Jordan. A photo of Sting, print these out, take them home, cut out.

So I found a photo of Sting from Dune where he's, I guess, holding somebody by the throat or something like that. And so I cut out King Hussein of Jordan's head, taped it on that picture. So it looks like Sting and King Hussein of Jordan are hanging out. And I folded it up a bunch of times and put it in my wallet. So it looked wrinkled and old. So when I was doing my audition, talked about how he was friends with Sting, pulled out this photo of him and Sting. And then my celebrity impression was not much of a celebrity. I decided

to do then head coach of the Detroit Lions Wayne Fonts. It was like really obscure reference, which I was hoping from a comedy standpoint would have value. And also just, oh, this is not something anyone else is going to do. Not a very good impression either. And certainly not anyone that anyone even would know of unless you're a real sports fan and then the the whatever original character was just some dude like my neighbor and it was just like some weird dude and it was really not that funny i don't think but um but robert smigel who was a long time s nl writer and at the time had been conan's original head writer ep he was now the epi of dana carvey show and he had access to all the SNL tapes and he was wanting to see, you know, whoever they didn't hire for S&L, he wanted

to look at the tapes. And he really liked mine. And he got in touch with Tom Giannis, who he was friends with and said, make sure Glazer does that same audition for Dana Carvey. So that was really exciting to know about. And I did all that for my Dana impression or audition or I don't know if I did a, I think I did Kings. Anyway, I did that. And they ended up telling me they were not going to hire me as a cast member, but asked if I'd be interested as a writer. And at the time, you know, I had never thought of myself as a writer. It was not something I was thinking of as a career in any way, shape, or form. I just thought of myself as an actor and an improviser and a comedian. But this was an opportunity. So if it was a sitcom, I don't know if I would have said yes,

or at least tried to submit. I was, I don't even know if I could have done that. For the Dana Carvey writers, you, Billcott, Stephen Colbert, and Steve, and Steve Carell didn't have to do writing packets. You've all got credits, but you got hired just based on your audition. For me, no. For those guys, yes, because they were actors. For me, first, you know, Robert saw my S&L audition, then I did an audition for a Dana Carvey show as an actor. And based on those things, they asked me to submit as a writer. And so that's where I just spent some time at home coming up with sketches.

I didn't have a writing packet. I was not writing was not something I was doing on a daily basis just to hone my craft. You know, I was not, I never thought of myself as a writer. And so I had to just kind of come up with some sketch ideas that I submitted and they liked it. They flew me out there to interview. At the time, it was Robert, Louis C.K. was the head writer. Dino Stomitopoulos was already there in a guy named Mike Stoianoff, who was also one of the writers. And I met those guys, very loose, casual interview, didn't last very long, went to the airport, flew back.

This was a little before Thanksgiving sometime in November. And so the rest of the year went by, and I thought, all right, I guess I didn't get it. And really, at the time, I had just finished that Pignata-Fal-Labees show. And the new show was about to start rehearsals with the director named Mick Napier. who's a Chicago legend. Annoience. The Annoyance Theater. And so I was very excited to work with Mick.

So for me, it was a win-win. I get this great job, great. Or if not, I'm still at Second City, which is a dream job, getting to work with this legendary director. And about a week into rehearsals, you know, we're at the theater, just rehearsing. And I, someone comes in, hey, there's a phone call for you at the box office. You know, there's no cell phones at the time.

So they tracked me down at Second City and I go into the office and take the call. And it's Robert saying, hey, we're going to hire you. Can you be here in a week? And so it was pretty incredible. I go back in the theater and I tell everyone I got hired and probably just, I don't even know if I finished the day. I think I just went home and started packing and just had to pretty much pack up my stuff and move everything to New York.

Because even at the time, I thought, you know, I had already done a mainstage show as much as it just felt like now that I've got this job opportunity, I'm just going to go to New York. And even if it doesn't get picked up, I'm going to stay there. Like, it didn't feel like it felt weird to think about doing this job. Let's say it doesn't get picked up, then going back to Chicago. It just felt like keep moving forward. So pretty much packed up my life and moved to New York. And that's pretty much the story of how I got that job. I don't even know if that was the question you asked. Chicago Tribune that December, they put something out in 1995 that you had gotten hired at Carvey.

So you go to Carvey, and it was hard for a lot of writers to get stuff on. Other than leaders and their bats, what else did you get on? Because I know some, unless your name was Robert Smigel, Dino, or Louis, I know that it could be a challenge for some people to get stuff on. How did you do with getting stuff on and what did you get on? I'm trying to remember what else. I didn't get much on. It was, you know, I think they were just being really, you know, wanted to make sure that they were really trying to get what they consider, like, the best stuff from the most experienced guys. And it was a little tougher to get stuff on, not that people didn't get stuff on.

I know I had a couple other things. I had the world leaders in their baths, which was, again, from my audition. And even at the time, Smigel ended up doing King Hussein, and he was extremely funny doing it. And I wasn't, I was just, this was my first big job. I was very young. I kind of wish I would have maybe said, hey, what if I do it? But I wasn't thinking of that and advocating for myself. And also, Robert just nailed it.

It was so funny. I'm trying to remember what else. I feel like I got one other thing. There was something Colbert and I wrote where he was like a newscaster and there was something where. Was it the nice news? Was it like the overly polite news? Or was it?

It was something where. heard the good news or it wasn't it was something where um like there was some hidden identity interviews and like there was we replaced his voice with that of a little girl like one person had a girl voice one person had Isaac Hayes maybe did a cameo and maybe his voice was the little girl yeah and then there was probably a couple of other small things i got on but i really can't remember what they were. It didn't last very long, but I remember going to the tapings. I was at the, they did a rap party, which was an open bar, a couple blocks away from

CBS Broadcast Center. I would have to go to that. How were you? I was going to NYU. Robert took pity on me. I had known him a little bit just from going to Conan when they couldn't fill the audience. I know by the time you got there, you know, Conan had been pretty established. But I mean, when, you know, 93, early 94, they couldn't.

filled the 199 seats for a lot of the tapings. I mean, he was so unpopular. And Robert got a kick out of me as a teen, and he was very, very nice to me. You were credited somebody told me when Rudy Giuliani hosted Saturday Night Live in November of 97, they gave you a writing credit at the end of the show. What did you write on that episode? I don't think I got anything on. You know, every, I don't know how SNL does it, but they'll do these, they'll hire people like as guest writers, where you come in for a week, two weeks. I'm not sure if it's supposed to be a tryout or what, but they brought me in for a couple weeks. Giuliani was the host on one of those weeks. I don't think I got anything to air, but I did work there that week. And then who was the

other person when I was there? Maybe that's the only week I did. It was Giuliani. Anyway, What was that like being over there? I mean, famously, Stephen Colbert did four episodes. And as I said recently to somebody, they, they, Stephen wanted to stay and they felt the opposite. I mean, a lot of funny people. Yeah, I mean, he was there for four episodes. I think 90, maybe the year before 96, maybe. It was after Carvey. Yeah, yeah, yeah. He was there for four episodes. But what was your, what did you witness? I mean, you were friends with some of the Chicago people. I mean, I don't think. Tina was there yet. Maybe she had just gotten there, but McKay certainly was there, Adam McKay, who you knew from Chicago and Tom Giannis. I don't know. For me, I certainly was hoping to get hired there at the time. It was a real, obviously, huge job. I was really, you know, and I knew so many, like you said, I knew a lot of people on camera, off camera. They hired me as a guest writer. you know I really felt like it felt like why wouldn't I get hired and no idea why and I didn't really think about it much other than oh well you know I did a couple guest writing stints actually

I did one there was that one and then I did one years later right after I quit Conan actually when my son was born you know they were just nice to like even Conan brought me in for a month just for some work right after my son was born and then I did did a week of SNL. But it was, you know, it's a weird place. There's been so many stories and it's been talked about plenty. But, you know, it's, it feels very competitive. It feels very stressful.

It's, it's a lot of fun. I had a great time when I was there, mostly because I knew people, thankfully. But, yeah, I don't know. It was always weird to me that I wouldn't have gotten hired, but at the same time, whatever. But it feels like there's a lot of that where I, I, I had heard a little bit about, you know, oh, he wants to be a performer and we, you know, there wouldn't be sure about hiring me as a writer. Maybe it was like to think about even someone like Colbert not getting hired there.

It's just crazy. And so. Yeah, you were his understudy in Chicago. And, yeah, he's one of the funniest people ever had a day job working at this show. So, yeah, you never know with these things. I mean, they passed on Kevin Hart. They passed on, I mean, Gallifanakis. I think Zach Gallenacus wrote maybe for two episodes as a guest writer.

he wanted to stay and he was gone so you never know yeah none of it makes sense to me who knows why whatever the rhyme or reason is i don't know i try not to think too much about it because really not getting SNL because i auditioned in 95 and not getting it i look back on it now is one of the best things to ever happen because it allowed me to get that dana carvey job which was such an incredibly good experience despite all the crazy shitty stuff surrounding the show and, you know, the way that all worked out and ultimately more so getting Conan. Like Conan to me was the ultimate dream job for me where it just the much better fit than SNL would ever have been. And even who knows if I got SNL? How does that work out? Would

I have enjoyed it? Would I have been happy? What happens from there? How do things unfold? There's still people, cast members and writers that are in therapy that have been in therapy with SNL and the environment over at Conan, really nice. And I'm not saying SNL isn't always like that, but it's just more of a pressure cooker. When you audition that summer for SNL, who are the other Chicago people did they fly out from that show? I mean, I think it was Adam McKay. Did Jenna also, did they fly her out? What's her name, Jenna Jollivitz? Yeah, but Tina famously, they didn't fly out to audition. I don't even, they had no interest in her at that point. I'm not sure if Tina was on a stage yet at that point.

In 95, because I was doing main stage, Tina was not yet on main stage. She might have been touring. I don't know if she did ATT. She wasn't on a main stage at that point. No, not yet. So when I auditioned, it was like McKay and then people got hired, you know, Kekner, Nancy Walls, Correll. Most people auditioned, not everybody, but a lot of people auditioned. and yeah, it's a, whatever, it's a weird fucking place.

I know that you did at least one or two real audios with Smigel when he did his TV Fun House. You did one with Drew Barrymore hosted, and they did that. It was a Hollywood film producer, Walter, was it, how do you say his name, Mearish, and him accepting some award? I don't know if you recall working with Robert on that at all. It was a long time. I remember doing a couple of voices, and it was just nice of him to,

you know, give me some work at the time, but it wasn't anything where I thought, I mean, I remember Dino and I joking like, oh my God, we're going to be on Saturday Night Live, like just almost making a joke of it, like doing a voice on a cartoon. But that's really all that was, as opposed to, ooh, I got a foot in the door. Like, I couldn't have been more in than literally working there. I know that you were credited in 2006 with the Lonely Island. There was a digital short with Andy Sandbrook. This was Julia Louise Dreyfus hosted. It was Andy Sandberg threatening to jump and the reveal is that he's, you know, he's only, it's not, he's not jumping from a high building. He's just like on the, like an inch or two from the

sidewalk. How did you come about writing that piece? I don't even recall writing it or being a, maybe I was, maybe I contributed a joke. Like, that's one of the things about working there that always seemed bothersome to me was that. And listen, I'm not looking to slam the show, but this is just my experience was, you know, people really were always scrambling to. their initials on a script so they could, you know, I can, you know, that's the thing that always felt really dysfunctional to me is just there was everybody's trying to get their name on something so they get something on the air. So that, I don't even remember that quite honestly. And maybe I, I knew those guys. We were pretty friendly back then and maybe I just had a joke that ended up

in the script. You know, I remember writing something with Andy for dress that didn't make it to air. so I don't know but that was yeah I worked there for a week or two again that was 2006 right after my son was born that was on the Alec Baldwin show uh dress and it got cut and then they they aired it I think the week or two like later um where do you find all these details man there's something wrong with me John um I was gonna ask when Conan went in to host the show what host SNL and uh I believe it was March of 2001 Tina Faye later made a of a big deal that, you know, John Stewart and Conan didn't bring in their own people. But I remember being at that after party. And the one sketch I wanted to know who wrote it, somebody mentioned

that you had something to do with it, which was my favorite one was molecular. I can never say this, molecular. Melchulo. The molecular man. But didn't, I was told at that party, and then other people asked like, oh, no, Conan didn't bring in anybody. Didn't you have something to do with that sketch? I helped him with it. He basically had this idea. It was his idea. and it was so funny and he just asked like hey do you want to look at it and maybe so i probably i was not working there that week but i think i helped him with it and you know or maybe took a look at it but really had very little to do with it i don't know i can't remember i might have written a couple jokes for it but that was his idea and he asked me to look at it because

we really shared an affinity for that type of character the smug the smug overcom confident douchebag. And yeah, that, that to me was so hilarious. That was one of my favorite sketches. It's so funny. After Dana Carvey in June of 1996 at the Kennedy Center, you did pinata full of of bees, which you'd done in Chicago, and this was Steve Correll, Dave Kekner, Adam McKay, Tim Meadows, Nancy Wals, and Teresa Mulligan.

What was that experience like? Really cool. Very, very fun just to get to perform there, although not. sadly it's been taken over and it's a fucking bummer but we don't have to talk about that but yeah so getting to do something at the kennedy center was very cool um being in dc for a month was really fun you know with a bunch of extremely funny people one of my favorite parts there's a couple things that really stand out whereas one i can't i think we kind of did a similar second city schedule or where we did shows we did two shows on friday and saturday that's what we

do in Chicago and there was a Friday there was no improv set but Saturday there would be an improv set after the late show. I can't remember if we did that in D.C. But we did an improv set after maybe most of the shows. But in any case, between two of the shows, one of those nights, Adam McKay and I went just kind of exploring like the catacombs of the Kennedy Center. And we came upon whatever theater it was and Beauty and the Beast was playing at the time. And we're backstage in the middle of the show and there's some kind of song happening on stage not with the beast because the guy playing beast is backstage in this gigantic costume with a giant head the head is off and just resting on the floor and the actor is just having a cigarette break by himself

quietly sitting behind this you know backstage as this musical is happening on in front of the curtain and it we were just cracking up it was so fucking funny just to see this dude in this costume, and then we just bolted back. The other thing that made me laugh the most was, you know, pinata full of bees was not just a straight down the middle super accessible show necessarily, plenty funny, but it had a specific sensibility to it. And we did this improv game where we would leave Post-it note, like after the show, we'd come out and say, okay, we're going to improvise later, be ready with your suggestions.

One night we did a thing where we left a stack of post-it notes at the front of the stage. and said in a bunch of pens and said, okay, what we're asking you to do is write down an improv suggestion, tape it face down with a post-it note, do it at the lip of the stage. We'll come down during the improv set. Someone will grab a post-it, read the suggestion, we'll improvise a scene. So we did that. We did a few scenes. At some point, someone lifts up a post-it and it reads, you know, your dark, edgy humor doesn't play here. Or something along those lines, like calling out the tone of the show and the sensibility without even missing a beat mackay comes right down to the state a front of the stage and he's like all right everybody get ready we got something

really fun for you please welcome poopie pants and kekner comes out doing this character now i found out later this was something kekner would do like fucking around at snl this was after these these guys first year at snl and so it was kind of like a ready made thing even though they weren't planning on doing it. And it was just a response to that shitty little, you know, like your edgy humor doesn't play here. Start doing this really fucking stupid character. Kekner had been doing, I guess, fucking around called Poopie Pants.

And so it just becomes all these scenes and everybody is just not missing. No one's missing a beat. They're all doing these scenes with Kekner. And it was just one of the dumbest, funniest things I've ever seen. Like, I remember the funniest, the funniest life. line was, you know, and Kekner was like, just to, I just, his, he had a catchphrase. Like, it was all the, like, making fun of the character that's got the catchphrase. That's stupid.

And his guy was pooped pants. Like, I just poop my pants, just as dumb as it can be, but intentionally so. And so, like, there was one scene where Tim Meadows was his agent. And Kekner's like, man, I don't poop my pants till page 10. Like, he was really angry about that, that the script took so long for him to shit his pants. And then another scene, I think it was Karel was playing the doctor. He's like poopy pants. I'm sorry, I've got some really bad news.

You have cancer. And Kegner just goes, cancer! And then he turns to the audience and like with big jazz hands, goes, tell me it ain't my colon. And just the fucking dumbest thing, but it was such a perfect response to that post-it note. And I just, God damn, and I think about that all the time. So stupid. it was a pretty revolutionary show at second city and i remember because i saw it just one of the sketches with i think was it wasn't it two people in wheelchairs and then one of them was pretending

i mean they're definitely for some for some people i guess that were used to maybe some of the other second second city um that maybe it was a little bit edgy a little bit more edgy but yeah it's hard to say like as far as what's edgy what's not edgy what's revolutionary i don't know if i'd call it revolutionary because it was something that you know it was more of a long form improv type show and there were two factions at the time there's second city and then improv olympic which was teaching more long form and that's really where a lot of people like myself came from the older second city's like lights up lights down lights up lights down sketch style cabaret style rock music and listen and i'm not knocking that there was clearly many many many great shows

we just wanted to do something different that's really all it was and some people bristled at that. I think a lot of people that were more, you know, the older generation, so to speak, was like, that's not what we do here. And I totally respect that, but I also feel like there's room to try something different. And so we were just, we wanted to try something different. It was more of a long form show and certainly had more of a specific sensibility. If you want to say it's darker, edgier, I'm not sure, but you can always argue that. In any case, that was the kind of show we did. The wheelchair scene was actually me and Scott Adsett, and it was a scene where we're both in a wheelchair basketball league. At some point, we're, you know, horsing around

and I get out of my chair and reveal that I can actually walk. And it's this big blow to the friendship. And then it turns into a song, you know, about really tender song about, it was literally like it's a tender scene about two guys in wheelchairs. And it sings a song of the betrayal. But was really fun. Yeah, that's the show we did in DC for the most part. I think we added some older sketches here and there, but that was kind of what we tried. Yeah, got reviews in DC. And yeah, it sounds like it was a lot of fun and successful. What was your Conan packet? Like, what year did you submit to Conan? I know that one of the things that you did put in your packet, and I want to hear what else was ended up, you got a TV show using the idea of eventually for

dislocated that was in your in your Conan packet I believe is one of the ideas that is correct so I was I had submitted to Conan I think a couple times you know I submitted after Dana Carvey Show got canceled everyone's trying to get

a job I submitted to SNL submitted to Conan took a couple rounds before I finally got hired at Conan I was very fortunate you know certainly Robert Smygel I'm so deeply thankful too for helping just get my packet looked at But at the time, I was actually living in L.A. I had moved to L.A. I had gotten a couple of writing jobs out there. I was living there at the time in 97. And one of the things I started doing this witness protection program character at a live show that I was doing with a couple of friends, Laura Kraft and Rich Fulcher. We were just doing a live show where we each like did a one person type show, even though it was mostly just dumb bits. And so I had this witness protection program character idea of this really smug.

impressionist that had really shitty, hacky impressions, but he still yearned to be a performer. He had a thirst for fame. And so he put on a ski mask and module pitched his voice down like you hear on the news so he could still go out and perform. And the joke was that all of his shitty impressions, they just sound like that same voice. But super confident, smug guy, that was in my packet. I'm trying to remember what else was in my packet that might have made it to air. That was definitely in there, though, and I did that character a handful of times on Conan

and then ended up doing Delocated for Adult Swim. It was just a character that I just loved so much and didn't, I thought there was just something there beyond just the joke and thankfully got to make it. So, yeah. I love that you're wearing your late night with Conan O'Brien fifth anniversary t-shirt. What was that anniversary like? I pulled this out of storage. I was actually, I just got this shirt.

this was my dad passed away in 2016 and I was I went home last year my stepmom finally sold their house and so when I went home to help her finish like packing things up throwing things away going through his stuff I found this I just gave this to him years ago and so I brought this back with me I really never wear it I hate wearing swag I always feel like an asshole like look what I was in it just feels weird to me so most things went to my dad he of course loved wearing everything so this was actually very and most of that stuff I just don't save like he had some other Conan stuff that I just got rid of I'm never going to wear it but this one was really cool to see because this is when I got hired there in April of 98 and that fall was the

five year anniversary so it was cool to get there and be there for that you know because the show had really hit a stride it was really getting popular they were doing such cool stuff and so So to get hired at that time was pretty incredible to say the least. And I was there for five years, almost to the day. I mean, I remember just hanging out for that rehearsal for that show. Like, I think I was hanging out with Polar maybe, because those guys had moved to New York and they were just starting UCB and, you know, we're all there kind of on the heels of Chicago. And, God damn, that was so fun.

It's amazing. And you have McCann, Brian McCann and Brian Stack, Kevin Dorff later, a lot of Chicago people. You were there for five years. How long did it take you to relax? I mean, did you feel a lot of pressure that you put on yourself in the beginning? Or did you, were you able to relax initially? The head writer at the time, Jonathan Groff, was the head writer who was there when I got hired. and he very you know of course i'm very nervous very excited and again like knowing people there

stack was not there oh wait no stack was there so stack mccan this guy named tommy blotcha who i knew a little bit and we became very good friends later but and richter a little bit but not much dorf was not there yet so but there were a few chicago people there as well as s and l people So I at least, you know, it didn't feel too nerve-wracking and scary. There was a lot of familiar faces, and then everyone's just nice. The environment's pretty laid back and supportive. It's still impossible not to be nervous, like, how's this going to go? Am I going to get stuff on?

Am I going to do well? But early on, Jonathan Groff was making, you know, constantly making jokes about firing me. Like, that's okay. We're probably, you know, you're probably not lasting long anyway. And I really took comfort in those because I thought if they were really genuinely thinking that they would never, ever make those jokes. There's no way. And so I really enjoyed those from multiple standpoints of like, okay, good, I'm okay. They're not firing me.

So early on, I just, and I was getting stuff on. So I was really right away feeling like this is just a good fit for me. And just everybody there is so nice. You know, they really do a good job of hiring people that are just. just, first of all, very, very funny, but also really confident and thick-skinned. And, you know, most people that I worked with there just didn't give a shit. Like, your stuff doesn't get on. You know it's okay. You're not going to lose your job. It's a very supportive environment. I don't know. My overall experience there was really, really great. What was something early on

that you were really excited that you got on that you felt good about that gave you some confidence? Certainly the witness protection guy. It just, you know, immediately, got on that was one of the first things I did and we did it a bunch of times and I just loved that bit and that was one there was a couple other things that I did um like one of them was this thing stack and I did I think pretty early on these two like black guys wearing black hoodies and they would just kind of appear like if you can see my hands like in the corners of the screen is it Jeremy and Ira you guys from another dimension that that was it right Yeah, and we did that a ton.

And those were, I think, early on and tremendously fun and weird and really just came about by accident. Like, I think, you know, we would all, if you had a piece on, you'd be downstairs in the studio for rehearsal. And I think that's just how that happened. Like, someone was probably sitting low and their head popped up. Might have you even be the knee or stack. And we were like, oh, this is kind of funny. Look at that. Pretending to be these guys.

And then we just wrote this bit. And it was so much fun. Yeah. Who are some of the guests, the celebrity guests that you pitched bits to that said yes and who are some that said no? Certainly, you know, one of the, some of the more memorable ones, you know, when we did those celebrity secrets, that just became a really fun gag or a fun bit that a lot of people wanted to do. I mean, I got to meet David Bowie, which, you know, that'll probably never top in almost any job I do. and he did the Celebrity Secrets, and I helped run a lot of those, not all of them, but a bunch. And so getting to meet him, I had this at the time CD box set called Nuggets, which was a lot of like 60s kind of, you know, garage rock.

And when he was, I think, Davy Jones, and he had this great song on there. And I brought that down and he signed it. We chatted about it. Like he was so disarming and just nice, really friendly. No pretense about him at all. That was really cool. Henry Winkler was fun just because he's so nice and I know his stepson. So that was fun to chat with him.

You know, as far as people passing, I don't really remember who passed on what. But the one thing that always sticks out to me is if there is someone that we were really excited to meet and maybe they had said no to a bit, it was still fun to go down and meet him. And we'd get this often enough where it was annoying where we'd say, oh, hey, sorry you couldn't do that bit, but it's so great to me. And more often than not, they were like, what bit? They would never even hear about it. It was usually someone's publicist who were usually just fucking awful. Like they don't even bother showing it to the person. And then they don't even know about it.

And they're like, oh, I would have loved that. And the publicist or the agent is like, we better not show them this. They'll think it's so annoying. and they have no idea they're doing more harm than good when you find out the person would have loved to have done it. But those were some people. I mean, Bowie was still, like, I can't believe it was what a cool moment. Could you write something the day before and get it on?

I'm thinking like the incredible Hulk piece with the where it's the Hulk, but only his wrist turns gray. Oh, wrist Hulk. That might have been in my packet. That seems like it, but I'm not sure. But to answer your question, there's so much stuff that can. came up either the night before where you're just trying to think of something like it's really one of the great things about that show is because it's a daily show at some point you have to

just try things you know you don't have the luxury of just really really curating everything perfect and so and because it was a show like Conan being led by Conan who already has that sensibility more often than not you're trying weird shit there's always the stuff at the top of the show, the desk piece stuff is what that was called. And, you know, there's plenty of celebrity-driven jokes, which were never my favorite. And I don't think anyone's favorite, but Conan always liking it. He's like, yeah, that's, you know, the rocket, the weird rocket still has to have the fuel. You have to have rocket fuel to drive the ship. And you've got to do more of those refillable things. And some of them were not as fun as like the celebrity stuff, but

some like satellite TV, real ads, like that where you could be really creative and inventive, those were just so much fun to write. So it always balanced out, I think. And the gap between really fun stuff and not fun stuff was so wide that it was never a real issue. Maybe until when I quit, I had been there five years. The gap had narrowed. And it was never going to go the other way. It was always just kind of kind of hover around 50, 50, 60, 40. And so that's when I knew maybe it was time to go, at least for me. And it was still very, very hard to leave such a great job. Oh, so most people that are writers there stay there for a lot longer than that. Andy Blitz was telling me about slip nuts, about how you came up with it. It was just hanging out late one

night. And I was going to ask you, when you did open up for slip knot, did you have any anxiety at all that the people there that paid all that money that were there to see the band and that you they really i'm guessing most of the people that were there had no idea who you were who you all were that you were conan writers did you have any anxiety before that going out there in front of the audience the most the anxiety that i had personally was that i'm going to take like a battery to the eye i'm going to lose my eye tonight i had resigned myself like all right you're going to lose an eye just go with it like people are going to be fucking whipping shit at the stage that's what i thought with and even like the stage manager said

just keep moving don't be an easy target and so i wasn't worried about anything other than that which is still legit um but i also thought it was certainly nerve-wracking in one sense only because i thought yeah people are going to be throwing shit but nothing's probably going to happen really i thought there's going to be the band was so into the idea you know they were the ones that said yes to it and they were way into it and they were all super cool about it and they wanted it. So I figured their audience, some of their audience is going to know who we are just from them being on the show and having seen this bit. And certainly there's people that are not going to know. So it was a little, for me, it was mostly just, I don't want to lose a fucking eye or take a

battery to the throat. And it was so fun. It was so funny. Truly one of the most fun bits that I ever did on that show. But yeah, it was a little nerve-wracking for sure. when he came up with the morocca player that's playing with the band did you originally pitch that for this guy's going to stay there for a lot of the show or was it just an act five originally that it was just going to be how did that evolve and can you talk about that you're wearing that orange and black outfit you have that the wig on with a pencil and mustache oh man it's if do you have a link to that if you do i because i that's one of my absolute favorite bits that's Oh, yeah, no, it's amazing because the build is what I really like about it as well, because I know there were probably for sure people that were some people that were watching that might not have originally weren't sure what this was, if this was a bit or not completely. I definitely pitched it as from the beginning of the show. To me, it was just, it's so funny if we just have me there.

At the very beginning, we just treat it like it's real. Hopefully people won't necessarily know right away. wait and thankfully we got to do it like that you know later on as we did more bits like that i think we started doing fewer of them just because it came a became a thing like now we've done that enough but the morocca guy was so fun because he never spoke and just had that great look and it was such a weird choice like why is this guy and then the reveal of like i didn't ask him i thought you asked him like it was i'm so glad that we got to do it from the get go and like Every commercial break coming in and out of the commercials, there he is.

And you run off and then you get caught and you're just like. Yeah, waiting for the elevator, still doing the Maracas, hurry up elevator, get me out of here. Yeah, that was, if not my favorite bit that I've done on the show, certainly one of them. But I think that might be my favorite. When you did live sketches, you and sometimes McCann would be with you, did they ever have to stop tape? Did they ever, because they usually treated the show like live to tape, but did they ever, for whatever reason, there was a line blown or did something happen where they actually had to stop and redo something? Dude, you're talking to pros. No, I don't know if we ever, if that ever happened.

I can't really think of a time that that happened. It must have. I just can't recall, or maybe we had to do a pickup later, but we really tried very, very hard to just have this be a show without stopping. That's the way it should be, I think, in late at night for sure. Yeah. The mistakes, everything gets in, and there weren't many mistakes, but I think there was some charm about that. Yeah, I think that's part of it is you know that it's, even though it's not live, it's recorded live, and it's still got that feel and that energy to it. So it's got that quality, which makes it fun, but really they would always try to make sure it was not like a joke fest and people breaking and laughing and you've got to start over.

So, yeah, I can't think of anything necessarily. Like, there is certainly times, like, one thing that pops to mind because you mentioned McCann, like, when we did T-writers' copywriters' cage, tea copywriters' cage match was a sketch we did where McCann and I were competing copywriters for, like, celestial seasonings in Bigelow T, and then we get in this cage match brawl. If you go back and watch that clip, you know, it ends with. with this spoiler alert where I'm just beating the shit out of them and you hear these fake, you know, psh, psh, psh, and my back is to camera while I'm pounding him. And you can, if you listen closely, you can hear me start to laugh because it was so fucking dumb, but it's not loud, but whatever. Like, there's all sorts of shit. I mean, whatever, that happened like that. But I can't think of a time where we had to stop and start over.

How hard was that leaving after five years? Just most of the people, I would think, Stack and McCann and just there were people there that I mean Brian Kylie for example I mean there for years how hard was that and how did you tell Conan that you wanted to leave it was excruciatingly hard even though I knew for myself that it was time you know there was kind of like I was saying at the top of this episode you know I I always I never thought of myself as a writer and I always wanted to be a performer not that I didn't get to do that on Conan. But, you know, the gap had narrowed. It was, it was like, it was just the most fun when I

started and it was less so. Not that it was, it was fun up until the end. But I was just burned out and I needed to do something different. That's really the only reason I left. I mean, I was, I was still enjoying it, but not as much. Just the burnout factor took a toll. And I knew that I wanted to do other things. And I didn't have kids yet. And I felt like before I'm like, have kids and it's going to be harder to leave a great job like this. And so that was kind of part of it. And I remember, I had a running joke with Mike Sweeney, actually, who became the head writer after Groff, where I gave him an envelope with my resignation letter. And I said, put this in your desk. One day I'm going to come in here. And you're going to know when it's that

day. And of course, for years, I'd come in his office. He's like, is this it? And then when it actually happened, he's like, no, no. And so when I told Conan, I just remember, like, I had a meeting with him and I was sobbing. I was just so sad. And, you know, I knew it was the right thing to do. And just because you know something's the right thing to do doesn't necessarily mean it's going to be easy. And it was so hard to leave. I mean, that was, and will always be one of the best jobs i've had it was such a dream job you know on so many levels getting to write getting to perform with such a great group of people people i've known from chicago um friends to this day i mean just very very very very hard to leave but they gave you a tribute which was really nice not everyone

got a tribute at the end of the show um i know it was simultaneously very nice and very like hilariously embarrassing because they did the pubs which was still for me like funny but not my not my not my not the best thing i've ever come up with and the joke was how to something how to make something awkward and it was just somebody that would go in and and say that's a yeah he would ruin great moments with the word pubes which is such a bummer of a word you're holding the sign but they did that for you no i was wearing like a black skin tight like leotar jumpsuit with the word pubs on it and then i think you had like a perm wig. I mean, we did some funny bits, but yeah, to be remembered as pubes is not, is not your, the crowning, a crowning achievement, a crown of pubs.

Do you think looking back that it was necessary for the writers to do 12-hour days? Letterman had his writers do 12-hour days, and that wasn't for the monologue, that's if you were doing sketch, but for so little comedy, I asked Andy Blitz this, and I asked Jonathan Groff recently, for a desk piece in an act five do you think the 12 hours was necessary i mean i don't think so it certainly always felt like overkill and i don't really personally recalled any days that long i don't recall many 12 hour days john i think rough it'd say when he was there that as he got there the head writer the hours did get better so i don't know if that was maybe a little bit before that they were that was but um yeah they yeah maybe it was i mean listen for a brand new show i think

totally get it that is like make like what's the the absolute very best we can do every single night when you're first starting off not that we didn't try to do something great every night but you can't sustain that where it's just genius level comedy every night that being said we always did something weird and funny and if nothing else interesting and or at least i think so for the most part and but yeah i don't recall the hours ever being that crazy, unless it was just up, something happened. We're not doing this bit now. We need another, whatever. But so, yeah, I don't, yeah, I don't think it's necessary unless it's absolutely an emergency or whatever. But again, I don't recall too many days like that.

How long were you at the daily show? How many pieces got on? Was it just one or two pieces? How did that come about? That was a one and done. How did it come about and did you, what were your expectations. Did you have expectations or did you know it was only going to be a one-timer? I knew it was a possibility and I figured it was more likely than not. It really just came about because I had quit Conan. I was figuring out what was next. The Daily Show is in New York. You know, I was hot and cold on it as a show just because I didn't, it was still a little bit more, you know, making fun of people in a way that I didn't always love unless it was a worthy target. And then it started getting a little, or I would even say a lot better. I mean,

obviously like the people on it were so good but it just had that tendency that I didn't love and but that's also me like I just don't so I had a tougher time with that and I think for that reason it was just not a good fit all around um it was fun to do but it just didn't feel like again like just this is not the right thing for me and vice versa um so yeah pretty much a one and done your IMDB is unbelievable in terms of so much that you've done in your career but I was going to ask for that acting how often do you actually have to audition because I'm guessing for 30 Rock I guess I could be wrong or parks and Rex where they know you do you have to audition for these things or do they just give you the role it really depends like 30 Rock I did not did not have to audition all that was such a short little bit that was just them giving me something fun to do which was very nice Parks and Rec, I did not have to audition. That was also, and I don't really, I think they had me in mind for this part, and I just got it. And that certainly came about from knowing a lot of people there. You know, Amy, I knew Mike Scher a little bit from SNL, not well. But that was obviously a big help, and that was the reason. But even I audition more often than I get jobs. Like girls, 12 episodes, I think you did. Did you have to audition for girls? Did you audition for curb? I did audition for girls, and I did audition for curb.

Yeah, there's still plenty that I audition for. I would say more often than not. I get offered jobs here and there, certainly, but still mostly auditions. Like Dick Wolf with Law & Order in 2022, he wasn't a big Conan fan. He didn't know who you were, so you auditioned for that, I'm guessing. I did not. I have no idea. I had never auditioned for the show, so it's not like I had auditioned a bunch and then finally

got it. They somehow, I think somebody there was aware of me and because of the nature, you know, I always or usually play some kind of smug douchebag. And so somebody I think knew who I was, but I got offered that. I couldn't believe it. I was like, great. And, you know, everything about that job, you know, getting to do law and order, it's such a New York actor thing to do, but it was not my world at all. So really getting to do it was really cool. You know, being in the courtroom set was really cool. They wanted me to, they asked, you know, they wanted to give me a look because, you know, everything's based on real people.

And I guess whoever I was patterned after was apparently litigious. So they really wanted to go out of their way to make me look different. And they asked if I'd be open to dyeing my hair blonde. I was like, fuck yes. That was so, and you know, they sent me to a really nice salon in Manhattan. I was there for like three, four hours, just getting my hair. died, worked on. It was so fun. That's the Chicago way. Yes, and in something weird and different. In 1997, 1999, when you did the Jenny McCarthy show, you were a writer and you were in sketches,

the other writers, I can't believe this, Will Forte, Bob Odenkirk. What was that experience? Like, obviously it was, it was short-lived, but what was that like? It was a really great job. It was a ton of fun. You know, that's one of those shows that I think people it's easy to go oh jennie mccarthy blah blah blah i think it was a good show you know it obviously had plenty of clunkers but every sketch show does she's really nice too which helps i've met her before she's really nice yeah and everybody like the cast was really funny uh obviously the writing staff odencirk i don't think was he was definitely not full time he probably submitted a couple things as my guess probably knew the producer this guy named joel galen who just he was great he just wants

He's got a really good sense of humor, good sensibility. He knows what's funny. You know, he let me and John Benjamin do a couple of bits. He hired good people. I mean, obviously, Forte is a really genius performer writer. And this is before he was a performer. Had so many great sketches that he wrote and just one of the nicest guys you'll ever meet. He and Brian Stack are very similar.

Just super sweetheart, normal, quiet guys off camera and super weird, crazy shit on camera. extremely funny. So it was a good experience. I liked that job a lot to where I met John Benjamin and plenty of other writers there were super nice and very good time. Right after that, you wrote for the Kenan Ivory Wayne show. That was late night. What was that like? That was more short-lived. You know, that was less of a good fit. That was more like, I need a job. This job came up. I got it. And one of the hardest parts, the best thing about that job, was I met Vernon Chapman there, who's part of this group called PFFR. And the other guy, John Lee, and this woman, Alison Levy, that's their group.

And if you don't know them, they're geniuses. And they make their own shows. You know, they made Wonder Shosen, which is one of the, absolutely one of the most incredible shows ever made. And if you don't know it, I'm speaking more to the audience. You have to find it and watch it. And so, and then they've also made their own shows. And when I was making DeLocated and I had to hire a production company, they had just started to do that to produce shows.

And it was an easy hire, an easy decision. And so me and John and Vernon did the bulk of the writing for all my shows. So that is where I met Vernon. And it's why I always tell people, like if you're young and you're a writer and you have a job, and you're like, I don't know about this job. Just take it at the beginning. Like take a job. You get money, health insurance, and you never know who you're going to meet on the job. those jobs that may either hire you down the road. You'll hire them down the road, whatever. So that's

where I met Vernon. And there was a couple other guys in our office and we at least, you know, all huddled together to, and I got along very well with Keenan. He was really nice. Most people there were really nice. Just comedy-wise, it wasn't a great fit. And I tried to stick around for one more writing cycle, just for the money. And I just was not enjoying it. What also made it worse to add insults injury, not that it was injury. I had a job and I was getting paid. Mr. Show had just started that same time. I tried getting hired there. Didn't get it. Not surprised. That was a very competitive job. But they were like rehearsing next door. We could literally hear them like on the other side of the wall having the fucking best time. I went to some of the tapings like that made it harder.

That show is genius. I mean, I, it's. still, it's still, um, is this funny. It's like the Larry Sanders show, it still holds up. I mean, that's unbelievable that show. Dinner with parents, you got to go to London for four months. That's John Beckerman. That show, uh, was on, uh, freevy. And, um, it was a lot of, RIP, RIP freevy. Yeah, it happens. But what was that like doing, uh, doing that show for four months in London? It was, uh, it was incredible. It's one of the best, you know, just overall experiences of my life. The show was fine. Like it lasted a season and didn't get picked up sadly. And I was really, I'm not surprised. You know, it's on free V, which is not even a thing anymore.

And it's really hard. Like, I don't know how they're deciding to pick up a show or not. It really felt like it didn't get a fair shake. The promotion felt like they should be promoting this more. Do people even know about it? There wasn't nothing. But we all felt like, especially me and Michaela Watkins and Dan Bacadol, who had done more shows and were used to publicity. We're like, why is there not more? Again, it wasn't nothing, but it really felt like it didn't have a chance to prove itself. And I think it would have found an audience. But for me, as a work experience, I play, you know, it's about this Jewish family.

It's based on a British show. This was set in America, but we filmed it in London because of the British production company and the tech. credit. It was actually, I guess, cheaper to fly all these Americans out. Regardless, I'm thankful for it all because I got to be in London for four months. And I played, it's about a Jewish family and they're older kids and they do Friday night dinners on the weekends, which is called Shabbat. I'm the neighbor. So I was barely in the show. There were 10 episodes. I was only contracted for seven. Now, they could have put me in more if they eventually decided to, but you know, first year of a show, the money's not as much. I didn't think it was going to change

and it didn't. And I knew going in that I would at least have three weeks off. I didn't know if that would be three weeks in a row. So I went into it with a real plan of treat this as a one and done in case the show doesn't get picked up, really, really just soak this opportunity up. and I did. I really tried to get out and explore. I had so much time off to the point that it felt weird. They get paid. It's amazing. On your Instagram, what is your Instagram handle because you can see some fun photos of you around England? It's just John Glazer, but it's spelled differently. J-A-H-N-G-L-A-Y-Z-E-R. But if you look me up, you'll find that I have a huge Jew-Fro that I had at the time. This is like back in 2005. But yeah, I have a

had a ton of time off. I really enjoy this sport called gravel cycling, which is basically just off-road bicycling, but not mountain biking. It's more touring style, road-style frame with knobby tires and easier gearing for hills and dirt roads. I ended up buying a new bike as a present to myself, which probably couldn't afford it, but I did it anyway. And it was this British frame. Like I found this British bike company I'd never heard of. They make stunning bikes. The oldest bike company in the world called Pearson. Check them out if you're a cyclist. So I did a few really stunningly beautiful country rides, like one in the Surrey Hills, one north of London in this area called the Chilterns. I met this guy named John Hurd,

who co-runs this cycling touring company called Wild Cycles. Like I met him on a group ride. They asked, who are you? What are you doing here? Oh, you're an American, blah, blah, blah. I told him why I was there. he's like oh give me your number i'll take you on a ride sometime and he took me on a couple stunning rides and so that's wonderful those were in and of itself just the greatest and yeah you can see some photos on my instagram just gorgeous beautiful perfect weather so it was a great experience i got reconnected with mark wooten who played the glaze and delocated he's british he lives there spent some time with his family um just took advantage of my time off did a lot of really fun things explored. I wish I had done more, but I got to do quite a bit of things that

I wanted to do, most notably the gravel. I could just go on and on. It's so fucking boring if you're not into cycling, but I just loved it. Oh, my God. You've done so much in your career. I was going to, I have to ask, because this is about late night, doing the Jason Kelsey late night show in Pennsylvania, I believe you taped, correct? And what was that like? And I know that it's all right to cry was you, that was your pitch, correct? Yeah. You know, he's, I got, again, this was something that I got offered. I didn't even know about it. My agent just called.

I think they reached out to my agent just because this guy named Jason Weber, who works at NFL Films, NFL Films was the production company for the show. And a guy named Jason Weber, who works there, used to work at the show Cheap Seats that the Sclar brothers did, and he knew me from then. And Jason Kelsey, there's a lot of Jason's at the show. Jason Weber, Jason Kelsey, Jason Kelsey's Asian is Jason. And so, I think Bernstein, and so Jason Weber recommended me because Jason Kelsey is a huge Conan fan. So because Kelsey was kind of, you know, among many things known as a crier, you know, I think he had this really kind of famous

long speech when he retired, just nonstop crying. And he's a real emotional guy, which is, I think, a great thing. And so that was one of the first things I thought of was it's all right to cry, thinking that he would like it. And he did. And, you know, that's, if you don't know it, it's all right to cry is from Free to Be You and Me, which is a legendary, touchy, feely, warm, fuzzy, new agey, Marlowe Thomas produced kids documentary from the 70s. And It's All Right to Cry was a song sung by then NFL and to this day NFL legend, but he was a current player, Rosie Greer. Now at the time, Rosie Greer was a, you know, giant black man. And to have a giant black man in the early 70s singing, It's All Right to Cry, I think is pretty, to talk about

revolutionary. Like, you're going to have a lot of people like, what the fuck? I don't know. I think it was a really incredible thing to do at the time. And he was known for that. I think he was a big knitter and or did like crocheting. But it's a really, it's a pretty incredible piece. And we just recreated that on the show. It was awesome. It was awesome. That's really fun. I emailed with Rosa Greer trying to get him to be on this podcast, but I told me he's retired, but he was telling me about, he really enjoyed his Johnny Carson appearances. Before we go, I have to, to mention, I want to talk about briefly, at least, your John Glazer's Soothing Meditations for the Solitary Dog. You went on Fallon to promote this.

I know that you did, you went, I think, to the West Coast as well, and did a show. You did a show here at the Bell House. Tell us about it, please. So that's an album that I made in 2003 during that big actor-writer strike. And Eugene Merman has a small label that he started called Pretty Good Friends. and it's really for his friends to make these small, weird ideas that you're not going to get to make anywhere else. And you're not going to make a lot of money unless you get lucky and it catches on. And, you know, with streaming now, it's almost impossible to make money unless you tour.

So, excuse me, but the premise of it is if you have an anxious dog and you have to leave that dog home alone and that dog has a tough time being home alone, you can put on my album, it's very soothing. The joke being that it's a comedy album and it's not soothing at all. Although it tries to maintain that level throughout, even when things go wrong during the recording. So I really, we did an album release party, and I thought it was really fun. I thought we wanted to do a paint and sip, which I thought would be really fun where people can, you know, that's an advanced ticket option. You pay more money, but you get early admission, a good seat, free glass of wine, and a little canvas and a watercolor set. You paint your dog or cat or pet. We hang those on stage to dry.

and then when the general admission people come in here, they're greeted by all these portraits of animals, and it's just really, and that's how I start the show with a Q&A. So at SketchFest in San Francisco, that following winter in 24, we did the show out there, and I tried the paint and sip,

and it was so much fun. It was really transcendent for me because it had this real sweetness to it that I really liked, and it's all about dogs, which is something I just love my dog so much. He's behind me on the bed. Oh, there he is.

Yeah, he's all over Instagram. He's Instagram famous on your... Well, he's all over it because he's just, you know, he's on... If you see the album, he's on the cover. It's me and him on the cover. I've put so many photos and videos of him online as I'm promoting the shows. So that's the... And the show is now something I'm working on to potentially tour.

I just did it at the Bell House in Brooklyn a couple weeks ago. Yeah, I did it in Chicago a few months ago. San Francisco at Sketchfest last year. So it's a new thing. I'm figuring it out, working on that. But I really, really like it quite a bit. It's got a real sweet quality, and it's got a lot of really dumb glazer-ish comedy in it as well.

But the portraits are really, really, really fun. Yeah, everyone, go to John Glazer's Instagram. Thank you for doing this. I know you do these sometimes. I hope this went well. How did you think it went? I'll email you later and give you some feedback. I'll give you some new.

No, this was great. Thanks for having me. I really appreciate it. No, it's fun to talk about the late-night stuff, man. It was, I still can't believe I got to work at Conan. It was the best. Oh, they were lucky to have you. I mean, it's amazing. Go on YouTube. If you want to laugh, if you're having a bad day, if you're having a good day going YouTube and put in John's name, and you will laugh for sure. Thank you, sir. Oh, thank you, man. Have a good one. Thanks for listening. Please subscribe so you never miss an episode.

on Apple Podcasts, please rate it and leave a review. Be sure to go to late-nighter.com for all your late-night TV news, and you can find my podcast at late-nighter.com forward slash podcasts. Have a wonderful week, and I'll see you next Tuesday.