Untitled project from SquadCast ===

Paul Adelstein: [00:00:00] We got it. Yeah. Yeah. We haven't been, I mean, haven't been doing that each time. What do you mean?

Sarah Wayne Callies: Yeah, I think we have been,

Paul Adelstein: Okay.

Sarah Wayne Callies: we'll keep doing it.

Paul Adelstein: Copy that. Are we going.[00:01:00]

Sarah Wayne Callies: Yeah,

Paul Adelstein: Welcome back to Prison Breaking Everyone. I'm Paul.

Sarah Wayne Callies: and I'm Sarah. We're grateful as always to have you with us.

Paul Adelstein: So this was a big episode. We just watched it re-watched it together. We just had a re-watch party together, and there's a lot going on. There's some narrow escapes, there's some comeuppance, there's some getting it on.

Sarah Wayne Callies: Uh, there's a new word that I had to look up.

Paul Adelstein: Wait, what? You had to work, you had to look up a word. Oh, yes.

Sarah Wayne Callies: Yeah. Remember it? Ated, uh. Interrogated Michael's psychiatrist says it in our scene. Um, and I actually, I'm such a nerd, I went back to my script and I was like, did I do my good actor thing and look up this word? And I did not, I had not written it down in the margin, which maybe means that

Paul Adelstein: Sarah. Maybe Sarah. Mary. Sarah doesn't know the, maybe Sarah doesn't know the word.

Sarah Wayne Callies: maybe not, or maybe old Sarah, younger Sarah knew the word. [00:02:00] Um, do you wanna, do you wanna guess what it means? You don't have to.

Paul Adelstein: ated, like, it's like derogatory, like, like, uh, reduced, um, criticized

Sarah Wayne Callies: Dude. Yes. Entirely. Yes, entirely. Um, according to Miriam Webster, derogate means to cause to seem inferior,

Paul Adelstein: Huh.

Sarah Wayne Callies: to disparage. Um, hey, quick question. Can hear us? A noise in the background. Okay,

Paul Adelstein: I cannot.

Sarah Wayne Callies: great. 'cause I'm down here in my basement and I think my water heater just turned on.

Paul Adelstein: Okay.

Sarah Wayne Callies: 'cause you know,

Paul Adelstein: I don't hear it.

Sarah Wayne Callies: I'm not, but there's, I mean, there's my water heater's definitely on. Oh, it just shut off. Okay. Anyway, um, okay. Sorry Paul, if you wanna pick us up here,

Paul Adelstein: Not at all.

Sarah Wayne Callies: I.

Paul Adelstein: Okay. So you define deed. Okay. [00:03:00] And, uh, all right. I'm really excited to, to, I'm very excited to talk about this episode, but first, should we do the index?

Sarah Wayne Callies: We shall do the index. you wanna give people the Palestine index?

Paul Adelstein: Palestine Index,

Sarah Wayne Callies: Go.

Paul Adelstein: This episode of Prison Break Season one was titled Tweener and it aired Halloween, October 31st, 2005.

Paul Shering, uh, prison Break Creator wrote it. He wrote the pilot, of course, also, and it was directed by Matt Earl Beasley,

is his second out of three.

Sarah Wayne Callies: second out of three.

Paul Adelstein: Two out of three the, out of the last three episodes, we've watched Matt Earl Beasley has directed two of them.

Sarah Wayne Callies: Is that possible?

Paul Adelstein: No. No. I think I'm just mixing it up because maybe we watched outta order. I

Sarah Wayne Callies: Oh, that's very

Paul Adelstein: Don't worry about it. All

Sarah Wayne Callies: Um, okay. Our recap, uh, the guard room repair job is taken from Michael, [00:04:00] threatening his plan. Sarah talks to Michael's Peace psychiatrist. Um, that's a reference to the, an maniacs for anyone in our generation. Uh, Sarah talks to Michael's psychiatrist and realizes that he suffers from low latent inhibition, making him both sympathetic and a genius

Paul Adelstein: Wow.

Sarah Wayne Callies: and irresistible to women.

Um. Beek tells Abunzi that the mob hasn't paid for his protection this month. And II's position may be given to Fiorello, whose name I'm learning for the first time. Fiorello. So Abunzi gouges out FI's I as you do. Uh, meanwhile, Donovan and Sven learn.

Paul Adelstein: that is Monica. That is, uh, Veronica, Donovan, and Nick Sven.

Sarah Wayne Callies: True story. Uh, they learned from the wife of the VP's brother that his commercial partners could be the ones behind his death.

Paul Adelstein: All right, for some numbers, 9.01 million viewers tuned in. We were [00:05:00] led in by last week's episode as we have been throughout this first season. Uh, that was the old head and we were up against something different on NBC. This time, a rerun of medium as well as the usual and a half men on CBS, the NFL and A BC with Steelers beat the Ravens 20 to 19.

Sarah Wayne Callies: In pop culture news, a few days before this episode dropped on October 28th, the final episode of everyone, everybody Loves Raymond aired, uh, that ended a huge nine season run for the show. Um, Tom Cruise and Katie Holmes announced their engagement while Jennifer

Paul Adelstein: Oh

Sarah Wayne Callies: Brad Pitt announced their divorce.

I guess that was

Paul Adelstein: Oh,

Sarah Wayne Callies: Tabloid headlines.

Paul Adelstein: oh. I guess, uh. There's the, there's some kind of circle game, quote here. Like, things go up, things go down

Sarah Wayne Callies: time's a flat

Paul Adelstein: we go. Yes, that's right.

Sarah Wayne Callies: uh, and okay, [00:06:00] this is this one. Makes me this, I sort of love a whole bunch. In extra random pop culture news, Chuck Norris satirical facts had become, for some unknown reason, maybe we don't need a reason. Very popular. For instance, Chuck Norris doesn't read books. stares the down until he gets the information he wants, or Chuck Norris never retreats, he just attacks in the opposite direction.

Or lastly, and this is my favorite death once had a near Chuck Norris experience. And of course for those of you who are paying very close attention to the credits, uh, Eric Norris, Chuck Norris's son was in fact our stunt coordinator from season two Forward.

Paul Adelstein: Yes. And he was a wonderful guy and a really good stunt coordinator,

Sarah Wayne Callies: Yes.

Paul Adelstein: seemed like, it seemed like a very, uh, chuck, uh, oriented family, but everybody seemed really cool, right?[00:07:00]

Sarah Wayne Callies: Pro Chuck who is in Pro Chuck

Paul Adelstein: Yeah. Did live Dallas? Do you remember? Did he live in Dallas?

Sarah Wayne Callies: Yeah, because I think when Gary Brown brought the show to Dallas, he nabbed most of the crew from Walker, Texas Ranger.

Paul Adelstein: Oh, okay. There you go.

Sarah Wayne Callies: Yeah.

Paul Adelstein: it. Dallas, Texas, Norris. It's all making sense. In, uh, real News in News of the World, the New Orleans Superdome, which had been rebuilt in the aftermath Hurricane Katrina, weeks before reopened with a Monday night football game between the Saints and the Atlanta Falcons. It's.

Big symbolic step in the recovery of New Orleans. After Hurricane Katrina, the UN released a report that globe the global population had hit 6.5 billion people and warned about overpopulation and the impact that would have on resources. And President George W. Bush nominated Samuel Alito to the Supreme Court, replacing Sandra Day O'Connor, [00:08:00] first female Justice on the court after her retirement.

Sarah Wayne Callies: And that cheerful bit uh, information that had no bearing on women's rights for generations will bring us to the watch party.

Paul Adelstein: Woo.

Sarah Wayne Callies: This is the recap of the watch party. We're count it down. It's condensed if you wanna listen to the whole thing. Obviously you can subscribe and you can listen along with us.

Okay? We're gonna count down in 5, 4, 3, 2, 1.

Paul Adelstein: All right.

Sarah Wayne Callies: I've had more Wheaties this morning than Paul. I'm not sure why.

Paul Adelstein: Hi. I feel very energetic.

Sarah Wayne Callies: Oh, sorry. Okay. There we go. Uh, thank you for that rewatch, ladies and gentlemen, and everyone in between. I don't like that. Um, thank you that rewatch folks, uh, for with us, and we will be right back to talk about the [00:09:00] episode.

Paul Adelstein: Okay. Welcome back fishes. We have got our notes from the rewatch some things that we wanna touch on and talk about, and we have, uh, a few things we wanted to talk about from the last episode of Joslyn. that right?

Sarah Wayne Callies: to. Yes.

Paul Adelstein: Oh, some things we didn't get to. Okay.

Sarah Wayne Callies: yeah, because we had such an amazing conversation with Jolyn. We didn't actually talk much about the episode, um, but I took a bunch of notes on the tweener episode of things that I wanted to talk to you about.

Paul Adelstein: you about. Yeah.

Sarah Wayne Callies: Do you? Okay, so there was a running shot that we flagged between

Paul Adelstein: yeah,

Sarah Wayne Callies: and Kellerman.

Your mom was on set. You said some unspeakable things to Marshall under car, like, I wanna get to all these things.

Paul Adelstein: Yeah.

Sarah Wayne Callies: I kind of wanna start with your mom on set. I don't know why, but

Paul Adelstein: Um. Uh, we shot in Chicago. I'm from Chicago, so my family was there. My mom, I remember my mom was working still downtown and I think she came by that day and it was when I was [00:10:00] chasing lj, um, uh, after the death of his mother and mother, boyfriend, stepdad, mother.

Mother's boyfriend. Um, and I remember my mom was there and she just watched me run for like an hour and a half, and I was like, no, I really actually do some acting too. But then to go, uh, so she didn't see then me torturing poor lj or I should say Marshall, who was hiding under a car and I was, uh, hunting him in the, in the parking lot.

Sarah Wayne Callies: And what did you say to him? You said you like said some to him to get some

Paul Adelstein: I wanted to talk about that. I wanted to talk about this actually, I wouldn't call it improvising because sometimes when you're doing a, a re I paused for a drink. Sometimes when you are, uh, shooting a reaction shot of somebody, um, you will say things off camera to get a reaction out of them, even if it's kind of.[00:11:00]

I mean part of the show, but something that would never necessarily be on the show. Like swear you would use term, you would be harsher than your character might be, just kind of try to elicit a reaction from them. Um, oh, I said, and there was a whole thing about, um, my character teasing LJ that his mother was dead.

Sarah Wayne Callies: oh.

Paul Adelstein: side of that first, and then Marshall was under the car and they had a camera, like on his face, and he's pretty good at getting worked up. Um, he's a good actor in that regard and he, and he said, you know, I. You can torture me as much as you want, dah, dah, dah, dah da. And I, I said some really horrible things.

Really horrible things, and I always think, well, you know, isn't that the assignment? Didn't you want me to say some horrible things? And then afterwards, people look at you like, you're fucked up, dude. [00:12:00] fucking weird, dude. And I'm like, well, we were playing. We're playing. I'm supposed to be upsetting him.

I'm gonna say things about his dead mother. And then people are like, that's really harsh, man. I

Sarah Wayne Callies: Well, especially because often when you're in a situation like that, you've either been given permission by other actor or you've been.

Paul Adelstein: Oof. Yeah.

Sarah Wayne Callies: Hey, Paul, do me a favor. Tell my, tell, uh, Marshall that you know his mom, blah, blah, blah, blah. But the crew doesn't know that. They just know that in the middle of the scene,

Paul Adelstein: You've gone off stuff that's not in the script, that's like slightly personal and mean and clearly designed to get a reaction. Um,

Sarah Wayne Callies: he's a kid. I mean, he

Paul Adelstein: and

Sarah Wayne Callies: was like 25, but he's playing a kid.

Paul Adelstein: Was he, you think he was just 25 when he was

Sarah Wayne Callies: Oh, we should Google that. I think so. I think he was in his twenties. And this here's a little asterisk moment for, I'm sure most people know this, but they [00:13:00] usually, anybody under 18 has different labor laws.

And so usually if they can, they'll cast someone over 18 to play someone that age. But I think. I mean, he was engaged. I think

Paul Adelstein: He was definitely over 20. He was definitely over 20. Yeah. Yeah.

Sarah Wayne Callies: Um, um, yeah, those moments are kind of, sometimes you wanna just end it and be like, can we just all agree that I'm not an asshole? Uh, but, um, okay.

There was something else I wanted to ask you about getting out of the car with a Lake Mercer.

Paul Adelstein: Oh. I just, uh, these are silly little, um, actor things that I was getting used to. Um, you know, there was a. Uh, if this is too insider baseball, I apologize. But, you know, there was a, a lot of times where Kellerman would just produce a gun in a scene and I was like, there's no way [00:14:00] this guy has this gun on him.

Like it, there's nowhere to put it. There is a thing I learned when I studied Secret Service, in particularly that, first of all, when you look at Secret Service, when they're at work, they never have their jackets buttoned. And there were actually, um. Specific guns made by one of the gun manufacturers. I don't know which that was, that was, um, contracted by Secret Service.

There were these long guns that held flat against your body so that you could put them on under a suit, and it was a, it's a whole thing of, obviously nobody should know who Secret Service is, or you can't tell if they're armed and all that stuff, but there were a lot of things with Kellerman where it was just like, you know.

No, no jacket, which was fine and or no overcoat. And it was just like, and then you're over here and then you're over here and then you have a gun against the guy. And it was like, wait, where did we have to have this gun during the scene? Or be the magic gun? And normally it was [00:15:00] just a magic gun

Sarah Wayne Callies: You know during two, sorry, go ahead.

Paul Adelstein: Sorry. No, and on the, on the, in the, on the bus thing at Lake, whatever it was, um, he really wanted the gun out, but there was no way to get out of the car. I mean, it, it sounds ridiculous to say it out loud now, but there was no way get out of the car and then take the gun out like it basically you, so you get outta the car, it's like I already have the gun in my hand out.

I guess it

Sarah Wayne Callies: Like you've just been riding with it on your

Paul Adelstein: It doesn't stretch a, uh, uh, it, it's, it doesn't, you know, it doesn't stretch credulity as we say, but like, I remember it being weird, but it did. Did it look weird to you when you watched it?

Sarah Wayne Callies: You pointed it out

Paul Adelstein: Yeah. Yeah. Okay.

Sarah Wayne Callies: and I, my actor brain immediately followed your actor brain to that same place because like, we're theater nerds. And so why of it all

Paul Adelstein: yeah, like where's the thing? How'd you put the thing over there? How do you get it? Yeah.

Sarah Wayne Callies: And I, you know, I feel like when, for people who come from our background, usually the first three years of your career is just a long, a [00:16:00] long series of directors going. It doesn't matter. It doesn't matter. It doesn't matter. It doesn't matter. And just for me, just when I start to trust that

Paul Adelstein: And

Sarah Wayne Callies: something and, and, and it's your mark for the love of God.

Um, but then I'll watch something. Usually not something I'm in because I don't watch much of that. But you watch something. It drives you crazy. 'cause you're like, that's ridiculous. You just pull the Bible outta your back pocket. Um,

Paul Adelstein: Yeah. Do you have pet peeves? Do you have acting pet peeves? I have a couple not of that I've done, like, then I see act when they're, when you see things that you're like, I'll tell you a couple of them. One is, there's no, there's not, there's nothing in that luggage that is. That luggage weighs nothing and it's bugging the shit outta me.

Same thing with, uh, coffee cups, especially paper cups to go where you're like, clearly there's no liquid in there. And if there is, it's not hot and you're not even pretending it's hot. And that's bugging me, but that's just, nobody else notices that. Right?[00:17:00]

Sarah Wayne Callies: no, that kind of thing drives me crazy and I have more than once asked for. Uh, like, can I please get liquid for some reason, there was some, there was some scene I did on this show where they were like, no, you can't have liquid for some reason. So they like filled it full of sand and I was like, I appreciate the weight.

It is now the heaviest cup of coffee to man. But sure, like I, I'll take it as long as there's something in it, I what? Something that drives me nuts, um, is when somebody. Drinks from something but clearly doesn't like you. They don't swallow, there's no lipstick on the thingy, or there's an entire plate of food in front of them for an entire scene and they eat one cherry tomato

Paul Adelstein: yeah,

Sarah Wayne Callies: and you know, I get it.

It's hard the continuity and you don't want to eat five pounds of steak in the course of shooting one scene. But, um,

Paul Adelstein: I have many stories about that kind of thing

Sarah Wayne Callies: Okay.

Paul Adelstein: because [00:18:00] I am an, I am a food, I love being a food actor. I love. Eating in scenes and stuff. And that actually ends up being, it can be be complicated for you. You end up and eating a lot of food.

Sarah Wayne Callies: A lot of

Paul Adelstein: Yeah. Yeah. And it has to match it. The continuity has to work.

It can be a real pain in the ass for everybody. But I found myself in a couple situations where it's scripted.

Sarah Wayne Callies: Like the menu, I

Paul Adelstein: sure. But no, but once on, like once on private practice and once on, uh, get Shorty, which is a show that

Sarah Wayne Callies: Such a

Paul Adelstein: I did a few episodes.

Sarah Wayne Callies: Wait, it was a show.

Paul Adelstein: Yeah. It was a show with Chris o' Dow, Davey Holmes made it's, and Ray Romano's in Speaking of everybody Loves Raymond.

It's a really good show. Um, and I played an agent, an Hollywood agent, and there's a scene where it says he, it says he eats an entire steak, like during the conversation.

Sarah Wayne Callies: Yeah.

Paul Adelstein: So[00:19:00]

Sarah Wayne Callies: Did you do barf bucket?

Paul Adelstein: Um, I did. Yeah.

Sarah Wayne Callies: Okay. Yeah. I've never had

Paul Adelstein: didn't, I didn't do, I did barf bucket like in my trailer at the end of the day.

Sarah Wayne Callies: Okay. Because sometimes people like

Paul Adelstein: Yeah, you can chew and spit it out and not Yeah, no, I pulled the, I pulled the trigger. It was just like, it was one of those things where you're like, okay, I just ate 98 of steak. Like I can suffer. I can deal with this for the next two and a half days, or can just, you know,

Sarah Wayne Callies: The meat. So hats,

Paul Adelstein: meat sweats. I mean, it was literally, I was having meat sweats. I didn't know that was a thing, and I was like, what's happening to

Sarah Wayne Callies: real.

Paul Adelstein: Yeah, they're for real.

Sarah Wayne Callies: I, you know, I've never really had a situation like this happen to me, but when we shot the last, I think it was the last. Episode of Season one, might have been the one before that of Walking Dead. There's a scene where we're all in the, we're all in the CDC and everyone's feasting for the [00:20:00] first time.

'cause there's abundant food. When I was sitting next to Chandler Riggs, uh, as I did the entire first season, right, like when you play a mom, um,

Paul Adelstein: that's,

Sarah Wayne Callies: your key prop is the kid playing. Your kid, and I say prop because they often gave him not very much to do in a scene. so we would figure stuff out together and we had a lot of fun.

But in this scene there was a, a pre-wrapped like little Debbie's brownie. And in the first take he ate the whole thing. And I was like, you know what? Um, I mean God loved him. He was like 11. And I was like, this is, this is not, and I think Bernthal was with me on this one and we're like, Hey bro, you gotta like.

Paul Adelstein: Gonna go on all day.

Sarah Wayne Callies: We're just super worried about you. And he was like, look me in the eye, there is no amount of brownies that I can't put down. And I was like, okay, bud, well listen, we're here for you if things change. And like two hours later I him and he's got like tears in his eyes and you know, I'm a woman.

And I was like, John, you gotta go talk to him. [00:21:00] You like, I think, I think he needs a, a dude right now.

Paul Adelstein: to say

Sarah Wayne Callies: And

Paul Adelstein: this thing. Yeah.

Sarah Wayne Callies: or to take him to the bathroom and help him.

Paul Adelstein: Oh,

Sarah Wayne Callies: Make room or what? I don't know what happened in there, but John came out and he's like, he, we can't do this anymore. So I went to our director who I believe was Guy Ferland, and I was like, he's shorter than the rest of us.

Can you be above him?

Paul Adelstein: Oh,

Sarah Wayne Callies: And so they shot the rest the scene 'cause he was like up to my shoulder but the, I mean the poor kid. And I was and I think, I think he had the brownie sweats. Um,

Paul Adelstein: uh, on a, that Kevin Hart show I did, um, uh, true Story, which is on Netflix. I played his. Manager basically. And, uh, there was a,

Sarah Wayne Callies: in that

Paul Adelstein: there was a thing that, that the, that the character had had some eating issues and he had gone through Overeaters Anonymous or he was, sorry.

He was still, I think working the program. He was still working the 12 steps before Eaters Anonymous. And so we tried to do a thing Sutley every now then. [00:22:00] Yeah, we try to do, uh. A scene or we tried to incorporate a thing where the, when he was stressed out, he would start eating. Like if there was a particularly stressed, stressful thing in the, and there was one up, one big scene between the two of us where the wheels are really fucking coming off.

People are, people are quitting the team and dah, dah, dah, dah, dah. And in the. On stage where of this hotel? It was a hotel. A hotel set. There was a huge jar. I mean, like a, I'm making big, huge, uh, motions of peanut m and ms, like a lot, thousands.

Sarah Wayne Callies: Like, I guess how many are in this jar

Paul Adelstein: Yeah. Yeah. And I started, you know, eating them in rehearsal and I was like, they're never, this is too much.

Like they're gonna, they're gonna think it's way too much. It's like Kevin, Kevin's character almost fires my character and dah, dah, dah. So it's super stressful. And I just kept, and they loved it. They were like, oh no, this is great. [00:23:00] And we'll, we can cut around it if it doesn't work, and dah, dah, dah, dah da.

And, and it, I ended up eating five and a half pounds of pinot and m and ms and they didn't use it.

Sarah Wayne Callies: goodness,

And they

Paul Adelstein: it. I mean, it, and I gotta say, it was one of those things where like halfway through, I remember Senator Kevin, like, like you, he's like, I, he loved it. It's, which is the most satisfying when you can make someone like that, like

Sarah Wayne Callies: Yeah. Make Kevin Hart laugh.

Paul Adelstein: it, and it's his show, you know?

So you like, oh, I'm glad he's lacking this. I was kinda like, they're never gonna, this is never make it in. Right. He was like, it does, no, but I, I love it. Keep doing

Sarah Wayne Callies: No, but don't stop. You're doing a public service. Um, speaking of, no, but don't stop. My favorite part of this entire episode is Phil Van Lear. And Becky,

Paul Adelstein: Oh my goodness.

Sarah Wayne Callies: like the

Paul Adelstein: They really, uh, go ahead.

Sarah Wayne Callies: I just, it like. This. So, I mean, PS this is one of my favorite episodes. I'm not entirely sure [00:24:00] why, but there's something about it that I think is very cool.

There's a lot of different twists and turns, and not Michael being really clever, but Veronica being clever and, uh, LJ being clever. And, you know, people,

Paul Adelstein: it,

Sarah Wayne Callies: uh, I, a Maori has like a cool, not a Maori, um, SRE has a save, but

Paul Adelstein: it feels little bit like, it feels a little bit like, um,

and then Ringo joined and then we really felt like the band.

like, and I don't think it's just 'cause Lane joins, although he is, he is great and he, it's a great character. But like between that and going on outside the prison, like with Nick and, and, uh, Veronica, what's going on inside the prison, it feels like, okay, here's the like.

The table set like, feels like, okay, now it's on. I mean, I know it's episode, what is it, eight or nine? Like that's a lot of setup, but it does feel [00:25:00] like, oh, now we see the parameters of what's about to happen. Clearly, in my opinion, I, it feels like it hits a certain kind of stride. It,

Sarah Wayne Callies: It feels like they know what the show really is. And I'm actually forgive the noise I'm looking for when we shot this, because. The old head. My last revised script was from, okay, so my blue draft of

Paul Adelstein: this is tweener, right? Yeah, yeah. Tweener,

Sarah Wayne Callies: Um, my last revised script from Tweener was September 13th, so yeah, I guess we hadn't aired yet.

I was wondering, what I'm curious about is when then the writer's room starts getting feedback about. How the show is doing, because that must be really interesting. Did that ever happen to you on imposters, where like you've written 12 episodes, you've shot them, and then now all of a sudden they start airing

Paul Adelstein: Not in imposters. It didn't, it happened obviously. Um,

Sarah Wayne Callies: [00:26:00] private practice?

Paul Adelstein: got, I'm trying to think. Yeah, I mean, the network shows operate more like that. There's more episodes and it says usually a tighter schedule. When, um, I was running imposters, we had shot the entire season.

Sarah Wayne Callies: Okay.

Paul Adelstein: it aired, which, you know, whatever the schedule ends up being, you, you just kind of have to deal with it. We were talking about this the other day. One of the wonderful things about television can be that a showrunner will adjust to what they see in front of them. Yeah.

Sarah Wayne Callies: Well, and I guess maybe at least at this point, this many episodes in, they've had a chance to watch dailies, to watch cuts, and go, Hey, the show lives here. One of my other favorite beats is the, um, this is tied into the, the Phil and Becky stuff, uh,

Paul Adelstein: You really love Phil and Becky stuff?

Sarah Wayne Callies: I think, well partly because it's such a departure from the rest of the show and it's a little bit of a like, Hey, nobody's dying in this moment.

These are just, you know, a couple of, a [00:27:00] couple of people living their best lives.

Paul Adelstein: Couple of horny teenagers.

Sarah Wayne Callies: Couple, couple of horny teenagers in their whatever's, uh, in a, in a prison. Um, but. Also, but so they, they, they leave and the kah see them leave and one of them out. He's very few lines in the episode. There was not a ton of him.

He just goes, do you think he found the hole? And Michael like, half turns his head. The whole thing is played in a two shot. They don't cut to, they don't, but like, it works

Paul Adelstein: hole, so that is a double entendre. Yes,

Sarah Wayne Callies: well. Yeah, it just works really, really, really

Paul Adelstein: does. It's a hard thing to pull off too.

Sarah Wayne Callies: And I think they figured out like, oh, this is a part of the show.

Paul Adelstein: also love that they have this device of, um, the CO and the secretary having an affair and they just, they just milk it for all the plot turns they can milk right. Like it's, they always like, we can always go to this to [00:28:00] distract people to Y or Z. Yeah. It's great

Sarah Wayne Callies: Why doesn't nobody figure out that Michael's in the Pope's office? Oh, because they're flirting. Why does nobody find the hole be Because they're having Like

Paul Adelstein: yeah. It's so

Sarah Wayne Callies: it's a, it's a lovely,

Paul Adelstein: Yeah.

Sarah Wayne Callies: but then coming back to a Maori, I actually made a little note of like, you know, muse wasn't in this episode. There wasn't a of cra, but if.

It starts with just a whole bunch of nasty language coming at Sukra from Beic

Paul Adelstein: Oh

Sarah Wayne Callies: and that kind of keeps going throughout the show. He doesn't have a whole lot else to say. Um, and. I want, like, I wanna talk to a Maori about how that felt. And also I wonder how that would be handled today. Like, which is to say, if you are the only, [00:29:00] uh, Latinx actor on a set and somebody's job is to throw a bunch of nasty racially charged language at you.

One of the things I know that's happening in Canada right now is, you know, and this is different in some ways, but not all of them, is that like there's a bunch of protocols when we're asking indigenous actors to perform culturally painful scenes, right? Like scenes of, yeah,

Paul Adelstein: Uhhuh.

Sarah Wayne Callies: so there's actually a whole, um, the indigenous film office has a whole set of protocols about having a trauma informed.

Elder or, and or counselor on set so that when those actors are done with those scenes, whatever it brings up, they've got somebody to go, Hey, could you help me take this out of my spirit and my heart right now because it's sitting there like a stone and

Paul Adelstein: Because even though I was playing a role, this [00:30:00] person said all sorts of hurtful shit about my ethnicity or my background or my religion my

Sarah Wayne Callies: yeah, even though I'm playing a role, it's tied my real

Paul Adelstein: Sure, sure.

Sarah Wayne Callies: Um, and it made me, it made me just wonder how, lemme put it this way, if I were directing a scene right now, I. By the way, this is not me faulting production. I'm just looking at like the things that we've sort of started to

Paul Adelstein: yeah.

Sarah Wayne Callies: with and, and change in our business.

If I were directing a scene right now, and I, you know, I don't know that I'd have to ask a ma if this one was sufficient to, you know, kind of meet that bar for him. But where I've got an actor who's receiving a tremendous amount of verbal or physical abuse based on an identity position. I wonder if I wouldn't go to production or if production would suggest, like, can we have somebody on set that day for that person?

of like an [00:31:00] intimacy coordinator, but a trauma processor. There's a better word for that, I'm sure. Um, I.

Paul Adelstein: Um, but I also, I also think that I don't, I don't, our show is pretty, I don't, I, I would imagine like you, that that didn't happen. But I would say that if it was something to that level, a more extreme, or depending on the actor that was on the receiving end of it, and maybe the giving end of it, that a good director or and or producer worth their salt even before.

Uh, trauma coordinators, or whatever you would call it, would make sure that the people participating and even the crew around were comfortable with what was happening. That you would talk about it beforehand so that it, it didn't, doesn't get, you know, to hurtful to out of control, whatever, whatever it is, so that people feel safe.

I mean, it's just kind of the job.

Sarah Wayne Callies: with their boundaries. Yeah. It, I wonder, [00:32:00] again, I wanna have a, a Maori on at some point, but I'd love to talk to him, but was there ever a call from anyone going, Hey, so Bellic is super racist.

Paul Adelstein: Yeah.

Sarah Wayne Callies: Uh, you know, what's your feeling on that?

Paul Adelstein: Uhhuh

Sarah Wayne Callies: because it's. It's fascinating. I mean, then there's that whole other side of it, which is I've met a few white actors who are like, oh no, I could never play a racist.

And I'm like, oh, that's interesting. So what does that mean?

Paul Adelstein: there's stories about jengo. the, the stories about Django and chained about being so uncomfortable with using the N word and um, having to kind of, um, you know, be pretty cruel to Jamie Fox, Sam Jackson, Kerry, Washington. Um, and then at a certain point, I don't remember who it was, somebody was like, you need to.

Get at it. You need to come, you need to come after us. You need to, or you need to, [00:33:00] like, it's okay. Like we gotta do this thing. Like we're, we're here to make this. You're a slave owner. You're a brutal psychopath. Let's go. There's a bunch of interviews about it. quite interesting.

Sarah Wayne Callies: I've never seen the movie, but it is an interesting point, right? Because you don't wanna soften it so that viewers go, oh, well it wasn't that bad. Right? You need to be able to be like, it was actually

Paul Adelstein: Yeah, and, and you know, just, mean, just the, just

Sarah Wayne Callies: Without hurting people in the process.

Paul Adelstein: yeah. And that's, but, and that story, that story doesn't work unless that person is really brutal to the, to the, those people, you know? That's the dynamic of, that's the setup of the whole thing in a way.

Sarah Wayne Callies: Mm-Hmm.

Paul Adelstein: And his comeuppance. Anyway. We'll, we'll, we'll touch more on that on our, um, Tarantino Rewatch podcast that we're gonna launch sometimes later

Sarah Wayne Callies: Called Fuck, itty. Fuck, fuck, fuck, fuck, fuck.

Paul Adelstein: called, fuck, fuck, fuck, fuck, fuck.[00:34:00]

Sarah Wayne Callies: um, something that we were gonna talk about, I think last episode that's slightly lighter is that we got to go to the World Series of Baseball

Paul Adelstein: Oh my gosh.

Sarah Wayne Callies: because these episodes aired during the World Series of Baseball and Fox aired. The actual World Series of actual baseball in actual Chicago

Paul Adelstein: Yeah. Where

Sarah Wayne Callies: while we were actually shooting.

Paul Adelstein: Yeah. And, uh, they got us tickets and they got us really good seats, or they got us really good seats, and it was like you had to wave into the camera. I remember first time I ever had to do that kind of thing.

Sarah Wayne Callies: Well, you guys separately. You went with the guys, right?

Paul Adelstein: I went with my dad

Sarah Wayne Callies: Oh,

Paul Adelstein: ended sitting near, I have a picture of it somewhere, which is crazy.

And by picture, I don't mean a phone picture. I mean, somebody had like a disposable camera. Uh, I think it was a Maori. [00:35:00] A couple of friends of his and then some other people from the show. But there was like a tenor may I think, er, I think it was like 10 of 'em, and it was pouring rain. It was just a sloppy gross night.

I don't think it was the super long game. Um,

Sarah Wayne Callies: Do you remember what number it was?

Paul Adelstein: I don't, I don't remember what game it was. I know they swept him. So I remember, uh, they won the catcher, what was his name? Uh, drove in the winning run the bottom of the, it might have been 10th, it might have been extra innings, I don't remember.

But it was pretty cool to go to a World Series game. In Chicago and not a Sox fan. Cubs fan, but it was still really cool. Now Cubs fan. But um, you know, some, uh, what year was it? Two, some short, 11 years later we got to go to a Series game. Yeah, that was intense.

Sarah Wayne Callies: I don't know about you, but we were, I mean, we'd just done the prison break, uh, season five. [00:36:00] So I ended getting tickets to that.

Paul Adelstein: really? Oh, fantastic.

Sarah Wayne Callies: Well, because I was working on Colony and Jacobson was like,

Paul Adelstein: yes.

Sarah Wayne Callies: wait, I need to go to this game. And so I didn't, like, we didn't go together, but I kept calling Todd Adair, who is

Paul Adelstein: Oh, Todd a dare.

Sarah Wayne Callies: wonderful man who hooks up, uh, Fox actors with stuff like that.

And I was like, Peter Jacobson has to go to this game.

Paul Adelstein: do you think we can set a goal for ourselves that we can somehow organically mention Peter Jacobson in every episode of the show?

Sarah Wayne Callies: That should be part of the drinking game, have, have a beverage every time somebody mentions Peter Jacobson. He's so lovely. He's also so inter, he's so deeply embedded in Chicago athletics. Um, so I went to the ga, I went to game one.

Paul Adelstein: Excuse me.

Sarah Wayne Callies: Um. My grandfather. So I [00:37:00] was born in Chicago. My parents were both born in Chicago.

My grandfather a

Paul Adelstein: Michael Reese Ho. Michael Reese Hospital, I believe.

Sarah Wayne Callies: Michael Reese Hospital, um, which has since been demolished. Um, so my grandfather moved to Chicago, um, with his, with his boss at the time from New York, uh, when he was a young man. And his boss the time was Al Capone. That's the story for another time. But he was a Sox fan. And White Sox fans, um, had a super long weight

Paul Adelstein: Yes.

Sarah Wayne Callies: between, uh, world Series appearances. I think it was what, 19. We talked about this in the last index, but it was super, super long. And so I got to go to game one because I had to go to, uh, LA for some press. It was the only one I was available with, and I ended up going with Johnny Messner and Shy McBride, who were on another Fox show together. And I don't even know Chi's real name, but everybody calls him shy 'cause he's from Chicago

Paul Adelstein: Is that really why?

Sarah Wayne Callies: [00:38:00] Yeah. Um, 'cause they call Chicago Chi Town. And let me tell you, we, we had so much fun at the game. We went to Gibson's beforehand and had ourselves, you know,

Paul Adelstein: Pickle steak. Pickle steak. Yep.

Sarah Wayne Callies: Big old steak, not quite 96 ounces.

But, um, we did have ourselves a steak and. The game ended and they won. And we had great seats right down at front. And Shai like basically picked me up, put his arm around he goes, so here's the thing, Chicago riots, when we win, we really need to get out of the And he, Shai is a big guy. And uh, he basically picked me up and threw me over his shoulder and was Messer, follow us.

And we were in

Paul Adelstein: So they won.

Sarah Wayne Callies: out the stadium.

Paul Adelstein: They won the championship at the game you were at. They won.

Sarah Wayne Callies: No, they want, it was game one.

Paul Adelstein: oh, it was game one.

Sarah Wayne Callies: It was game one, but for White Sox fans, they're like, this be all we get,

Paul Adelstein: Sure, sure.

Sarah Wayne Callies: going celebrate. And

Paul Adelstein: riot anyway.

Sarah Wayne Callies: home, seriously, you don't need a big reason. By the time we got back [00:39:00] to where we lived in Wicker Park, there were just like people on the streets shirts off dancing.

Paul Adelstein: I, uh, one of the dumbest, maybe dumbest things I've ever done. Or maybe arrogant, I don't know. Maybe both. I was at a, uh, you remember where the Chicago stadium was or the United Center was on the west side there? Kind of just west, just southwest of where you guys lived. Probably a

Sarah Wayne Callies: Oh yeah, yeah, yeah.

Paul Adelstein: And then remember where my brother lived, which was just like.

Quarter mile north of you. Right? So we would go to the Bulls games and we would just drive Western all the way down to the game. And I went my, there was only one ticket and it was for the, when they, when they clinched, when Steve Kerr hit that shot, it was their fifth championship. Um, I was there when they won, which was.

Sarah Wayne Callies: Are we in football now?

Paul Adelstein: Highlight, sorry. Bulls basketball. Michael

Sarah Wayne Callies: Oh, sorry.

Paul Adelstein: The nineties. The nineties. Very big deal basketball. [00:40:00] I was like, oh, well I'm gonna, you know, we won. I stayed as long as I could before they kicked me outta the stadium. I couldn't believe it. And then it was like, okay, and now you know I'm gonna go home.

I'm just gonna drive up Western. And I realized as I started driving up Western that it was

Sarah Wayne Callies: No you're not.

Paul Adelstein: It was really Like people like, like jumping on a car, shit.

Sarah Wayne Callies: Were

Paul Adelstein: Yeah, I'm pretty tough, man. Don't I sound tough? I sound so

Sarah Wayne Callies: People just took one look at you and they're like, I am leaving that

Paul Adelstein: I'm not messing with that guy in this 1989. Jetta not gonna

Sarah Wayne Callies: Hey, know what? I drive a

Paul Adelstein: He could be Kellerman.

Sarah Wayne Callies: right now. So, uh,

Paul Adelstein: That could be kellerman. That guy could be secret service.

Sarah Wayne Callies: that guy could someday be a future killer on, uh, Fox Show.

Paul Adelstein: Yes, that's right.

Sarah Wayne Callies: Um, okay. Before we get to our, uh, fan stuff, there is a story. That we touched on that I feel like I need to explain, and I think this was actually from the old head, [00:41:00] but in our um, watch party when they were picking up Marilyn and Marilyn died, I was like, it's surprisingly hard to kill a cat. Um, because my husband had

Paul Adelstein: on television or you mean in real? Oh gosh. Here we go.

Sarah Wayne Callies: IRL and it occurred to me I should. Probably give a little context to that story. So the, the very, very brief highlights right after got married, and I mean like, uh, less than a year, within a few months, um, my husband went to Cambodia because a friend of his who lives there was opening a school and my husband is a teacher. His friend was like, I'm gonna open the school. I'd like you to come help teach the teachers. So Josh goes to Cambodia and it's like two days before he leaves and this cat wanders into the school. Now it's Cambodia. So the school is pulls in a roof and a [00:42:00] concrete pad, but there's no walls. So the cat wanders into the school and starts biting.

Kids bites. A bunch of kids bites. My husband runs off. Somebody later from nearby from the village was like, pretty sure that cat's rabid. So they call the um, hospital and they say, well, here's the thing. We don't have a lot of rabies vaccine, so you, in order to have access to it, you have to prove it. And they were like, how do you do that?

Paul Adelstein: You that cat.

Sarah Wayne Callies: you have to bring the cat's head

Paul Adelstein: Fucking hell.

Sarah Wayne Callies: so. Remember my husband at this point is like

Paul Adelstein: I'm sorry to laugh. Yeah.

Sarah Wayne Callies: I mean it's, it's insane. And it gets better because Cambodia is a Buddhist country. So somebody had caught this cat in a basket but wouldn't give it to my husband. 'cause he was like, they were like, you're just gonna kill the cat.

And as a Buddhist, I can't condone that action. And Josh was like, okay. But also I, and these [00:43:00] like six kids

Paul Adelstein: Will die. Do you that? Do you know that rabies kills you? Like if you don't treat it, it actually

you.

Sarah Wayne Callies: every time. a bad death.

Paul Adelstein: bad. Really? Is like you go crazy and you're foaming at the mouth and shit.

Sarah Wayne Callies: Yeah. Yeah. And get

Paul Adelstein: Kill that cat. Kill that cat.

Sarah Wayne Callies: so Josh basically gets a couple of people, a couple know, adults

Paul Adelstein: with,

Sarah Wayne Callies: because of course it's ka,

Paul Adelstein: gets a, when you said gets a couple people, I'm picturing pitchforks and torches now. Yeah. Like we're gonna get the

Sarah Wayne Callies: gardening

Paul Adelstein: No Like we're gonna this cat,

Sarah Wayne Callies: so they get the cat

Paul Adelstein: a mob if you are.

Sarah Wayne Callies: Josh has to kill the cat. And

Paul Adelstein: no.

Sarah Wayne Callies: Trying to kill this cat was shockingly hard and an absolute catastrophe, and may or may not have involved a machete, and then he

Paul Adelstein: No.

Sarah Wayne Callies: it to where the hospital was. And Nm Pen is like two hours [00:44:00] on a moped.

So there's my husband knowing that he's been bitten by a rabbit cat with the cat's head in a

Paul Adelstein: in, in a basket on his, oh my goodness.

Sarah Wayne Callies: just like

Paul Adelstein: And

Sarah Wayne Callies: and

Paul Adelstein: is yeah.

Sarah Wayne Callies: Yeah. I mean, you know,

Paul Adelstein: They get there and it's like, here's the cat's head, and they're like, yeah, that cat's fine.

Sarah Wayne Callies: No,

Paul Adelstein: like, yeah, you don't. They're like, yeah, you don't have,

Sarah Wayne Callies: they're like, it's 100% Arab cat, so they treat all the kids. But the rabies thing is interesting because you get a shot at least back in whatever, 2002, you get a shot, you need another shot six weeks later, and then you need another one a few months later. And so Josh gets the first shot, gets back.

To Brooklyn where we're living. We go to the doctor and the doctor goes, and I was shooting on location.

Paul Adelstein: I dunno.

Sarah Wayne Callies: He was like, so take this shot with you and give Josh his next shot on the precise time. And he gives me instructions and he goes, by the way, just so you understand, if you do it wrong, because he [00:45:00] was bitten in the foot, and rabies is a disease that travels really slowly through

Paul Adelstein: He'll lose his, he'll lose his foot or something.

Sarah Wayne Callies: No, it could still kill him, but it might take six years.

Paul Adelstein: Oh.

Sarah Wayne Callies: So honestly, it wasn't until like six years after this that

Paul Adelstein: are you doing okay?

Sarah Wayne Callies: oh, thank God.

Paul Adelstein: Oh my God,

Sarah Wayne Callies: Yeah.

Paul Adelstein: awful. This story's awful.

Sarah Wayne Callies: Well, I mean the good news is that Josh and the kids are all alive. Um,

Paul Adelstein: Ugh.

Sarah Wayne Callies: and the cat was gonna die anyway rabbit is, is but,

Paul Adelstein: kill you. Yeah, yeah.

Sarah Wayne Callies: this will kill

Paul Adelstein: Oh, that is really, that is really quite upsetting.

Sarah Wayne Callies: Folks don't get bitten by a rabbit animal.

Paul Adelstein: In in Thailand,

Sarah Wayne Callies: Cambodia.

Paul Adelstein: sorry, Cambodia.

Sarah Wayne Callies: yeah.

Paul Adelstein: Wow.

Sarah Wayne Callies: Batam bong. Um, yeah. Should we wrap it up on that? No.

Paul Adelstein: Sure. I wanted to my running story,

Sarah Wayne Callies: [00:46:00] Oh, tell me the running story. I wanna hear it.

Paul Adelstein: so I got outta the car. To Chase lj and I'd never done that. No, I had done that. I should actually say I had done that before, but not on the street and not when it was like wet. Sometimes they will, oftentimes they will spray water all over the street to not to make it look wet, just to make it look darker, which is dangerous everybody.

That's, yeah, it's just dangerous for people that are sprinting in their wingtips.

Sarah Wayne Callies: Ooh,

Paul Adelstein: But I enjoyed it. I love that kind. I loved that kind of thing. I, you know, I was like, um, badass, I'm gonna run. It's gonna be great. And I ran and I was really fast, and a bunch of the camera guys were like, you're, you're too fast.

You're running too fast. And I was like, yeah, like, felt. So, you know, I,

Sarah Wayne Callies: Yeah, I am

Paul Adelstein: oh yeah, I'm so, I'm so. Incredibly agile, which is not a thing. Yeah. I started saying, yeah, fastest Jewish. I started saying Fastest Jew in Hollywood every time I ran [00:47:00] on prison rape, which definitely not, I mean, demonstrably not true.

But um, then somebody,

Sarah Wayne Callies: Fastest

Paul Adelstein: was Billy, who was

Sarah Wayne Callies: shirts made

Paul Adelstein: I don't know if it Billy camera opera. What's that?

Sarah Wayne Callies: It's going on our merch list

Paul Adelstein: Yeah. Right. Yeah. Um, I don't, I don't remember if, uh, it was Billy that said it to me or one of the other camera operators. He said, you know, I did a Mel Gibson movie and when he runs, uh, to like, make up.

Space for the camera. He doesn't run as fast as he can, but he really pumps his arms and it makes, and you know, they just shoot him from the waist up and it really looks like he's running fast. So I was like, okay. So in the second shot or one of the, I'm doing that looks really bad and somebody, I think somebody, I think somebody, uh, sold me a bill of goods on that.

Sarah Wayne Callies: That's very funny. Um, fastest Jew in Hollywood. I want that on a, I want it on a [00:48:00] hoodie.

Paul Adelstein: Yeah, I don't know about that.

Sarah Wayne Callies: Um, that's kind of wonderful. I love it. I mean, cameramen, you know, because they're following us with equipment. I think often we get asked to slow down and every single time it happens, it makes me feel like a stud for just a minute. know what I mean? Hey, hey, could you slow down? We're having trouble following

Paul Adelstein: Camera, camera. We can't even catch up with me. I'm fast.

Sarah Wayne Callies: I that a lot from people carrying 70 pounds of film equipment on their shoulders going backwards. Um, it does look really cool. I will say like all of those scenes with you and LJ. They have such a palpable level of threat that gives the rest of the show such real stakes.

You know, because you do have this sense that like the bad guy, it really will win.

Paul Adelstein: Yeah, I remember feeling, uh, [00:49:00] and it was fun. It was the first time I'd ever really played a character, um, on a show that ha that would, IM, that his who's would only have maybe have a, a few scenes in episode two or three, let's say, and that character's actions every single time altered the trajectory of the story massively.

Sarah Wayne Callies: Mm mm-Hmm

Paul Adelstein: I am just actually just realizing it as I say it that way, like, you know, like, why did this feel so impactful? It's like, well, you know, it changes the tone of the show when you kill the kid's parents.

Sarah Wayne Callies: The dramaturgy of your

Paul Adelstein: like, like it's no ju it's also like, no, like, you're like, oh, this is real threat. Like, I didn't go there and Hale and Keleman didn't go there and like threatened the mom.

It's like they killed the parents.

Sarah Wayne Callies: Yeah.

Paul Adelstein: Like the stakes of that. That's a big jump. Stakes wise.

Sarah Wayne Callies: Mm-Hmm.

Paul Adelstein: Yeah.

Sarah Wayne Callies: It absolutely is. And it,

Paul Adelstein: Absolutely. Yeah.

Sarah Wayne Callies: I think it also tells the audience, because, you know, like Jocelyn, we all [00:50:00] thought, I thought at least, I was like, oh, this character's gonna be around for a while.

Paul Adelstein: Yeah. And also,

Sarah Wayne Callies: it, it tells the audience like, really not many people are safe here.

Paul Adelstein: yeah, yeah. And it also tells the audience, which was great for. Me as an actor, but also to play that character is that like, oh, this person is Will, bad shit will happen.

Sarah Wayne Callies: Mm-Hmm mm-Hmm

Paul Adelstein: they're capable of this. And like, that's the goal. Like they, they will kill people in their way and that just then it makes every scene you're in going forward, like super tense and powerful.

They're putting the bells behind us, but also it's like, oh, he could pull his gun out and kill somebody. Go, you know?

Sarah Wayne Callies: And you know, the other thing that's cool about it is they played it and you and Danny played it as though that was new for you. And so every time you took a step like that, Danny kind of looked over and went, what the were who

Paul Adelstein: are we doing? Yeah, yeah,

Sarah Wayne Callies: Yeah. And so. [00:51:00] We get a sense that like this guy is going further and further and further down the evil path and

Paul Adelstein: and it raises the stakes of what's happening to Lincoln and Michael because now we know it's the vice president is like, is it taken care of yet? Is it taken care of yet? So stuff that feels like, oh, this is a normal thing they do, not going well. So it it, it feels like, uh, you know, it's about to slip out of control at any moment, which is,

Sarah Wayne Callies: There's a big squeeze.

Paul Adelstein: Yeah. Yeah. Big And, and it feels like they're kind of getting the better of it at times.

Sarah Wayne Callies: absolutely.

Paul Adelstein: Yeah.

Sarah Wayne Callies: Okay. I wanna wrap us up with a little bit of a different fan finale. Um, we're gonna do that, uh, when we come back. We'll see y'all in a minute. I.

Paul Adelstein: come on back.

Sarah Wayne Callies: Welcome back fishes. I'm gonna figure out how pluralize that any day now. Um, [00:52:00] so here's in our last episode, we talked with the great Jocelyn Sig, uh, and we were joking about creating a series called The Perks.

Paul Adelstein: oh boy,

Sarah Wayne Callies: Um, how sometimes Jolyn and I feel like being a woman in Hollywood back in those days, uh, you were just one of the perks that, uh, the male executives and men in power got to enjoy.

Now, you don't have to take that premise, we're just gonna talk about the title. The title is The Perks. It's starring Sarah Wayne Kellys and Jolyn Sig, and the male lead of the show is Paul Adelstein. us

Paul Adelstein: oh

Sarah Wayne Callies: your I, we can't do this without you. This is called Prison Breaking with Sarah and Paul. I'm not

Paul Adelstein: it up.

Sarah Wayne Callies: Send us your pitches, fishes. Send us your pitches, bitches. Um, we say that with love and so, uh, you can send them into us at, oh, we gotta figure out where they send them into us. You could, well, you can DM us,[00:53:00]

Paul Adelstein: Yeah. D us for now. Yeah.

Sarah Wayne Callies: at uh, on our Instagram at Prison Break podcast.

Paul Adelstein: Wow. Um,

Sarah Wayne Callies: we wanna hear your pitches for the perks.

Paul Adelstein: perks?

Sarah Wayne Callies: Um, it can be a riff on central perk from friends.

If you wanna go soft, it can be a hard hitting documentary if you, you know, this is, uh, all avenues are open. Um, and now Paul, I get to ask you

Paul Adelstein: Yes.

Sarah Wayne Callies: questions that usually

Paul Adelstein: okay.

Sarah Wayne Callies: we ask our guests. So as we wrap up, if you were on death row, okay, first of all, I wanna know what you did to get there. What have you done to get to death Row?

Paul Adelstein: Oof. Capital murder, I suppose.

Sarah Wayne Callies: Okay. Um,

Paul Adelstein: in, hopefully in a I I was gonna say in. The name of something Noble. I don't know. It's pretty awful. It's pretty, pretty awful [00:54:00] to contemplate, okay. Go on.

Sarah Wayne Callies: Okay, we'll skip it. Um, what's your last

Paul Adelstein: Oh, wow. God.

Sarah Wayne Callies: I wish you guys could see his face right now. I like. He's like face down, grabbing his own

Paul Adelstein: either, it's either, it's either like, you know, a steak. Potatoes, like peas and a beer, like some kind of like big hearty

Sarah Wayne Callies: you get your

Paul Adelstein: Yeah. You gotta get the screens. Uh, or it's like a peanut butter and jelly and like potato chips or like

Sarah Wayne Callies: Mm.

Paul Adelstein: or something or something. Like super comfort food.

Sarah Wayne Callies: Amazing.

Paul Adelstein: Yeah. Really Yeah.

Sarah Wayne Callies: sorry it wasn't meant to be depressing,

Paul Adelstein: No, no, no. I know everybody. It's so interesting. Everybody we ask that is oof, depressing. And I was like, just answer the question. And then I'm like, oh yeah, that is kind of weird to contemplate.

Sarah Wayne Callies: [00:55:00] It is, huh? Well see, this is why it's useful for us to do this with each Um, so the next thing.

Paul Adelstein: thing, yep.

Sarah Wayne Callies: we wrap this up with me saying, all right, I'll fill in the blank. Don't get sent to prison, but if you do, get sent to prison.

Paul Adelstein: Establish dominance immediately.

Sarah Wayne Callies: I love it.

Paul Adelstein: Yeah. Yeah. Uh, that's it for our show you guys. Um, come join us for Babababababa, which is the next episode we're gonna do.

Sarah Wayne Callies: Yes, come join us on the following episode, which we will have put together very shortly. And, uh,

Paul Adelstein: is it?

Sarah Wayne Callies: are grateful for you

Paul Adelstein: Do we know what

Sarah Wayne Callies: we love you. Do we know what the next episode is? Not the number that the title. Whatever comes after tweener. I think it might be sleight of hand.

Paul Adelstein: Oh, I think slight of hand. You're right.

Sarah Wayne Callies: I think it might be sleigh of hand.

Paul Adelstein: Very good. Um, [00:56:00] awesome. last words, Sarah, for

Sarah Wayne Callies: Do it. Okay. You wanna do that again with the Let's join us for the next episode since we have the

Paul Adelstein: Yes, yes. All right. That's it you guys. Thank you so much for being here with us. Please join us for our rewatch party and our next episode for Sleight of Hand, getting right towards the middle of Season One Prison Break.

Sarah Wayne Callies: Take good care of each other y'all. We'll see you next time. Bye.

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