Kristen Wiig

25:39He's laughing a lot. What's he doing? I hear a lot of laughing and giggling. my wife to this day says she'll sometimes hear like she goes to bed a little before me but sometimes she doesn't fall right asleep and she'll hear me in the bathroom and i'm like now she hear you i'll get you see what the what the fuck you did like six things today that should all be out of your system that's just rude that you might even just wake her up not that it's just weird oh come on shaker no she wears giant earmuff yeah hey wake up i just thought of a new guy he's called wake you up guy he wakes people up who are sound asleep but some of my favorite people and you are on this list yourself steve martin they when it's time to go they go and they're flawless and they're great and then um if someone you know invites them to a party they think wait oh this guy or lana christian show this is gonna be something you know and and it's like well no that's not who I am yeah I've had people interview me that are disappointed no I'm being serious like when I was on SNL I remember there were a couple interviews I was also it was the beginning you know I was nervous and I hadn't done a lot of interviews and stuff and I think they were kind of like huh like I don't know if they expected me to like talk in voices or like yes but I'm also nervous and you know I don't know I think people were like she's not that funny Well, the other thing is, what's insane is that what you do, sometimes I think people believe that, well, if you're a plumber, you can just come and you can fix the plumbing.

27:20Oh, yeah. And they think, oh, we'll get a comedian to come and he'll just do the comedy thing. And then everyone's going to love that. And then we'll move on to the really serious funeral service. And I'm always asking a million questions like, how big is the room? Who's at this thing? And then I have to try and tailor it to what is this situation? And sometimes it's just, no, there shouldn't be any comedy here. And I often think that an interview format, like one of my favorite people growing up, Peter Sellers. Oh, me too. Just brilliant. Yeah. Brilliant. And then I'm so fascinated with him and I've read all these books on Peter Sellers.

27:58And all the information that comes back is he was devastatingly funny when he's in a movie or when he's doing his performances on the Goon Show or whatever he was doing. and then he was just sort of blinking and looking around the room when he was at a party and he always carried a little camera with him because he was interested in cameras he would explain his camera to a great length but you didn't you know people wanted inspector clouseau at the party yeah and he's not going to do that yeah unless he's highly paid right exactly um that's what you want to do is you want to be paid so uh snl obviously it was like such a it must have been so clear to you that that's where you belonged.

28:33For me, it was where I wanted to be and where I love the puzzles you have to put together at that show. You know, like when it's that meeting between dress and air and you have to like take off a minute of your sketch. I love that like trying to figure things out and what jokes can go and I don't know, I love that sort of like I don't know, how my brain works. I love that stuff. And just like the writers there when I was there and the cast I was so lucky and I don't know. I just felt like, didn't feel like work in a way. But I knew when I got there, I was like, I'm going to be here for seven years.

29:10I didn't want to go longer than that. I don't know why. I just kind of felt like when you get there, you know, you kind of feel like you're walking into someone else's living room. Like everyone else knows each other so well. Yes. It's high school. It's a big, it's a scary high school. It is. And I'm not putting it down. No, no, no. People are, because I sometimes, when I talk about SNL, sometimes people misinterpret it and say it was frightening, terrifying in some ways. And also I kind of wouldn't change a thing. Yeah. It's not like anyone was mean. Everyone was so nice, but it's like you're going to a new school and everyone's been there forever.

29:44As soon as I got there, I was like, the moment I feel totally comfortable here is when I have to go because I feel there's something about the energy of that place and what you need to produce and how you need to like always be, I don't know, people watching on the Sunday that you're off. I don't know. I just felt like there's something about that place where you just need to be a little uncomfortable. Does that make sense? Yes, it does. Well, there's that old analogy that I think is so perfectly true, which is the oyster. You know, you need a little bit of sand in the oyster to make the pearl.

30:18You need the irritant. and I just think many times in life I've been uncomfortable and not and nervous and something really good came out of it and that's when you're really proud of yourself and you're like wow I did that and thank god it's over not SNL that was very hard for me to leave well I mean just I mean it's ridiculous to even try to go through all the characters but do you have a favorite I know you've mentioned that before is there someone who really speaks to you I mean there's so many I mean, the first time I saw Denise, the prosthetic forehead and doll hands. I told you I loved, I mean, I love Gilly, but her dance and Penelope and Jesus Christ.

31:04I feel like my favorite one, honestly, was someone I did an update, not even a ton of time, but her name was Aunt Linda. Yes, Aunt Linda. She was. The eye rolling alone. Yes, because she was based on someone that was on a plane. and remember back in the day they would show there'd be one screen and they'd be like the movie's starting and then you'd have to put your head it would just start at that time you didn't get your own personal one you didn't get your own one and it was the Matrix and she was so confused the Matrix the Matrix on a plane she was just like what? she's like why is he flying?

31:35she was like she was so and she was so loud and I was like listening to her and writing down things she was saying and she's like now we're flying like she was so upset and confused and it just made me laugh and so i did that at the groundlings which also made it feel better when i got it on snl um and we tried it uh the way that i wrote it at the groundlings but it didn't work in a scene because no no you it was so smart it just didn't work because lauren was like i think people would be walking away from you constantly it didn't work putting her at the update desk yeah and her job my favorite thing it's sort of It's sort of akin a bit to, I'm a wealthy society woman and I want someone to set up my home beautifully for the big party.

32:23I've hired the three stooges and three idiots who have no qualifications show up with saws and hammers and smash the whole house. What I love is they hired you to review films. Yes. And it's perfect because you have nothing but disdain. You don't seem to understand the movies. No. You just want to make a wisecrack and it's just absolutely hilarious. Also, it looked like it's, you kind of had to, that all the different takes that you would do, the sarcastic takes that you would do. Yeah, I think the ones that you can have a little more fun with and it is kind of different every time are always more fun, I think, than the ones that are like very rigid in how they react to stuff.

33:04Yes. If your character has one, I remember at the Groundlings, there was just this pressure. When I was there, you could see every student thought they had to have a catchphrase. Oh, really? Well, that was just a phase. And I think it was all because John Lovitz had blown up as the liar on SNL. And that's the ticket, you know. And having a catchphrase. And Dana blend blew up as church lady. Of course, there was a lot more to those characters, but their catchphrases were really huge. Well, isn't that special? Yeah, that's true, yeah. And so I just remember characters coming in, you know, trying out scenes and everybody was like, yeah, that's a flapjack I'd buy.

33:42Looking right out to the audience. Right out to the audience. And then they'd say it like two more times. And I just, Lisa Kudrow used to get mad at me because she said, you sit there at rehearsal and people are trying this stuff out and you have your head in your hands. And she said, they can fucking see you. And I'm like, I'm sorry. That's a flapjack I could buy. Was that a real one? No. I know there was someone - So you can use it if you want. I know, I was like - I saw you writing it down. People had tics, like they, you know, slapped their thigh, you know, slap your thigh, cough twice. And so it just looked like a Tourette's convention for a while there.

34:25But one thing that I liked so much about the work that you did at SNL, And then again, you brought that to Bridesmaids is you can go so quiet. You can be so small and it's perfect. I think it's one of the reasons I get drawn in. You're not trying to blow me off the roof with your comedy a lot of times. And you can go big, but you also can go very small. all and then you know and then that was one of the things i thought that made bridesmaids so special was how quiet things could be doing that kind of comedy it's like this little porcelain comedy that's beautiful i don't know i was just great thank you for saying that well i really i i don't know that it means anything i've never really been in a movie so it does it does it means a lot very poetic little porcelain i know well it is it's it's it's i i uh i just think that Many people can come from a situation like The Groundlings or SNL and think that you win when you go really big all the time.

35:31I just loved it as a fan of yours that you're able to do that. Thanks. And that's all the time we have. There's nowhere to go after that. I don't know what to say. Well, I want to say one thing that is about improv. Okay, yeah. I'm wondering if you agree with this. There's so many people who say to me improv is such a scary thing. I prefer improv. There's no preparation. You just show up on the day. Well, that's the thing. There's no. Exactly. You can't say the line wrong. Exactly. And sometimes you can get. Yeah. It kind of depends on what it is. But like when I'm watching improv, I get more nervous because I'm like, what are they going to say?

36:07Right. Or what would I say? Oh, God. And fear for the person. But when you're doing it. Exactly. But when you're doing it, you're like, oh, I'm just responding. I'm just I'm just as long as I know who the character is, I'm just kind of talking. Yeah. There's something very, I don't know, just liberating about it. I love when they tell me. And you don't have to prepare. You just go. That's the best part. There's no memorizing. I was curious. Did you do Target Lady at Groundlings? Or was that something you came up with? Yes, I did. Oh, you did? Yes. Those, I think, were the only two that I did there that got on the show.

36:40Did you ever get any kind of money from Target? No. Conan. Because I've been working on a character called ExxonMobilguy. Oh, God. I know. You've got to think. It's like, United Airlines. What do we use? Look at me. I'm Lamborghini guy. Hey, I'm Lamborghini guy. Sona, has there been any call from the Lamborghini people? Yes, cease and desist. Hey, I'm Lamborghini. Hey, I'm a Porsche man. What? It's a German car. Why are you Italian? I don't know. I didn't think about it. That's the hook. Hey, baby, I'm Sam Rolex. What? Yeah. Sam? His name is Sam Rolex? Yeah, we're Rolex. These are characters I'm just thinking.

37:31That you've been working on for a long time. Yes, and I thought I was doing something wrong. Clearly you hit it with Target Lady. And I'm going to, I'm Bill Ozempic, you know? Well, I... Bill, Sam. Oh, you don't think I'm good at coming up with good, funny first names. I think Sam's... It's funny. It's funny. Oh, Jesus. Because it's him. I regret working with you on this whole thing. I really thought we would just click together and make an amazing commercial that would make me a lot of money. Thank you. You didn't think you'd be apologizing when you came here to talk to me. I got credit. You're just going to make apologize to Conan for not earning him more money.

38:20Well, we won't give it away, but I was going to bring up your guys, Link, because you guys live in a similar neighborhood, similar environment, but we won't say we're on Catalina Island. That's right. Yes. Oh, my God. Today was rough getting here. I'm still seasick. I bought you a seaplane. Oh, I sold it. Immediately. Yeah, he doesn't pay us. He pays us in planes. Which I thought was very - What kind of planes, Conan? What kind of planes? Don't you like your three-winged 1917 planes? Oh, I love it. I fly it all the time. Sam Plane. My name's Sam Plane. There we go. There it is. This is good stuff.

38:58It's just plane. It's not a company. It's just a plane. I never said I was a good writer. I just managed to be a writer. When you left SNL, it was, I don't know, know it was like everybody took a moment it was such a nice send-off but i think the your plan what was to do seven years really really superbly and then get out on a high note and because you did that you had this glorious send-off which jost wrote that and didn't even think it was gonna make it we were like rushing we didn't know for sure and it was yeah it's a moment i'll never forget. It took me, I think, a year maybe to watch it.

39:46I understand that. Yeah, it was very hard. But it was the most beautiful way to go. I mean, it meant so much to me that we did it. But also, all those stars participating. I know. Mick Jagger was there. It was crazy. Mick Jagger sang you off with Ruby Tuesday. And Dave Grohl, who was the musical guest on my very first show. Right. Which I thought was kind of cool. Steve Martin, Jon Hamm. And Arcade Fire was, right? Arcade Fire. I didn't memorize it. Okay. I'm sorry. But I just, it's kind of, I understand that it's bittersweet to leave that experience. But if you're going to do it, that's the way to do it.

40:29It was hard. I couldn't watch the show for a while after I left. Because it's such an adjustment, as you know, when you're there. It's not just like this job you left. It's the building that you spend 20 hours a day in. You've had the best experiences. You've laughed. You've cried. It's your family. And you're just there physically like many hours of a day. And saying goodbye to Lauren was really hard. It was just, it was, yeah, it's your life. I did a couple of seasons at SNL and then I leave and I go to the Simpsons. Then I come back for late night and do that for 16 years. So if you add it up, it was 20 years in that building.

41:08And then I'm out here in LA for a while. And then I was like two years or something. Some time passed, not too long. And I was going to go on Howard Stern. And I came back to New York and I walked up by Rockefeller Center. And I was hit by every emotion you can have. And I'm very Irish and very proud of the fact that I don't experience emotions or acknowledge them. or I can sublimate them so much that I only realized later on that it came out of my sweat or something. You smell sad. But I passed that building and I had every feeling that I had of ecstasy, sadness, terror, love. Everything came back and it was almost too powerful.

41:55And then I went right in to talk to Howard Stern and he's chatting with me. And he was like my therapist And that's what we talked about. Also, because knowing that it hasn't changed. There's something else about leaving a job and maybe those people aren't there anymore. Like that building's gone. But everything is the same. And you go back now, it's like, it's the same doors. It's the same paint. It's the same. It's the same. And the crew is mostly the same. So I think knowing that it's still existing is like, I don't know, pulls on you a little more. Because I'm not there. Right. And there's part of, I can't speak for you, but there's part of me, a tyrannical tyrant in my brain that's thinking, it all should have stopped when I left.

42:38They should have taken the building down. What's the point of going on? No, I understand that's very sad, but Egyptian pharaohs had the same idea.

42:48But I remembered, I mean, when I took over the late night show for Letterman, Letterman in his first year, one night said to Paul, can you believe they're over there doing our show? And I remembered at the time thinking, oh, he's, I like, that was his apartment. And now I'm in it and he still feels like it's his apartment and these new kids are in there breaking stuff. And that's how it can feel sometimes a little bit is just you make it so much your own and then you have to leave. And then of course other people move in and do things differently, but brilliantly. And that's how it is. Just keep moving.

43:24Keep moving, people. that's your new character yeah keep moving keep moving people with Porsche okay now that's better that is better that's actually a great little keep moving with Porsche I will share I won't share well we could do the commercials together okay but would we split the money what would the split be I mean I would assume 50-50 but are you having other thoughts Matt and I are here too no no no you're not really here we're not here No, I don't see you. This eye, I have glaucoma in my right eye, so I don't have peripheral vision. But I see you perfectly. I'm going to say you've had more experience in film.

44:08You're arguably the bigger deal. So I would accept a 70-30 with you getting to 70. I mean, you're a big deal. I think you're a big deal. I'll drive.

44:22I want to talk about the latest project because I got to watch, I've watched the first episode. Oh, good. Of Palm Royale. And it was, I was watching it with David Hopping, who's the assistant who filled in for Sona. He's done a brilliant job. Took over. Really took over. Oh, yeah. And I don't even. I did okay. No, no, no. I trained him. The point here is not about you, Sona. the point is uh saw the first show an insane cast absolutely brilliant cast yes and um i mean it's it's madness you've got laura dern alice and jenny carol burnett ricky martin who's great oh my gosh they're all yeah the first thing that struck me is this thing you're fantastic as always and it's like it's like of course but what's amazing is uh the look of it too it takes place in 1969.

45:16Yeah. And it, I don't know what they did, but it's got this saturated retro color to it that is fantastic. I mean, I haven't seen a show look like that. It just, it's got, it's like almost like a confection. Yeah. Yeah. And our production designer, John Carlos, was just like, I don't even, his attention to detail, he would like, there would be a fish tank and he would specifically pick the color of the fish to go in the fish tank Like to match the room, like everything. And he worked with Alex Freeberg, our costume designer. So the costumes are and costumes are incredible. And but they work together as far as like what kind of room they were.

45:57I mean, everyone does that, but like really down to like patterns and details and what kind of chair they're sitting on. I mean, it was like unlike I've never I've never seen anything like that. I think it's why it works is that you have the performers are all so good that they can overcome how stunning it is to look at. Meaning I think a lesser performers would get lost. And I mean, I was watching it and I was noticing that Allison, there's a scene where Allison Janney is talking and her sunglasses, which are so vintage 1969 and so big. And you would love it, Matt, because it's all this very cool, like period stuff.

46:32And her glasses match, are very loud, but beautifully match her insane 1969 outfit. And then it all blends in with all this color that's happening in the background. And I noticed myself thinking every now and then when something's just produced so well. Yeah. I think, man, these people know what they're doing. They really do. Because I always came from even the lesser child of an SNL, which was, let's crank out one of these a night. And so put a bear head on him from the bear head room. Yeah. And, I mean, it was very, we didn't light things. I mean, we did the best we could, but it was vaudeville every night.

47:11And then so I'm always blown away when I watch things. I've never been in the world of them using a light meter to measure exactly how my face is going to look the best because no one gives a shit. but there's so many people like props just just looking around any of the sets and just seeing all the little things and and why that's part of this person's character you i don't even think the camera even sees this stuff but every day we would just walk onto set and and then the actors of course would come and you'd see what they were wearing and it was like you know five minutes of just talking about that it would be hard not to steal some of those outfits like there are no no Oh, this from the admitted shop.

47:51I didn't steal anything. I don't steal. I ask. How come you can't say that as yourself? You're doing a character. Well, because. I've never committed larceny. Well, just say it as yourself. I mean, I shoplifted when I was a kid, but I would never steal as an adult. I'm looking forward to seeing the rest of the episodes. And like Mindy Cohn is in it. And Julia Duffy, who is hilarious. Josh Lucas, Leslie Bibb. Yeah, we got very lucky. I have a hard time believing you wouldn't have fun, even though you get nervous. This just looks like you would have a really good time. We had the best time. Yeah.

48:31Yeah. That cast, it was just every day. I mean, it was a long shoot because it's 10 episodes. They're an hour each. So it was like six and a half months, I think, shooting. Right. But yeah, it was great. And not a bad location to be shooting in. Oh, yeah. Good old LA. It was amazing. To be able to go home after work was a dream. Yeah. Yeah. What's the worst location you've been in? Do you have, does it come to mind? The worst? Oh, that's tough. I've kind of liked everywhere I've gone. It's pretty good. Yeah. I would think I've always wanted to do, I mean, I think Adam Sandler's a genius because he's made two thirds of his movies in his like favorite beach in Maui.

49:12Yeah. And it doesn't matter. it can be the story of Abraham Lincoln. Yeah. It's Lincoln like, well, I might go to Washington and be president, but first I got to get this coconut open. So smart. He knows what he's doing. He does. Well, congratulations on Palm Royale. And Tristan, it is just a super honor to talk to you because you're off the charts talented. Thank you. And one of those people who I watch you and I think, I don't understand how she can do this so consistently well, but I'm very happy that you're out there doing it. Thank you. And I would like to tell you, I think you're one of the best in what you do.

49:59And when, I don't know, when I heard I was coming on here, I got very excited because you are such a comedic genius to so many people. And I just think you're amazing. Oh, boy. I'm going to keep that in there. Okay. Well, here's the thing that'll keep me up at night. One of the best. Oh, God. Yes! All I need to do is find one little scene. You know what's not just one of the best? Portia. Yes! I tried it. She also said to so many people, she didn't say herself. Just write that down as well. People I know wanted me to tell. Okay.

50:39All right, Kristen, thank you so much. Thank you.

50:51Let's do some voicemails. Let's do a voicemail. What was wrong with the first one? Because we're not doing more than one. Okay. Both of them sounded horrible. Can the doctor also check Gorley? I keep begging a neurologist to diagnose me, and then I think while they're here, they can check out Gorley. Yes, voicemail it is. Let's have at it. Eduardo? Hi, Conan. My name is Rebecca, and I live in Worcester, Massachusetts, which I know you're very familiar with, right? I actually am listening to you right now, and I paused the episode because I got so excited. You said that your new podcast facility has a birthing center in it, and I am 34 weeks pregnant.

51:34So I'm due on March 15th, which is about five weeks away. So I didn't know if maybe since you are a doula, I could be the first person to give birth in your new facility. Thanks for considering that. Bye-bye. Well, I have a lot to say. First of all, congratulations, Rebecca, and my greetings to everyone in Worcester, Massachusetts. That is the town in sort of south-central Massachusetts where pretty much my entire family is from on both sides. and I still have a lot of family in Worcester and so many of my father, uncles, all went to Holy Cross College. So Worcester looms large in my memory and in my heart.

52:18Rebecca, when I said that there was a birthing center here at the Larchmont Studios, I was lying. There isn't an actual birthing center. I apologize. I think I got off on one of my crazy riffs or tangents. maybe I was talking in an aspirational way. Do you recall me saying we had a birthing center? It was with Kelly Cuoco. Yeah. And who said we had a birthing center? Was it myself? No, maybe it was Matt. Well, it doesn't matter. But this recording studio used to be at OBGY. Wasn't it? No. We were just making a joke on Kelly Cuoco. No, no, no. It was an office. It was a place where people met and did business.

52:55I'm talking before Jane Club. Wait a minute. This is interesting. Adam Sachs is getting on mic. Adam, tell us what the story is. When we got the space, it was immediately before us was the Jane Club, which was a co-working space for working moms, kind of like a WeWork for working moms. There was a child care area where working moms could bring their kids. But before that, I think it was owned, my understanding, owned by an OBGYN who worked, obviously, like crazy hours around the clock. And so this this actual studio before we moved in here was shaped like if I remember that was octagonal. It had like padded walls and they wanted it to be soundproofed.

53:31and black and quiet so that when the doctor came home, she could sleep at any time. Oh, it wasn't for pregnant women. No, no, no. It was a personal home. It was for the doctor, the OBGYN, to be able to sleep because she kept strange hours. Got it. But either way, I think there was a very nurturing energy in this room and we've carried that forward. Can't any room be a birthing room? Do you really need the sterile stuff? Can it just. Excuse me. We just consult 180 years of proven medical history. Let's see. Dr. Lister. Yeah. No, you need a sterile environment. You know, I mean, what about like there's a lot of women who just can't wait till they get to the hospital.

54:18We can be that kind of space. Do you want to give birth in an area that reminds you of giving birth in like a hotel lobby? You can come here where nothing is sterile. So what you're basically saying is someone should make a plan to come here and have a baby in an unsterile environment. Yeah. I mean, that's how we're going to do it. Rebecca, listen, first of all, I'm thinking of you and this birth is coming on March 15th. But you should definitely not have your baby here at our Larchmont facility. It is not a sterile environment. And in fact, boy, are we slobs. Yeah. I mean, right? No. Well, it's very nice and neat.

54:58No, there's a kitchen right out here. But also, Erica Brown runs a very tight ship. If she sees you leave a glass, and it doesn't matter if it's you or anybody, she'll make you pick it up. That's true, but I'm constantly knocking food out of your hands, so there's probably crumbs everywhere. There are. Maybe stop so people could have babies here. That's finally a good reason for me not to knock food out of a grown woman and mother of two's hands. Yes, thank you. You know, it's something that we could look into because we do have, well, no, we're pretty much using every room here now. I don't think there's a space in this facility that we could convert into a birthing room.

55:37But how would you feel about being a doula? Because I think Rebecca mentioned that you could be a doula. I'm cool with that. So you could be there present at birth helping women deliver. Listen, I was quite present and involved in the birth of both of my children. I think I'm a natural doula. I did shriek the whole time. and had to be physically restrained by orderlies. But other than that, I think I'd be a fine doula. Terrible. What are you talking about? I'd be cracking them jokes and doing bits. Oh, and delivering the baby as a character. Yeah, I'm an old gold miner. That's part of it. But also, you're very squeamish about female bodies.

56:12And you're just kind of so repressed that you'd be like, do I have to look at your vagina when it comes out? Oh, I wouldn't be near the vagina, just where the baby comes out. What? Do you know how it works? The stork shoot. Yeah. There's a door. What door? Where's the door? Upper, middle, back. I blacked out for both babies, and then they told me later on that's what happened. It's a mahogany door. And it's got a little knocker. Drawn on in magic marker. Yeah, it's got a little knocker, and the door opens, and the baby walks out wearing a top hat and says, let the life begin.

56:54I actually don't have the heart to break it to you. Let's go with that. That's good. Yeah, I think that's a better story. I'm sticking with it. Okay. Anyway, any birth that involves a mahogany door between the shoulder blades, I'm fine with. But I'm not getting near any vagina! That's not happening, Rebecca! That's not happening, Rebecca! Anyway, Rebecca, thinking of you and your new arrival and very happy for you. Peace out. Conan O 'Brien Needs a Friend with Conan O 'Brien, Sonam Avsessian, and Matt Gourley. Produced by me, Matt Gourley. Executive produced by Adam Sachs, Nick Liao, and Jeff Ross at Team Coco, and Colin Anderson and Cody Fisher at Earwolf.

57:39Theme song by The White Stripes. Incidental music by Jimmy Vivino. Take it away, Jimmy.

57:46Our supervising producer is Aaron Blair, and our associate talent producer is Jennifer Samples. engineering and mixing by Eduardo Perez and Brendan Burns additional production support by Mars Melnick talent booking by Paula Davis, Gina Batista and Britt Kahn you can rate and review this show on Apple Podcasts and you might find your review read on a future episode got a question for Conan? call the Team Coco hotline at 669-587-2847 and leave a message it too could be featured on a future episode and if you haven't already please subscribe to Conan O 'Brien Needs a Friend wherever fine podcasts are downloaded I don't believe it