Tom Cavanagh

aka Harrison wells, Tom is well, he's amazing. He is so amazing that he plays multiple versions of his character on the Flash. Now. I don't even know what the alter egos of Kevin Malone would look like, but hey, I guess, I guess I'll have to ask Tom today. He's going to get into all of it, from his early days working in Canada, to joining the cast of Ed with our old friend Julie Bowen, to starring on Broadway, to his new game show. Hey, Yahoo, man, he can

he can do it all. He can do it all, he can play it all, and he can make me laugh. Here we go. Everybody, buckle up, Tom Kavanaugh, Bubble and Squeak. I love it. Bubble and Squeak.

tremendous way to grow up. And then we moved back to North America for like high school years, basically, and we had to learn to swear and play organized sports and that worked out just fine.

a good imagination. There was no other stimuli really, I mean apart from the aesthetic beauty of the dark continent. So we you know, we were always were making up games. We're playing games and I guess still doing it today, right.

So if you think about the amount of time that today's youth in many ways necessarily so spent time in front of a screen. You know, it's it's kind of stunning to think about an existence where nothing like that was an option. And so what do you do with your time? In Africa? It was too hot to have school in the afternoon, so we had school from a thirty to twelve thirty and then in the afternoon, what were you going to do? So it was books, books, books, books,

and play play, play play and imagination, imagination, imagination. But I do remember the adults deciding that, you know, they

needed to offer the kids something. And back in the day there was stuff like the carober Neet Variety Show, and so they sort of did a mimicked version of something like that, where you know, like Sonny and Cher would come up and sing and then there would be a comment bit, and then there'd be a musical bit, right, you know, and the kids we're outdoors and on front of this like stage, watching these you know, amateur performers. But I remember as a child sitting there, going, this

is incredible. You know, all the lights and its darken thing and the palm trees and the stars. You're like this, this is amazing. I have no idea if that had any other kind of like effect on me. But under those circumstances, it was kind of amazing to see performance up in front of you.

very cool. So the music was, you know, from as long back as I can remember, always always in the house, Like everybody in the family plays instruments, everybody sings, everybody, everybody performs. When they moved back to North America, my mother was ahead of choir and she was doing community theater and the head of like the music acts and stuff like that. So it was it was always around. And I got my start. I don't know about you, Like, did you I I got my start doing musicals.

the special choir and had the solos and stuff. It's not pretty, I mean for me, and then I just I just started, you know, once I graduated from school and became and really moving into college and really studying, the music went away. It just yeah, I mean I think I knew in my soul that was not going to be my path.

voice or whatever the thing is. It gets somebody, you know, acclaimed as a singer, and it's interesting to watch somebody who can do that where you're just like if you're a lead on Broadway and nobody's sniping at your singing qualities because you're telling the story and he's you know, Cabaret is a perfect example. Spectacular in Cabaret, like just untouchable,

you know. And I did that play twenty years prior to that, and some some of the Broadway plays that I've done, I know for a fact, and everybody who's in the company can back me up. I'm the worst singer on the stage, always like there's nobody poorer than me, and you know, people, that's not self deprecating, that's not modest, that's just plain facts. Son. And if you were to liign people up and go who's the worst, Yeah, Tom,

Tom's the worst. He's clearly the worst, you know. And yet like you get cast because I can tell, hopefully, I'm telling a story. And that's why, you know, to say Alan Cummings, like he's telling a story, You're wrapped, you're paying attention. He's adding, like you said, when you're talking about yourself, you want a bit of humor, whether you didn't think there was going to be humor, he can do that. We can do that, And suddenly people are like they're accepting. They're not like, let me see

your card carrying membership of your high seat. Don't have it, you know, like that's not it's not part of it. And that was my experience for a decade. The only other thing about that is when you're making your living in musical theater, there's constant trauma at the fact that you suck. So here's the story I don't think I've ever told, not even my own podcast, by the way, Mates Mike and Tommy. It' snaxt. So I was auditioning for the out of town thing of this thing was

going to Broadway. Philip Rose, a kind of acclaimed New York City director, and I had to do an acting scene with the Venerable John Cullum where I asked for his daughter's hand in marriage. It was a five page scene, as they write in theater, and I was like, if I can get to that, we're going to be okay. But you got to sing right, And so I practiced my song. And by this time, I was like, you know, a good ten years or so into the career musical theater, and I was like, I knew that. Don't come in

and sing old Man River. So I found this thing by this guy, Bernard Cribbins, who wrote a song called the Bird on the second Floor, and it's just basically, like you say spoken, it's not spoken. He sings a jolly old moon's going to shant and which way you look at it, I'm all right, wait sing full of the bird second floor. I'm telling all the birds that are used to date, it's been a giggle, please don't wait.

Since I saw the Bird on the Zagon floor something like that, and then it was there's this little pattern in between, like, oh, second full, why don't they get lifted here? Still? No matter what is it Thursday steaking Kidney Pie whoa lovely because something she has got right? You know, people are coming in singing old Man River and they're like, then this guy walks in like and they're just like, what the fuck is happening? You know

what's this guy doing? You know, like to distract them from the fact that I'm not I'm no good singing wise, you know. So I had that ready to go in my back pocket, and then I was like nerves, like hopefully I can sing good enough. And the guy who went in in front of me. You know how this is you can hear the person in the room, yeah, ahead of you, Like I have a great thing where Jason Bateman and I were reading for the lead role in an ABC pilot and there was a third guy

and Bateman wasn't like doing everything at the time. It was pre arrested development, but I knew he was a super talented there, very nice guy, and so I got into the studio that afternoon and they had been like a love fest. I was like, oh, people are like, yeah, they love you, they love you, they love you, and you're gonna you're gonna be great. This is your role, blah blah, you're the front runner, all this stuff which

you never want to hear. Then I go in and I do the exact same read, and I know the fact that the read was good more a tyranny. This is all name dropping. Kevin Bagan told me never drop a name, but this is your podcast, and I'll never forget her looking at me like as the silence descended and Tumbleweeds blew through and you could hear a distant wolf thing in the background, and nobody said anything, just kind of stared at me, and I was like hmm, and I was like, so I walk out. I went

in first, I'm like, holy crap. And then they make you wait around, right, and so so you're just like so you can like then be told to in person you were awful.

speak its rolling, you know. And he comes out and there's like applause, like you're twenty people in the room and you can hear him clapping, and then it's like door opens, tom So, so I go on, exactly, this is what the just says to me. You know, they're Jason Bateman and me. Even he gets up on the table.

He's like one hundred and sixty years old, and he walks over and his like tweed coat, you know, his big Big Glasses comes over and he kind of he does this, he crosses his arms, he kind of like purses his lips and kind of like rubs his chin, and he's like, did you bring anything real to sing? So that I go? So that didn't work, so I say, why don't you give me what I will have to sing in the play, which kind of feels a little bit like the death mell. But then he's like, all right,

well let's read first. I'm like, aha, we do the read. It's like it's pratt Fall City because he's got to be and you know, the red is like goes swimmingly well, and I can feel the whole room change, Like this guy doesn't have to be a great singer. You know, you end up getting the up, getting the part, but it is the Alan Coming of it all. It's just like, look, you know, like let's have a couple of really fancy, great singers in your show and then we can have me.

You know, It's like we do we have a slot for?

said is he a good singer? I couldn't have answered the question like truly, so your point is well taken, Like I would probably have said something like I assume, yeah, yeah he must have been because he was so good. Well, you may have changed my life today because I keep getting approached or I have been approached to do some musicals. I've been nervous.

these people. And then like you, you know, you're literally fighting for survival, you know, and everywhere you are around you, at least my experience, everybody is like much better than you in at least one facet of being able to tell the tale. And so it's just like it sharpens your game a little bit. You become like better at survival, you become like the things that you're good at, you have to really home them. You can't take a day off, you know, you have to work as hard as you can.

And it makes you better, you know, just you know, have a decade of terror for me, Like oh bo I hear we go. I remember, like I did this play year in town and I remember before going on to Broadway for the first time, I'm about to make my entrance and I have to sing shortly thereafter. I remember like the lights going on and like count happening. I remember in my head going, who the hell do you think you are? Like that was ringing in my head. What are you think you're doing? You know what I mean?

And it's like always a constant fight against like oh boy, you know, like just trying to like all right, let's see if I can get away. Let's see if I can get away with this one. But it's you're not going to go on and go like oh, I'm really surprised by that. There's nothing that they can throw at you. I think in front of a camera that you're going to say, oh that terrified me today. You know, like you you're just but being in front of like the

audience and doing the musical. You know, there's there's there's built in terror there and that's not a bad in terms of like living your life and experiences and stuff like. I you know, I assume you're gonna win a Tony for the next thing, and I'm going to be so furious when you're like, you know, I always want to know what gonna mention?

of the cultural difference between the two places. It provides you with something that I think is I don't know if the word is necessary, but extremely helpful to a young actor in that the grips are they're moving the c stands, you know, the gaffers, you know, fixing the keno like that. It's all the same the sand bags were putting the sand bags down. It's all the same set.

There's a confluence of blunstone boots, there's you know, there's a lot of wearing smoking, and as long as you do your job well, you get to keep coming back. I've often felt that like the Crew in many ways are people that figured out that their favorite subject often in school was recess and they figured out how to have recess full time, where it's like, look, I can

do anything. I can wear this, and I can say this, and I can I can do this, and I can have these tattoos and I can wear the shirt and everything is fine because I'm good at my job, right And you know, that's that's kind of how it is. It's like, if you love what you do, then it's not it's not kind of work. It's all the same feel, it's all the same kind of thing. And then cut and that's a wrap and you go out there and nobody knows anything about what show you did and what

you're doing. And this is not my line. This is a Canadian. Another Canadian actor said that there's a star making ladder in Canada, but it lies flat on the ground. And so so, you know, in a strange way because of our our cultural differences, you know, like in America, you're you're going to celebrate this kind of different from the packability and you're going to promote it. And in Canada there's more of a socialism aspect to the idea that we're all in this together. Let's not be showing

off and doing all these things. If you look at like the difference between here's the sports and OGE. If you look at the NBA players and you know their personas and their platforms, and then you look at the NHL people you know, and it doesn't have to be that way, but it's kind of almost almost famous. Be like if you're from Timmins or Kirkland Lake, you know, you're like, you don't need to make a big show

of yourself. And so it's for a young actor that wants to be famous, it's not the route that you want to take. And that's not a bad thing because the result of that is if what you want to do is just be famous, you'll be weed it out and what will remain are the people that love to do it and want to do it and want to do it for a living and don't care about acclaim

and profile. They're there going to work, We're there. I'm there going to work on Jaco and the Kid, which a show I adored, you know, set in the Saskatchewan Prairies with the stunning, awesome beauty wall to wall, you know, fields and Big the Giant, Big Sky of the Canadian Prairies, a show that I absolutely adored going to work on, and I don't know that anybody saw it, you know, And I know that it ran for two years, you know what I mean, And that didn't matter, Like, it

didn't it didn't even factor into the equation. So by the time I started getting and then you know, a decade of musical theater, you know, Broadway has its own groups, for sure, but in terms of like the giant scheme of like what actors get known, it's relatively small. And so by the time you gain any kind of profile, you don't really care, you know, you don't like you're like, yeah, okay, that's you know, like people are now saying, hey, be on Conan, but you're past the part of being seduced.

And I think that's in a strange way helpful, because what you want to focus on is telling the story as best as you can tell the story.

But all of those things as a young actor getting on set, those are obstacles that you have to that you have to overcome, and so not having those external things to me seems like that seems really cool.

another huge Broadway guy. But he I look at young actors who are getting famous at the age of twenty, and I think it's great for bank accounts and all that kind of stuff. But like you say, like the mistakes I'm making and the overacting I'm doing on Jake and the kid like I'm getting, you know, like every day you're getting a little bit better. You're always trying

to get better. And if you know, just this male stream of attention is focused on you when you're twenty four or twenty five, twenty six, and you know, like like any other profession, you hopefully keep improving. To this day, I still feel like, got it, got it, try and

get good. You're always trying to trying to get there, right we You know, I grew up in a in a way like you know, if I had had a massive amount of attention on you know, I think the the early days and the stuff that I did on film, they'd be like, well, we should never hire this person again because he's terrible.

I'm awful on camera, awful, you know, and you're just like, holy cow, Like how did they not like just like cut hangs like fire him that person, get that person that would just stay stay stay, You're like you and so but then you like you know, like you you see, I had a friend who was an editor and I got to sit in the in the edit, and you know, I had a director who you know, invited me into the into the edit because she was like, she was like, you know, you have directing ability, you kind of know

what the camera's doing. This will help you learn. And

it was, you know, massively instrumental. Also, you get to you get to gauge your performance, you know, and you're just like, oh my god, that's that's terrible, you know, and then you start, you know, you start improving, you start figuring out what you know, you need to have the thought and be in the moment and actually listen, you know, and all those things sound so easy, but as you know, like if you can do those things, then actually you probably will turn in it a good performance.

They're much much more elusive and slippery and hard to do, harder to do than they sound.

to know when we're we're not in the zone. It's going to be up to you and I to feel that, you know, and theaters are same, but there's also there's a palpable energy that you know, some kind of ephemeral code that comes from a thousand people in the stands.

Very early on, like you know, tried to figure it was trying to figure out what the people who I thought were amazing we're doing, you know, And I tried to watch you know, every like if you John Malkovich burn this on stage I think eighty seven on Broadway, Like you watch Malcovich the play is great, but he comes in there like watch this, everybody, sit the fuck down,

watch this entrance, you know what I mean. And and then Brando in Streetcar from the first thing like just there's these are just there's there's one hundred and fifty things streep, you know, like I remember her and Kevin Klein sophie' choyce going like why is she? What the hell?

And I remember like dissecting those things. This is way back, obviously, but I was so young and they were so good, you know, and they all seem to be so in the moment, you know, and so either on stage or on camera, and I was like, well, there's something that Brando's doing on stage, or something Brando's doing, you know, on camera that feels like stage to me. And I

got to try and figure out. And so I found this quote by brand though about the differences between the two, and I write it on all my scripts always have. What he said was, you know, in theater you have to show the audience what you're thinking. On film, you just have to think it. The caveat being that you actually have to think it. You can't just act it. Like you know, you've been on on camera and on stage with people who are no other line is coming,

and they're prepared and they just say the line. That

doesn't mean they're having the thought behind the line. And that's the difference between I think a good performance many times and a poor one where it's like you are actively something is going on behind these lines that are coming out of out of your head and so like, you know, Brando also said the same thing with theatre, where he's like, you know, and this is sort of thing if anyone's seen anything that I do is a very poor imitation of what he said, but I really

firmly believe it. And Pacino the same has said the same sort of thing, where it's like, the character is the cage. You build the cage and you can just raw the hell out of it, you know what I mean. It's like, how does Pacino go again away? It's like what how does he get away with the yelling that? Like, what what's he doing? But he's built this thing where the guy does that and it doesn't seem you know,

I'm gonna take a flag a price. You're just like, wait, you mean you're gonna take a flat for yeah, you know, but it's this giant thing and you're like, Okay, he's built this character and now he can rattle the cage. So I don't have anything new or better to offer as an answer to your question than that, but that those are pretty good starting points.

And so yeah, that thing is like, hey, it's like DELFI, It's like where it all started. We're all like this community, we're all doing it together, whereas film, you know, is you know, on television, very very different animal.

City is much more. It's me, you know. I like to walk. It's boots on the ground. It's like there's the gym, you know, there's the there's the deli, there's the you know. It was just that kind of thing. And what got me there was that guy Philip Rose, the director was like, did you bring anything real to sing?

Mike Farrell from Mash and I remember him. You know, he would just regale me with like stories and it's just like, yeah, that was the moment, the moment in time, and you know those he said to me, like you know those gut we would get together on Friday night to see where we were going for dinner on Saturday night on her day off nine years in you know what I mean, right, And he said and I remember him saying, went like verbatim again verbai. He was like,

can you imagine that? And I could because Ed was like that for us, Like it was just you know, that show had initially been you know, it was positioned for CBS, and then they didn't pick it up. It didn't outright Shelvet and Roburnette, who ran the Late Show with David Letterman, who also produced at the time, Everiela's Raymond, which was a giant show for them, and he had leverage, I guess, and he asked for it back because he felt something about the show, which we all did, like

I'd gotten a couple of in strange ways. I also auditioned for a couple of other shows and had to turn them down. In the year, literally three hundred and sixty five days we waited to see if ed would go anywhere else, you know, and it just was a sense that something about this thing was bigger than us at the time, and so I kind of held out for it, which on paper it was an insane thing, because once the show doesn't go on a network, it's it. It's over.

don't often collide. Well, And you know, when I got offered a lead in another show that did go and I was shooting a movie in Utah and we were waiting to see NBC hadn't even picked up the thing. We were just in this limbo and he was basically like, you know, like you should take this other job. I was like, I don't. I'm not built that way. I sort of feel like you need to have that. We need to get a full at bat. You, Robernette, need to get a full at bat and you have two strikes. Basically,

we always do this. We like we when the show got picked up and he would try and explain what he wanted the character to do. He would use sports analogy, and what was great about Rob is he can come up with fifty in a minute, and I to entertain myself. He would start explaining to me like, you know, like it's it's like you're going on the blue line and then like you feel like, oh wait, I feel somebody's circle.

You gotta circle back. And I wouldn't say it. I just kind of look at him, and then he'd be like, you know what, it's like, it's like your goalie is pulled, but you need and he would just coming up with like a whole bunch of different things, and I would just like and then after about three minutes with me just like wait, he'd be like, you're doing it again, aren't you? And oh my god, check this out. This is a picture somebody's And I didn't even plan this, Brian,

I swear to god, I didn't plan this. I've never seen this picture anywhere, but this is my office and like somebody snapped this on Ed while he was trying to explain what the character should do to me? Can

you see that? Yeah, that's me and that's Rob and I'm he's just going through sports analogy after sports analogy and I'll keep you my mouth shut because he's so damn entertaining, right, But he said something like he's like, you know, everybody can like pick the thoroughbred in the gate that they think, but nobody knows till the horses run, you know what I mean. And you know, like in a strange way with Ed, like it was just they

just felt like it something here should happen. And then we got in like you say, captain, it's like, you know, I'm willing to fight for my co workers and co actors and do that thing, and you know, I definitely coming from an athletic background and being a captain on sports teams, I know how to do that. That being said, it very much felt like theater in the best way in that there there there was an equality across the

board for all the actors. And many shows aren't like that, but the good many of the good ones are, and so in terms of responsibility, just sort of felt like everyone had it to one another to you know, to keep the promise of this this thing alive. Those were

joyous days. And not only that, but the crew was family and friends, just as the actors were amongst themselves, and it was a whole kind of like sometimes the show has its moment in time and you're fortunate enough to be part of that thing, and this was this was one of those that's awesome.

he had a network credit at that point. And I still feel bad to this day that like it would happen relatively soon, and I was like, do you want to play the part of like the subpoena server? And so he did that and it was just me and him in the scene, and he was the best actor in the scene. And you know, this bat to this day felt bad that it wasn't a bigger role. But I didn't direct all of them. That was one that was like, hey, you can do this if you want,

and he did. But what's interesting is about knowing if somebody's a good actor just to go just to take the thing off the tracks for a second. Talking about John, like when you direct, you're in the edit a lot, and I had this wide shot that I use, and you know, he has to come in midway through the scene. He kind of showed that there's some kind of argument that I turned turned around, boom, are you at Stevens guys,

you've been served? And then off he goes, right, But in the two minutes that lead up to that, he's completely busy. You know, he's kind of looking around to see he kind of orders a drink from the bar, kind of looking around, like backing up, scoping it out, kind of Oh, just before I think it's that guy, you know, and times has walk all the way down right to when I'm about to turn in, there he is, you know, and that sounds easy. It's not easy. You know,

it's not easy. It's not easy at all. And crisis here is like bang bang bang and watch them an edit and I'm just like, you know, when you have a good feeling with good people and it happens, it's incredible.

in capital letters, will they have you. I'm sure that I would love to have been a superhero an Avenger in my twenties, you know, and people don't want you, or the opportunity doesn't come up, And so that's always a giant part of it, as like who will have you?

And you need sometimes to be aided and embedded by people like Berlanti, where you know you've gone through some of the fires together and had poor results, so he and I forging fires of cancelation and stuff, and like the sort of damocles hanging over our head all the time, and how you react to that, like, look, I'm happy to be here. I like this show, I like being

with you. I like saying these words. After a while, it becomes almost like a repertory group with somebody like that, where they're like, I can rely on this guy, you know. So I don't think I'm anybody's choice to be the joker to the Batman the way I am in this flashow where I'm the reverse flash to the flash apart from Greg Burlanty, I don't think they'd have me. Not only that because they didn't want to tell me. They don't want to tell anyone actually who the villain was

because they were afraid of it leaking. They were like, hey, do you just want you want to play this scientist? And I'm like no, and then like and then and then the second phone call was like, come on, play the scientist, and I was like, that's your approach, come on, come on. The second time, you're like come on, and I was like, no, no, I don' want to play a scientist. Like I'm like no, you know. Then they're like they literally fly me out to Los Angeles, you know,

like I'll never forget. I'm in the halls of NBC and Burbank. It's on like a Saturday, I think, and there's nobody around Brian, nobody, and yet you know, the executive producer like still goes and like closes the door so that nobody will overhear what he has to say. I'm like, what is happening, wh I gonna get mugged? And he says, the role we really want you for is Eobarthon. I'm like, I don't know who that is, which I don't say because I don't want to see

him like a complete idiot because these people comment. But people live for this stuff, so I say, keep talking, right, and he says he's the reverse Flash and I'm like and then he goes he's the villain, and I'm like you could have saved yourself two thousand dollars by just saying that over the phone. I'm like, I'm in, I'm in, of course I'm in, like playing the villain wearing wear in a supersuit, right, And to address your question of

like did you ever think that happens? Like a no B. Thank god that it is, you know, twenty twenty three, and the era is like Ben Affleck can go on the donut diet and still jump into the Batman suit and he can be fine, you know what I mean. It's not the Adam West of yr when they put this spandex on and I'm so sorry, you know what I mean. Like then nowadays, you know the suit like I had, Like the suit that I wear was like ten ten thousand, yeah dollars, and like I've had like

five five fittings. I've also played the flash. I have to wear his red suit. I wear my yellow suit. And it's like artisans and artist crafting these suits, and like I often felt like, you know, like the backstage genius of the office catching the person, like John Clee said it famously. When I was a young person, I used to think that the funniest thing was you know,

I'm sure you know this score. But he was like saying, the funniest thing ever was a normal person completely losing their mind, like just having the biggest breakdown and just kind of like screaming and going off the rails. He said, As I go, oh do, I realized the funniest thing was the man watching Batman. Yeah, you know, which is basically that's the that's the genius of the office, right.

And so I've often felt like for these fittings, if they knew what they were doing, they would actually have somebody as this person's getting fit for a super suit film. The people like just like staring at you, and they reach out and they kind of like tug a cowl right in your face and they're like like okay, you know what I mean. PROD push bang, PROD pull.

up being the reverse Flash. And so it's basically Flash versus Reverse Flash for twenty two episodes and in the big finale in the twenty third episode, it's me versus him giant fight and he wins because guess what it's called the Flash. You know. The network's like Warner Brothers is like, we want more of these, many more of these, and so for me, it's like, well, you can't tell that story again. You already did Flash versus Flash. So I was like, thank you you know, see, yeah, I

appreciate it. And then Greg was like, well, what would it basically take for you to come back? And then that's where the idea was hatched to, like what if you're the same character but from Because it's a multiverse, there's many earths, and there's like, you know, we could while we're waiting for the yellow suited guy to come in and wreak havoc to Central City, I could invent another character that has the same name, but it looks the same, but it's different. And that's where that came

out of. And so every year it was like, I think I want to play an Indiana Jones type character. Or I remember season I think it was season four where I said to the show runner helping, I'm like, what if Sherlock Holmes is French and is trying to track down me the reverse flash? That would be a good storyline. And he was like, I don't know if we can get away with the French thing. I'm like, no,

we can do it. It's going to be great. Trust me, he's French, He's show look, show look, look, you know, and like by this time we still hadn't gotten canceled, but then they're like, yeah, okay, fine.

don't want to overstay. You're welcome, and I felt that staying longer would be overstaying my welcome caveat being that I knew that Batman's going to need the joker, So I had an incredible position where I could leave the show, but would I knew that I would be called back because I that's the main villain, you know, So it couldn't be more ideal because you didn't have to like

get teary eyed and bid farewell and be upset. And sure enough, every year they would call me back to do a little bit, So I got to see everybody and hang out for a little bit, but also not do twenty two in the dark of night, you know what I mean. And so I feel like when we said goodbye, you know, I think we said goodbye at the right time. It was like four and a half years, I think, but I remember it being really difficult. I

remember that being extremely emotional. It just felt like your heart was breaking, even though you knew it was the right thing, you know. And I think nine years on a superhero show. Everybody's like, God, did you cut yet?

Hannah Harris and Emily Carr. Our talent producer is Ryan Papa Zachary and our intern is Sammy Katz. Our theme song Bubble and Squeak, performed by the one and Only Creed Brad