![]() Turning MacNeill and Taylor, for instance, into construction workers who aren’t sexist – they’re just guys who take things a little too literally (she’s smoking she’s banging). There’s a sketch where she tries to take a nude selfie as she learns to navigate the online dating scene when I watch it I think: how did everyone on that set not burst out laughing?Īnd huge kudos to the hair, make-up and costume artists whose talents make a crucial contribution to the comedy. The woman is a physical comic genius whether she’s cutting her own bangs, forcing herself to eat salad or refusing to let a customer return an overpriced flowy shirt big enough for two. I tried to figure out a way to spell the sounds she uses to describe her life and marital breakdown in that dry shampoo sketch, but it could not be done. MacNeill’s physicality is a thing to behold. The women are supremely talented performers with spot-on timing and amazing versatility. ![]() This is what tenacity and talent can do! For me, she is the personification of a pep talk in the form of a freshly minted 40-year-old at the gym or a middle-seat airplane passenger who really needs to pee. And look at her now, I tell myself pretty much every time I watch. She had faced some serious life, career and financial struggles. One thing that has stayed with me from that interview was what MacNeill told me about her life before Baroness. We met in Toronto, at the Gladstone Hotel. I could give dozens of examples of the wacky characters they have brought to life.īack in 2016, after watching that locker room sketch and a bunch of others on social media, I got myself assigned to interview the women ahead of the TV series launch. Oh my gosh – their accents in their ode to British female buddy-cop procedurals such as Happy Valley were so spot on. “We all agreed: Tom, marry James, kill Todd.” The sketch ends with a phone call to Tom, who’s going to be so excited. In my favourite sketch from the first season, MacNeill’s character is digging a grave in the dark, while the three other women, all in muddied office wear, stand by as Browne’s character weeps, “Oh my God, oh my God, oh my God.” It’s all explained when MacNeill utters the line that makes it clear they have taken an after-work drinks game just a little too literally. I have a particular fondness for the absurd wordplay the comedy from taking things literally.
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