Its All Write

It's All Write to Kill Your Babies

• It's All Write • Season 1 • Episode 7

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Writer/Director Tyrrell Shaffner joins her writing partner (and It's All Write cohost) Meryl Branch-McTiernan to discuss the gulfs they crossed to bring Katie's Mom from script to screen. Spoiler, it took a cemetery full of dead characters & deleted scenes... plus a couple of exes for inspiration.

Katie's Mom stars Dina Meyer as a recent divorcee whose holiday with her adult children derails when she falls for her daughter's charming new boyfriend (Aaron Dominguez). Playgirl calls it “raunchy, MILF-y fun.” Watch the official trailer here.

If you like messy female characters, stream Katie's Mom on Tubi, Roku, and Amazon, and then rate it IMDB. Sites like IMDB skew male, giving (on average) lower ratings to movies starring women. Let's flip the script!

Also mentioned in this episode: The Sandbox Collective

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Tyrrell Shaffner is a director and storyteller whose work threads the needle between drama, comedy, and romance—regularly spotlighting characters on the fringes, told from a distinctly female point of view.

She studied directing at USC Film School, where her comedic thesis film Different screened at over 40 festivals. She later earned her MFA in screenwriting from UCLA, where she was awarded the George Burns and Gracie Allen Fellowship in Comedy.

Tyrrell began her career as a staff director/producer for Oscar-winning producer Rob Fried’s SVOD channel Feeln (bought by Hallmark) and director Jon Chu’s Google-funded channel DS2DIO. She has since crafted hundreds of pieces of content for clients including Lionsgate, M ss ng P eces, and Crypt TV.

Her debut feature, Katie’s Mom, stars Dina Meyer and premiered at Dances With Films, where it won the Audience Award for Best Fusion Feature. The film is now available on digital and on demand.

Tyrrell is currently developing her second feature and a comedy series inspired by her real-life experience substitute teaching.

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Follow the show on Instagram @itsallwritepod.

And, feel free to send us a note to itsallwritepod@gmail.com.



Tyrrell:

We really wanted it to be the same kind of thing and we're like spiritually aligned in that way. So like We always had each other to lean on and root for each other, which I think is what's really great about a writing partner versus going solo. You just have this barrier from the world, which is nice.

Meryl:

Hi. I am Merril Branch Mc Tiernan.

Ariana:

And I'm Ariana McLean, and you're listening to It's All Write,

Meryl:

A podcast about the writing life and those who live it.

Ariana:

Many of you probably already know. And if you don't know, you should know that Meryl co-wrote and co-produced Katie's mom, which is available for streaming on Tubi and Roku right now. And you should definitely watch it. because we have the co-writer of said movie. About to join us in the studio electronically from LA I'll just, pass it on to Meryl to introduce Tyrrell.

Meryl:

Tyrrell Shaffner Yes. Her name rhymes with mine, who is a the co-parent of Katie's mom. a which premiered at Dances with Films where it won the audience award for Best fusion Future. Tyrrell Schaffner is a director and storyteller whose work threads the needle between drama, comedy, and romance regularly spotlighting characters on the fringes told from a distinctly female point of view. So we're very excited to have her coming in to join us from la.

Ariana:

Yeah. Meryl, I know this has been a long process. So when did you start writing this film?

Meryl:

That would be the year 2015. And when did it become available? September of 2024. Wow. So it's been quite a journey. It started with we were working together at uh, company making videos for SAT prep. And I was writing the scripts. She was directing the scripts. And we started chatting one day at the water cooler. I said that I I had to go online so I could find a way out of my non-monogamous relationship. And she thought that was amusing. So we went to a movie together. We went to see Train Wreck. And in the car, on our way to the movie, we started talking about how we had ambitions that were beyond these SAT prep videos. And I mentioned that I, I had a not fully formed idea for a feature. And so we started meeting up together and decided to co-write the script with the intention that she would direct/ so that was step one. And then a lot of other things happened, and here we are.

Ariana:

Yeah, because you guys. You had to raise money.

Meryl:

that was five years in. in, yeah. So we had been riding together for five years when we started raising we started raising money after placing in the Nicholl Competition, which is the Oscar. it's connected to the Oscars, it's connected to the Oscars and Academy. Yeah. So we were in the top 5% twice, so we felt like, all right, this is la creme de la creme of screenwriting contests. So I think we have something worth pitching.

Ariana:

Nice.

Meryl:

So it's been Quite a journey,

Ariana:

Quite a journey, and I'm really excited to get into it. So welcome Tyrrell.

Tyrrell:

Thanks for having me. It's nice to see both of you.

Ariana:

Maybe do you wanna give like a little a little synopsis

Tyrrell:

Sure. It's so funny. Normally Meryl and I are together and I'm like, do you wanna pitch it or should I, Meryl, is it okay if I pitch

Meryl:

can pitch it, you're up.

Tyrrell:

So Meryl and I co-wrote Katie's mom a feature comedy that you can watch on Tubi or Roku or rent on Amazon right now. And it is about a mom who has an affair with her daughter's boyfriend over Christmas break. And the jumping off point for the film really is it's like a modern take on The Graduate told from like a Mrs. Robinson like character, but it's really like an inversion of The Graduate in a lot of ways. New characters. The mom is nurturing and very loving. She's very different than Mrs. Robinson in the film, but it gives you an idea of the tone that we're going for. And yeah that's what it's about.

Ariana:

It's starring the Very hot and sexy Dina Meyers, correct?

Tyrrell:

Yeah, Dina Meyer and Aaron Dominguez. So they have a lot of chemistry. There's some very sexy scenes in it that I'm really proud of. I also directed it and I think, Meryl can speak to this too, but I think we both connected to this story on a personal level.'cause we've both dated dubious men. And the the guy in the film, he is like a lightning rod in this woman's life, but he is not a great boyfriend, obviously to her daughter. He is hooking up with and he doesn't play by the rules in a lot of cool ways, but also in some bad ways. So I realized while we were writing and I think while we were writing this particular sex scene that I think is one of the best scenes in the film where they've just hooked they've like orgasms together. She's never had that happen to her before, and she feels really connected to him. But then she like crashes because the guilt of what she's doing sets in. And then she finds out that this guy has been lying to her daughter and goes into full mama bear mode while she's like naked in bed with him. So there's a lot going on in the story, but while we were writing that, I was like. I think this really captures what the film is about and I can relate to all these different emotions happening at the same time in my own relationships where you're like, have this really passionate affair, but you have, you're dealing with someone who's you know, not the best guy.

Meryl:

I love when your neighbor our editor said something like, is this about one of your exes? And it was like not really, but

Tyrrell:

yeah. As research, I dated a guy, during Katie's Mom field research that was 10 years younger than me and lived with me'cause he was living in a van. And we actually got some good material from him. But yeah, it could be him. And it was inspired by Meryl came up with the idea and it was inspired by something her ex-boyfriend actually did in college. So there's definitely a type of guy out there this person is

Meryl:

the hobosexual.

Tyrrell:

The hobosexual, HOBO, hobosexual and I think there is that type of guy out there. He is this like charming marauder, and they can be like great in their own way. And the guy that it was initially inspired by was moved to tears at the premier because of how well we captured him.

Ariana:

Oh wow. Okay. Wait, I have so many follow up questions. But first, so you invited the muse of the film

Meryl:

To premier? We did.

Ariana:

How did that come about?

Meryl:

He's still, I actually haven't talked to him lately, but he's still a friend. And he'd read actually multiple versions of the script. He was there for editorial advice and yeah, he was so excited and proud of us that it actually went through he was someone that I dated about six months after I moved to LA. I met him and he had been an actor. He'd gone to college for acting and dropped out after he got apart in Saved by the Bell of College Years,

Ariana:

Oh.

Meryl:

Oh. And then wandered his way around, meeting a lot of women and doing things. And while he was with me, he discovered that his true soul was polyamorous and that monogamy was not gonna ever work for him. So I'm glad I helped him to find that truth.

Ariana:

and in turn he helped you write a movie

Meryl:

me. Exactly. We helped each other. And when I met Terl, this was all going on, And so it was my way of processing what was going on and how this could possibly be. Okay. Um, yeah.

Ariana:

You guys were inspired by a myriad of things. Yeah. But how did you guys go about writing together a script? Did you what was that process? Yeah.

Meryl:

Yeah, we've done everything.

Ariana:

All right. Let's give us, give me a give our listeners a couple things you did.

Meryl:

The first thing that we did was we would meet over rose and Terrell's backyard and talk about scenes that we'd want, and then we would split off and write the scenes and come back together having shared the scenes Do you wanna go into our second way

Ariana:

of

Meryl:

this?

Tyrrell:

So then we read it out loud. Every scene and would then rewrite it, which Meryl hated. And then

Meryl:

is like 12 steps in though.

Tyrrell:

that's true. And then we got to the point where we were sitting together writing every word together.

Ariana:

Oh, wow. Okay.

Tyrrell:

And that was really intense. And then, there's this workshop, this directing collective I love called The Sandbox in Los Angeles. And it's based on iterative scene development. So basically you'll put up a scene with actors in front of other directors and actors and then rehearse it three times and break the scene and get feedback and you watch other directors work too. So it's like really good for directing muscles'cause you can go a long time without directing something. And it's great for writing too, to see what's working. So we did that for the film, over several years,

Meryl:

we'd already done five or six and I think we'd done five or six drafts by the time we started doing that. Right.

Tyrrell:

Yeah.

Meryl:

What was our total, I think 18 maybe.

Tyrrell:

drafts, page one, rewrites. Oh, I think more than it was a lot. It was a lot of rewrite. We did everything. We did every process and killed so many characters.

Meryl:

many, really this a whole cemetery of dead characters. And yeah, we workshop, we had different work writing workshops that we belong to on our own. And we'd bring the scripts to them and yeah, there were certain things that we'd hear and then be like, that's ridiculous. And then three years later we're like, you know what? That person was right. We gotta kill that.

Ariana:

Okay. So you did use. Some of your feedback that you received

Meryl:

Oh, yeah. We used a lot of feedback.

Tyrrell:

A lot of it we didn't use too. It's some, I think some of the art is knowing what to listen to and what not to. But yeah, I think, it was like patterns would emerge you know, and it was like gathering data, and you're like, oh, okay. Clearly this is a blind spot, or this isn't working. There was this beginning scene was like polishing it turd. And everyone hated it and then we did it in the sandbox the scene sucks. Get rid of this yeah, it was really helpful. What's nice I think with having a writing partner is we would have our own discussions or disagreements, but we both love the film and we're shepherding it and we had each other and we really do love the same things. Like we love the show girls. We really wanted it to be the same kind of thing and we're like spiritually aligned in that way. So we always had each other to lean on and root for each other, which I think is what's really great about a writing partner versus going solo. You just have this barrier from the world, which is nice.

Meryl:

Yeah, I think Terrell was really helpful in helping me to see we. We have to solve this on our own. Like we can't listen like I feel like I'd be like, oh, should we do this? Should we do that? Like they're saying this and she's they're not solving

Ariana:

in the family.

Meryl:

We have to solve. Yeah, exactly. They can show us what's wrong, but they can't tell us how to solve it.

Tyrrell:

Yeah, I'm a big fan of that. I'm like, cool. Thank you for telling me the problem. Do not tell me how to fix it.

Meryl:

Yeah.

Tyrrell:

You can pitch me. You can pitch me how to fix it though. I just don't like it when people like, it's yours. You know what I mean? And I try to do that when I give feedback too, hey, I see this issue. I'm pitching you an idea, but obviously it's yours to come up with the answer. Receiving and getting feedback is a whole art. It's really challenging.

Ariana:

Knowing that you also directed the film and you're also a director. How does that play a role in your writing? Do you find that those two hats you wear, I guess we could say inform each other at all?

Tyrrell:

This is my first time co-writing with somebody like this, and I feel like Meryl and I had this like child,

Ariana:

Yeah.

Tyrrell:

and we're like, it's like pretty wi, and this is one of the longest like relationships I've ever had. Seven years working for free on something, basically, and like birthing it into the world. So that's, and we barely knew each started working we prior. We had known each other at work and thought we were cool like beyond that, didn't know well. So that's interesting. It was like a arranged marriage,

Meryl:

Or Yeah. Or a one night stand that that turned

Ariana:

a decade long relationship.

Meryl:

Yeah.

Tyrrell:

And, I write my own stuff that I wanna direct, and I've developed stuff that I. I'm directing, but haven't written. So it's interesting how they're all different, like with how it materialized in Katie's Mom. It's like I was really cognizant of visual moments.'Cause Meryl's really good at comedy and dialogue and I just wanted to make sure that, when you're watching it, that there's these visual pillars. And we were also trying to, do something that was very producible and then we got carried away, scenes and we had to pull it back. But it was like, how do we make sure that this is visually interesting? Even though the fireworks are really this love triangle between the mom and the daughter and the boyfriend, just, you wanna have visual stuff going on. So that's something I was thinking about from the get go and that I was really glad that, that stuff was there on set because it did feel like it feels like a real movie. It doesn't feel like you're stuck in a room. Not that, it would've been otherwise, but it was, just thinking about that stuff from the get go, I think was like my director brain more so than my writing brain.

Ariana:

And how does, I am always curious how you work with the visual on the page with writing. If you have a process for that? Do you see things and then you're writing it out or one comes before the other? I feel like I'm a visual writer. Like I see things before I start writing. But I know Meryl you've expressed that you don't see that.

Meryl:

It's more, it more comes to me through the ears. The ears.

Tyrrell:

Oh,

Meryl:

more, yeah, more dial. I

Tyrrell:

I feel like the words being on the page is where it starts. And then I can get in this fugue state where it's like really tapping into my mind's eye or my imagination. And I feel almost like the words are coming to me from some other plane, which is, and that's always really good that stuff is excellent. Lance Black, the guy who wrote like Harvey Milk, he says he literally watches the movie in his head, and I don't do that. I'm, I, because I think there's a different, there's the film you write, the film you shoot. In the film you edit. You have to throw out every version as you go. Don't try to make it what it was before. Like you have to accept. You know what you shot and you have to, and make it in the edit kind of. So yeah, I feel like it's almost in my mind's eye, in this weird, liminal space or something where I see it, but I don't see it rendered in like tons of detail where then I get on set I'm like, has to be this way. Which I think is good'cause I think it leaves you open to what's in front of you when you get there.

Ariana:

I think that's what's really, I think amazing about moving image film is it goes through, I like how you said that there's three different films because you're crossing mediums as this thing is being born. There's these different evolutions. Do you. Do you recall any specific things that got cut from each step, like from the writing to the filming? And then from the filming to the editing were there scenes that stand out to you or moments or characters that had to cut in addition to your cemetery of lost friends?

Tyrrell:

Yeah, there's a cemetery of dead characters that never made it. Or an alternative universe when

Ariana:

Yeah, let's, that's nicer.

Meryl:

I, and I think that they all do inform what was there. I feel like it, it is richer than what because it's been thought up. I do feel like the, all the dead people infor there's a history that's there.

Tyrrell:

Yeah. And we definitely had to kill the babies. What was mind blowing to me is that our script was a hundred and five pages max. And the rule is a page a minute. Final draft or whatever in the screenplay format. And then we also had some consistent visual pillar moments that weren't like overwritten because the style of the script was like comedy script. And that doesn't really have a lot of it's not like a drama script where it's all these like poetic descriptions, it just doesn't fit. So we had straddled a medium there with the visual descriptions, but they weren't super long. But then we got into the edit bay and the entire film was two and a half hours long, two hours and 45 minutes

Ariana:

Okay. That's long for a comedy. Yeah.

Tyrrell:

It's like torture for comedy

Meryl:

One hour ahead to go. Yeah.

Tyrrell:

yeah, I think what I learned is like with the drama- comedy, emotions take so long to process. It's not like a Friend script where it's super punchy and they're talking super fast or whatever. These emotions. There's a scene where Nancy, the mom and Katie's mom is going through this car wash after the fallout and getting caught from the affair. And she has this like breakdown and I think it's two sentences if that in the screenplay, but then it plays for like 45 seconds in the movie. And it's like those kinds of things ended up happening. And the actors did really great with the dramatic moments. And you have to let them play out. You can't clip them. That's it's like taking the gold out or whatever. So we had to cut an hour. We definitely had to kill a lot of babies Some of them I wasn't too sad about, but they just didn't work for whatever reason. And some things didn't work because for instance Dina Meyer, who plays Nancy, she's so great. We wrote Nancy to be a little bit of a doormat initially. And you just, Dina's just you don't believe that she's for one second. So there was like one scene at a baby shower where her friends are sort of shitting on her and they had not invited her to this baby shower. And she comes in and she gets up the nerve to confront them, but it's like Dina Meyer. So like the scene just didn't work because she just, we didn't, and we didn't need it in the end. So stuff like that

Meryl:

Right, and that was a scene we worked so hard on and rewrote so much, but just, yeah, the people who played those characters, it just didn't gel.

Tyrrell:

yeah. And that's just the film you shoot, versus the film that you wrote. And I'm glad that, that scene got cut. I, it didn't work for various reasons, but then it, once you started to just whittle it down, rule it down, then it got like painful. But yeah, drama comedy is much longer than a page a minute is what I've learned. So I'm gonna keep that in mind for the next one.

Ariana:

What are you working on now?

Tyrrell:

Yeah, I'm excited about two projects. I just got funding for it's a web series pilot, but hopefully it would be developed into a full comedy series. It's inspired by my real life experience, substitute teaching, and it's called Subs and it's like a mockumentary type show, like Party Down in the world of subbing and really, captures the least respected profession in the world. But also is set in LA with all these kind of dreamers who are trying to make it big, but also are just like getting shit on daily. It's super fun. So we're gonna shoot that in the fall, which I'm really excited about. Erica Lane wrote that she's a really talented screenwriter that I met at Sundance when Marilyn and I were at Sundance a couple years ago.

Meryl:

We were also there with Ariana a few

Ariana:

ago. Oh yeah.

Tyrrell:

oh yeah.

Meryl:

Last year. Yeah.

Tyrrell:

a room with Ariana.

Ariana:

Oh yeah. That was fun.

Tyrrell:

And also I just completed my next feature screenplay and that's called I Can't Find My Friends, and it's about three estranged friends in their early forties. And their fourth friend, they were like best friends in high school. Her dying wish was for them to reunite a burning man. And so they go and bring her ashes with them and then crazy shit starts happening, of course, but it's like a female hangover with heart and really fun and also inspired by real life experience going to Burning Man the last three years in a row. Hopefully I'll have some news when I Can't Find My Friends soon we'll see. Hustling. Hustling.

Ariana:

hustling. That is the life out here. How do you stay motivated?

Tyrrell:

I have an insane drive. It's a little psychotic. Meryl's seen it.

Ariana:

Hey, own it. You. You got the gift. You take it and run with it.

Tyrrell:

It can be to my own making Katie's Mom was such a fulfilling experience. Meryl and I wanted to do something. We took this leap of faith, put so much work into it and then did it. So I think that was, that's really inspiring and motivating. it was also really inspiring to be in creative control while shooting it and making it and to see that like you have that inside of you is like a really motivating factor. And I think also the way people responded to the film, like women are just like gaga for the movie. They're like, oh my God, I feel so horny afterwards. I think it's really delivered what we wanted to deliver. And I think that's really also inspiring. it's like rewarding to continue to make this type like art tells women's stories, like messy women's stories I think is still really needed. So I think those are some motivating factors, that keep it going. I hate the blank page. That is the worst thing for me in the world So like with, I can't find my friends. The hardest part was writing the first draft. And what I found is I'm just, I'm in a couple different writers groups through USC where I went to undergrad or like through the sandbox and I'll get in an accountability group. I did one right before I went to Burning Man last year for eight weeks, and I wrote almost the full first draft, but I was like, oh, I'm gonna get more stories while I'm there. And then I finished it when I got back. So I break it out, break it into pieces so it becomes manageable.

Ariana:

Nice. Yeah, Scary.

Tyrrell:

Even thinking about it

Ariana:

It's ew.

Tyrrell:

Just say what? How do you feel about the blank page, Meryl?

Meryl:

Weirdly, I write, I start in blank pages when I'm writing fiction. Like I don't open up the document. I start a new document, which is maybe weird'cause I'm like, I don't wanna see all the rest of it and then I paste it in at some point to a bigger. But I feel like I'm a little bit more overwhelmed by a bigger chunk. Like having a bigger manuscript is worse to me on some level than being like, I'm just starting on document eight of all my unclosed things. And

Ariana:

so you're like I know you guys are using the word sandbox is a entity or it's a

Meryl:

but I'm, yeah, like playing in, but you're playing in the

Ariana:

in the sandbox.

Meryl:

I think I like writing better than editing. I'm like, oh, this is all fresh and new. Yeah. I like the playing part. Then

Tyrrell:

Or maybe that's the difference between more of a director versus a writer. Because I feel like directors are just inherently like kinetic, like they like to react to things and that's a really strong, like that's important to have that when you're on

Ariana:

mm-hmm.

Meryl:

Right,

Tyrrell:

like you're reacting to what's in front of you versus building whole worlds

Meryl:

Right.

Tyrrell:

Nothing. So that might be a key difference, just temperament or personality.

Meryl:

Yeah.

Ariana:

So I'm bouncing quickly back to the series you're working on and how do you find working with other, like when you're not writing and you have to work with a screenwriter, how do you handle that?

Tyrrell:

This is my first time, developing material that. I'm not writing at all, like that I'm having someone else write and I'm just like talking to them about my experience and, coming up with the episode ideas and bits and stuff. It's been interesting. I feel like it's forced me to be less in the weeds, which is good. Not get, let's retype every sentence together. Which is good in a way, I, I have enjoyed it so far a lot, and I feel like it's captured what I wanted to capture and then it's nice to have something like, I can't find my friends, which is like super personal. Have that very much be mine. So it's, yeah I think it's nice to have them. Those different things of ways of doing, but I like all of it, I like also a producer, so I think all of it collaborating is really fun.

Ariana:

Yeah, I can I can identify with that, That's why I enjoy being a freelancer. I wanna turn on different parts of my brain for different projects and it also gives you a chance to see other things through a different lens or with a different light. Like I imagine you guys have both spoken to what you've learned from working on Katie's Mom and then you bring that knowledge to your other projects. So it all builds and I feel like some people who only have one specific job don't understand that. Like, all these things come together and it's, I dunno. It is, it's fulfilling. It's, and it's also I love a challenge and it sounds like you do too. I feel like.

Tyrrell:

do, I I do.

Ariana:

I know you have to head out if there's any last things you wanna share,

Tyrrell:

Yeah, so you could watch Katie's Mom for free on Tubi or Roku. You can also rent it on Amazon Prime. And we'd love for people to go and watch it and then give it a positive rating on IMDB. Places like IMDB are not as amenable to female focused content as we would like like My Best Friend's Wedding, which totally influenced Katie's mom. It's a classic, one of the best anti romcom romcoms ever. It has a 6.4 on IMDB, and that's because IMDB skews male. And it also features an unlikable. She's amazing, but she's doing awful things. Unlikable female lead. And that's frustrating. The IMDB score then feeds into all these other platforms.

Meryl:

I was gonna say, most people don't know that you don't think to go rate something on IMDB. But that's what's showing up.

Tyrrell:

And then, so we have a film that's really aimed at older getting rated in a space that's for younger men. And we need really as many like people that love the film to come and rate it as possible. And, we just really, appreciate that support. Tell your friends about it. Women really love this film, so we wanna find our audience as much as possible.

Ariana:

Yeah. And we do need women in all shades of being human. Like we're not just certain archetypes. There's so much more. So that's why I really enjoyed the film. It was like nice to see I would say a lot of the characters do things and you're like, no, don't do that. Or you're like, yes, do that. And so it feels very much like you're seeing real people who have these different facets of specifically I'm thinking of. Nancy and Katie our lead female characters just doing things and having life happen, and sometimes you don't make the best choice and that's so relatable. And then of course, a sexy scene with a woman who's over 25 is, we need more of that, so kudos. Yeah.

Tyrrell:

Thank you. Yeah. I'm so glad you enjoyed that. That's we're very proud of it.

Meryl:

Thank you.

Ariana:

we have a few more minutes. So let's, catch up Meryl was like in Mexico for a month on sabbatical.

Meryl:

Mexico killed the right j jk. Do we, did we have any things that kept us from writing or made us write? Yeah. Or Or recently.

Ariana:

I don't know. I feel like the fun of summer keeps me from writing.'Cause I'm just more interested in living life right now as opposed to processing it. However, I have had a few spurts of oh my God, I gotta write this right now. Like yesterday. What was I, oh, I was listening to a podcast of

Meryl:

very

Ariana:

inspiring. not, not our podcast. I was listening to another podcast and it inspired me to write out my characters as if I'm interviewing them and hearing their stories as a way to see where I want the story to go.'cause I was feeling a little I know what I wanna do, but I feel like I'm not quite sure and I thought that was. Would be a fun exercise.

Meryl:

I think that is a fun

Ariana:

So like literally just first person completely in the head of the character answering questions. So I was I started doing that and I was thinking about doing

Meryl:

So I would say it's all right to take the season off and it's all right to fictional people.

Ariana:

It's all right if the universe is your daddy.

Meryl:

Yes.

Ariana:

not

Meryl:

Not all right.

Ariana:

To support ice.

Meryl:

True

Ariana:

That We came up with a new thing called Say No to Ice Daddies.'cause

Meryl:

there were

Ariana:

are these, when we, I went to this pride event and there were these they seemed like they were undercover cops who were trying to pass as a, you. A gay man. Oh really? Wearing like a mesh shirt. But he was like hanging out with the cops the whole time and did not even talk to anybody. And we were like, that's an ice daddy. And we're like, say no to ice daddies.

Meryl:

I like that. That's great. So

Ariana:

new slogan That's a wrap on this episode of, it's All Write. You can listen to other episodes on all the streaming podcasts sites. Share, like, rate our show, support the show as well as Katie's Mom, which You can stream on Roku, Tubi and Amazon. There will be links in the show notes if that makes things easier. Until next time,

Meryl:

thanks for listening.

People on this episode

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Ariana McLean

Host
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Meryl Branch-McTiernan

Host