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Entries in Chris Gethard (8)



UP IN THE AIR | Chris Gethard on WFMU's Seven Second Delay | Photo: John Dalton

By: Lucas Hazlett

For more than a year, The Chris Gethard Show has been home to some of the wildest comedic antics one could find on a New York City stage. But starting June 22, Gethard will take the show and its antics to the airwaves, broadcasting live every Wednesday night on the Manhattan Neighborhood Network, a public access channel notorious for its outspoken and outlandish programming.

The move makes a lot of sense for the show, which in many ways has become a big fish in need of a bigger pond to swim in. Television not only gives the show a bigger pulpit from which to sow its comedic gospel, but it also provides an environment in which Gethard can experiment without any of the physical limitations or creative oversight of a theater. But the stakes are also higher, a fact Gethard doesn't shy away from, admitting the show must now either succeed big or fail bigger.


It's also a sentiment that isn't lost on the show's cast and crew. J.D. Amato, a performer and former Gethard student who will be directing the show for broadcast, said that directing a show like this is definitely a challenge. "The odds are against us in so many ways," he said. "But we also have nothing to lose. We're a bunch of death-row inmates that have agreed to go on a suicide mission. Our starting point is everything you know about public access television, and every step we take away from that towards something fun, fresh, and interesting is a victory."

The Apiary spoke with Gethard about the decision to move the show, what fans can expect to see and the philosophy of doing nothing safe.

Why did you feel it was time to move The Chris Gethard Show from the UCB Theatre?
A few reasons. First, I always like to challenge myself. UCB is a very safe place for me, it's been my home base for over a decade. But when you feel too safe, sometimes you get too comfortable, and I'm of the mindset that when things feel too comfortable I'm not challenging myself enough.

On top of that, when I found out about what the Manhattan Neighborhood Network had to offer, it seemed like there was no downside. There's a three-camera studio I can live broadcast from, both on public access and online, with call-in capabilities, sitting there for the taking. It seemed like it would be foolish not to take the chance on trying to do good work in that setting. The internet broadcast thing was something that really made me want to go for it -- the entire cast and crew of The Chris Gethard Show works so hard, and by live broadcasting online, people beyond the borders of New York might actually be able to find us now.

Also, at the end of the day, I've gotta be honest -- the fans of The Chris Gethard Show at UCB have been amazing. Dedicated and supportive and down to go along with a lot of weird experimentation that might be a waste of their time. But nothing's gonna top Diddy. That's clear. That felt like a finale moment for many of our fans, and many of our cast and crew, and we needed a change of pace. That set the bar very, very high in terms of the stage show, and I have felt like in the subsequent months it is hard to get people as excited for things in this post-Diddy era. So a change of venue, a change of pace, a change of priority was necessary to keep the spirit of the thing fully alive. I think. I could also just be making a huge mistake.

Basically, it's Diddy's fault.

What do you hope to accomplish with this new version of the Chris Gethard Show?
I just want to keep going with full-on creativity. I'm very happy that this show with my name on it has become a forum for some very creative people to do very creative stuff. Originally, I thought this was going to be a talk show where I interviewed people from my life. It quickly became insane instead. Seeing all the stuff Will, Shannon, Don, Bethany, and everyone else who has been a part of the show felt comfortable doing makes me happy. I almost feel like the show went from being a talk show to a weird venue for fucked up performance art that I am the curator of.

That, to me, will be a fun thing to retain. And figuring out how that works during a televised hour is a great challenge and feels like a good puzzle to try and put together. I'm involving a lot more people than during the stage show and in the planning stages we've talked a lot about figuring out how to take this mentality we've worked so hard to create and put it in a context where people now have the option to change the channel.

Mostly, I just want to be creative. It's the only thing that makes me feel good in life. I'm a pretty restless guy, and a guy who's prone to sadness. The only thing that has quelled those feelings is chasing the ability to be creative, and feeling like anytime I hit a certain level I have to chase that next level. This is a very unhealthy thing. But fuck it. I want public access to be the next stage in that process. Let's go bigger. Let's figure out how it works. Let's use it as a platform to find more people more opportunities to do more cool shit!

Also, I like the idea that if I work hard enough, this will be a version of my show that I can always point to and say "This is exactly what it would look like on TV." I've run into that a lot -- a lot of people in the TV industry have been like "Oh you got Diddy? Awesome. You did that thing with that kid from Ohio. That's awesome. Too bad it would never work on TV." That puts a little bit of a chip on my shoulder. I'm from Jersey, so it's easy for me to have a chip on my shoulder. If we nail it, this will be a 100% undistilled version of what I think we can accomplish on a televised platform with zero interference from executives or sponsors. The only trade in is that I will have to lose money to do it instead of make money. I am perfectly fine with that.

What can viewers who are familiar with the stage show expect to see from the televised show?
More going big, more interactions between the cast that show we are a true family, more risks taken, more disasters that unfold live, more unlikely successes.

Also, more Don Fanelli.

Because of the power of the UCB brand, getting a show on that stage is usually the strongest promotional tool one can use to spread the word about a show. But now that you are moving into public access, you have to essentially start over from scratch. What are some things that you have been doing to spread the word?
I'm doing my best to go grassroots. First off, we are making sure we can archive this whole thing and disseminate it on YouTube and hopefully find some parts that spread around and go viral. Making an hour of fresh content each week is daunting, but it also means we have so much material we'll be able to use to spread the word.

We just did our cross country tour earlier in the year and I've been mailing cards to people all over the country who are doing their part to hand out fliers to the people they know who they think will get it. The uncool losers who latch onto the show.

I  am happy to start small and let the work speak for itself. When they pack it completely, UCB fits 250 people. So if 300 people watch this show, I am fine with that. That's a success. As long as we don't have less people watching than we did at the theater.

From there, it's just on me and the cast and the crew to do the best work we can possibly do and let the quality of that work attract an audience of weirdoes who identify with it.

Also, I am doing this interview!

One of the strongest elements of the show is the family of regulars you had on the stage. Who are some of the people you've brought from the stage show to the television show? And are there any new people you'd like to introduce to the world who will be appearing on the show?
Don Fanelli, Will Hines, Shannon O'Neill, Bethany Hall, and our fantastic house band The LLC are all back in. Our other regulars, guys like Jesse Lee, George Kareman, Shaun Diston, and Dave Bluvband, are all in. Dave Bluvband will be playing the Human Fish, which I'm very excited about. On top of that, just because we have so much content to fill, I'm blowing things out and involving all sorts of friends of mine who have done small bits on the Gethard Show or haven't been a part of it at all thus far.

Also, one aspect of the new show that we didn't have will be special guests -- musical acts, stand ups, celebrities I can beg favors from to appear. Should be fun. Our first guess is Mikey Erg, one of the best guys in the punk world today. Our second guests will be GDP and Pistol, a couple of rappers from Jersey that I'm big fans of.

So, when and where can people watch the show? Do you have to live in New York to see it?
It broadcasts live every Wednesday at 11 PM. If you live in Manhattan it's on your cable system, depending on which provider you use, it's on all different channels. You can also see it at We'll be taking MNN's live feed and streaming it there. So you can watch this show from ANYWHERE IN THE WORLD. And you can call in and be a part of it, too.

If you aren't able to catch it on Wednesdays, we plan on archiving full episodes you can download to watch on your ipads and ipods, as well as putting a ton of clips at Follow me on twitter @chrisgethard and I'll be sure to incessantly plug all of this as it comes into existence.

You mentioned earlier that people have expressed doubts about the show translating to television. In your mind, what is the basic philosophy behind, or essence of, the Chris Gethard Show that you hope not only translates but essentially transcends?
We want it to be good. If it's not, we want it to be such a disaster that it will be at least as much fun to watch as it would have been if it went well. We succeed big or we fail big. No middle ground shit. Nothing that lands in the "that was ok" realm. Either you really dig it or you really hate it. I grew up loving punk rock, but I have very little musical talent. To me, it's a similar philosophy -- we're gonna do what we do, we're gonna go all out, we might not be the most polished or the best looking comedians out here, but we have the most heart. We have no budget, very little idea what we're actually doing, and almost no hope of this turning into a massive success. But what we do have is a lot of passion and a lot of devotion and a real desire to do cool shit. We hope you love it. If not, we hope you hate it. Only safe things fall in between. Nothing safe.

--Lucas Hazlett is a comedy geek who improvises with anyone he can. He can be seen performing at the Peoples Improv Theater (123 East 24th Street) every Wednesday night at 8:00PM with Stranger or taking tickets and mopping bathrooms every Friday night at the Upright Citizens Brigade Theatre.


The Chris Gethard Show: Featuring Diddy - #diddygethard @ The UCBT - 1.15.11

Photo: Ari Scott | See the complete set of #DiddyGethard photos

By: Lucas Hazlett
In what will surely be remembered as one of the Upright Citizens Brigade Theater's most talked about "Were you there when..." moments in its history, Chris Gethard fulfilled a year-long obsession by finally having Sean "Diddy" Combs take the stage for a night of comedy and touching self-reflection.  There's no doubt this was a "must see" show. While a who's who of comedy scenesters and theater regulars angled for seats inside, people stood outside in the theater's notorious stand-by line for hours. For those who couldn't make it to the madness or those who simply want to relive it, The Apiary was on hand for a play-by-play of the festivities.

11:59 - Front row seat. Watching the audience madness unfold. Hannibal Buress in second row. This shit is real.

12:02 - Audience still shuffling in as Kung Fu Monkeys, decked out in Clockwork Orange whites, play selections of their signature catalogue.

12:10 - Show producer Bethany Hall whispers to band, one of them mouths "Keep stalling?"

12:15 - Fan favorite and previous Chris Gethard Show personality Mitchel Fesh takes seat up front. Takes a look around theater and gives nod of approval.

12:19 - Bethany takes a seat on stage as band begins to play "for real". All is well.

12:20 - Lights down. Video montage of Gethard's initial plea to Diddy, followed by a year's worth of vlogs and television appearances.

12:24 - Diddy takes stage. Crowd chants "DiddyGethard!"

12:26 - Diddy thanks Chris Gethard for his persistence and energy. Says he "loves a good time."

12:27 - Gethard cheekily admits rocking Sean John clothing.

12:28 - Diddy talks about his feelings on the #diddygethard movement, says he couldn't tell if it was a sexual thing or not, says "What the fuck are you talking about?"

12:29 - Diddy asks Gethard, "Why did you choose me?"  Gethard sheepishly recounts that he "initially went after Al Roker."

12:30 - Gethard introduces cast, each one appears on stage to a cover of a Diddy song.

12:33 - Video of Will Hines walking to Juniors to get Diddy a piece of cheesecake.

12:36 - Don Fanelli taste tests various vodkas to promote Cîroc, offers self to be electrically shocked for every wrong answer.

12:40 - Gethard hands me shot of vodka.

12:41 - Gethard shocks Fanelli repeatedly despite correctly identifying vodka.

12:44 - Will arrives to theater with Juniors cheesecake. Diddy demands Will be shocked after displeasure over errant placement of three strawberries.

12:47 - Shannon O'Neill hosts Sean John fashion show. Gethard says of Will Hines that he's a "bitch-ass in Diddy's clothing."

12:54 - Gethard asks Diddy to give each cast member a nickname.
Don Fanelli ⇒ Luther
Will Hines ⇒ Gregory
Shannon O'Neill ⇒ Mercedes
Bethany Hall ⇒ Nice Tight White Booty
Chris Gethard ⇒ Ray Ray
12:57 - Crowd chants "Ray Ray."

12:58 - Gethard asks Diddy if he ever suffers from anxiety before a show or performance or appearance. Diddy reveals, "Anxiety stays. If you don't feel that anxiety then something's wrong."

12:59 - "Never stop shitting!" - Diddy

1:00 - Diddy advises Gethard on potential move to Los Angeles: "stick your foot up their ass and come back successful."

1:05 - Diddy believes God brought him and Gethard into each other's lives.

1:06 - Gethard talks about how Diddy brings people good luck and asks Diddy, "Are you magical?"  Diddy replies, "It's a little bit of magic."

1:09 - Gethard compares all of this to The Muppet Movie.

1:10 - Diddy provides Gethard with care package for cross-country trip, contents include Tic-Tacs, two crisp stacks of money, copies of new CD Last Train To Paris for audience, strippers, a HANDGUN and A PAIR OF SHADES!

1:15 - Cast reads/performs sketch about what will happen immediately after show. Diddy is off-book within seconds, is he an improviser?

1:20 - "This ain't heaven. This is my kitchen." - Diddy

1:22 - Diddy leads chant of "Ray Ray."

1:26 - Show ends, Diddy gets standing ovation.

1:26 - Diddy shakes my hand.

1:27 - Diddy wasn't lying. He's a little bit of magic.

-- Lucas Hazlett is a comedy geek who improvises with anyone he can.



Image & video courtesy of Justin Purnell.


'The #DiddyGethard Thing Is Alive'

You know what to do. #DiddyGethard (Video shot by Shannon O'Neill)


Chris Gethard and his Magic Bus of GethTards | Photo: GLK Creative

By: Lucas Hazlett

Chris Gethard is one of the hardest-working men in the New York comedy scene. With a decade of performing and teaching at the Upright Citizens Brigade Theatre under his belt, Gethard has amassed an enviable resume of writing and performing that has led to a starring role in Comedy Central's "Big Lake," a regular spot in the theater’s flagship show, ASSSSCAT 3000, and his own popular variety hour, "The Chris Gethard Show."

This Saturday at midnight at the UCB Theatre, Gethard will host "The Telethon of Shame," a special edition of "The Chris Gethard Show," which he says will be a rare and noble confluence of weirdness, violence and good-hearted intentions. I spoke with Gethard about the telethon, what he champions in his students, and what he would do if he were ever imprisoned.

Most of the interviews you've been doing lately have -- for obvious reasons -- focused primarily on your new Comedy Central show "Big Lake." I would like to focus more on “The Chris Gethard Show." How did this show originate and what do you think it is that's made it so popular?
I think I started in 2007 doing a show called “Magic Box of Stories,” which was true stories from my life. Before that I had been doing a lot of storytelling at ASSSSCAT and “Nights of Our Lives” and that kind of built to the show, and that was the first show where I felt like I had any buzz. That show kind of led to me to doing this bus tour where I took 60 fans of the show all over New Jersey and showed them the sites where the stories took place. It was just this really weird thing to do, and over the years I have done a few weird things. I had done another show where improvisers did stand up, a tournament, and each loser was shot with paint balls. I did another show years ago where I organized a bunch of comedians who didn’t know what they were doing to box each other. So I have always been interested in doing these sort of out of the box things. The whole goal of the show is every month do something no one has seen before and probably won’t see again. And for better or worse, some have been really good, some have failed pretty hard.

With The Stepfathers | Photo: Melissa GomezAs far as why it’s popular, I think it’s just really weird, but we still put a lot of effort and try to make it feel really professional even though it’s strange and bizarre. I think that combination works. There have been so many comedians to come out of the city in the past few years who have gone on to great success and that’s a great thing, but I think it’s maybe made people walk a certain line who are being conscious of playing the game. I think this show is definitely not that. There’s a lot of things in here that could actually probably damage people’s reputations and careers. I think people appreciate seeing something that let’s its guard down.

The theme of the next Chris Gethard Show is “The Telethon of Shame." How did this show come about?
I had a friend who was a co-performer and student of mine and last year he lost a baby. You can imagine it’s one of the hardest things to watch someone go through, I can’t imagine going through it myself. My friend was so strong. There’s a lot of us who are close with him. He’s a big supporter of the March of Dimes now so I thought maybe we could design a show that will raise money and use the popularity of the show toward something more noble than us standing on stage and pissing our pants for a crowd to laugh at.

What we basically came up with as the structure is the show is free and because it’s for charity we’re going to try and stuff [the UCB theatre] full of people. we have a number of comedians who have said I will do a predetermined stunt for x-amount of dollars. I’m going to host the show naked if I can raise $750. My friend Don Fanelli is going to wax his whole body for $1000. Will Hines will smell anything for a dollar. A dude’s going to drink his own pee for $1000. I think people know that if you go to the Chris Gethard Show you’re going to see something crazy and this show you’re going to see more crazy things than ever with the extra bonus of knowing that your money is ultimately going toward something good.

A lot of the people you work with on the show are former students of yours. What do you look for or see in a student that makes you want to work with him/her outside of class?
I’ve taught for six or seven years now at UCB. I would say 99% of my students I really root for and want to see them succeed.

So many people are funny and dedicated as improvisers and what so many of us forget is that at the end of the day, taking all the skills you learn in a class and figuring out how to put your actual honest voice at the forefront of all that, using those skills as a platform for your voice, is a very important thing. We all learn from curriculums and we all learn the skills that different schools set out and those are all useful things that unlock comedy, but I wish we could put a little more priority in saying “now what do you have to say with it?” I see a little too much of people trying to erase what’s unique about them in order to get the skills right and I think they don’t have to be mutually exclusive.

I had a class where [a student] did a whole show for half an hour where he played a foot. He only played a foot. Other people were changing and editing and he managed to just play a foot. It was the weirdest thing and maybe in some ways counterproductive but it’s also I like anyone who thinks like that. If I can become someone who uses the fact that I’m a teacher to sort of encourage and protect a little bit those people who are weirdos then that I think is a pretty noble goal.

Gethard at Harold Night (March 14, 2002) | Photo: B.G. JohnsonAre there any experiences you had while an improv student that informed your approach toward working with students and younger/beginning performers now?
I took my level one class just over 10 years ago now and I think one of the major differences I see now is that the stakes were ultimately lower in a way that might have been easier for me to feel like it was okay to take chances because there were less of us getting jobs, less people showing up in commercials, there was just less to screw up. I felt like I found longform and came to NYC and found UCB because there was really no other place where I felt like I fit in at all. Almost every other area of my daily life I felt really weird and out of place. It felt like [at UCB] you could go see shows like “Bogus Sting,” which was this open mic where people would just do the most bizarre stuff and it was like yes, this is a place for that.

I remember taking a bunch of classes with Michael Delaney that were all focused on sort of outside-the-box skills that you don’t normally think of in improv where he’d have us do an entire scene while moving in reverse motion just to sort of think about it in a different way. I also think taking classes with Ian Roberts. Ian was always a champion of whoever the weirdest person in the class was. The fact that I came up and was on my first two teams with [current Stepfathers and frequent ASSSSCAT co-performer] Shannon O’Neill. She’s another person who does really bizarre stuff and if we didn’t have each other I probably wouldn’t be as comfortable doing this stuff. If anything it was just easier to find the other weirdos back then.

According to your bio, you've put your eggs into a lot of baskets, having been a contributing writer and guest performer on a number of noteworthy projects. Which of those opportunities do you hope to have more of in the future?  Do you want to write more?  Appear on more shows?
I guess the most honest answer is I want the opportunity to do more things that will have the longest lasting effect on my ability to pay my rent consistently for the rest of my life, which I think sounds a little facetious. I hope I’m not trying to sound too much like an artist because I definitely want to pay my rent, but as long as it comes through being creative and comedy I want to make that a priority. I have felt like a failure for the majority of time I’ve been doing this. I have felt like I have not been able to figure it out. I’ve been running head first into a wall and the past few years that’s started to turn around, but I think one thing I look back on -- it’s very stressful and I had so much anxiety -- it’s that I learned there is no option I will ever cut myself off from.

I like asking improvisers/writers what they find funny because it's a great insight for students like me to understand what you're doing on stage and looking for in other comedians. What do you find funny?
I have always found sad people and tragedy funny. One of my favorite movies was always Planes, Trains and Automobiles. John Candy is such a sad sack in that movie. I come from an Irish family where my mom and my aunts used to tell these stories when I was a kid and they were always hilarious and I look back and I’m like those are miserable stories. If you take away all the laughs those are the stories of really rough times. I think I kind of just learned early that to me things that have sort of sadness or desperation or loneliness at their core can easily be converted to laughter. It all goes back to truth in comedy, right? If it seems honest it can make anyone laugh. It goes back to the question you asked me about what do I look for in students, why do I work with certain students and why do I champion certain people: if I see someone who seems to really believe what they’re saying, if it seems to really come from a place where their personal experiences dictated why they’re saying what they’re saying to me, then you can always find the way in which that is funny. I’m always impressed by people who can come up with premises on their feet. I’m always impressed by people who can play these larger than life characters at a drop of a hat, but my personal interests always tend to lean towards “that seems like that person is saying that thing because it relates to something they actually feel or have experienced.”

A running gag at the last ASSSSCAT show was the fact that the backstage area flooded due to rain. How does it make you feel knowing that two hundred people will gladly pack into a supermarket basement that drips shit and floods just to see you and your friends do comedy?
It’s really an honor. I remember when I first started coming to the city sitting in a former strip club to see comedy. The fact that now people will put up with us starting a show by saying “this theater is flooding and we may need to flee” and people stay really means a lot. In spite of how big the improv comedy scene here has gotten, it makes me feel good to realize that it still has this vibe of being like a very underground thing. People have compared UCB to being like CBGBs and to me, as a fan of punk rock music as a kid, that makes me feel good. People see that it’s okay this stuff takes place in this really shitty environment. It’s cool. It’s really cool.

Photo: Justin PurnellLast thing. There’s a famous story about Richard Pryor about how he once defused a perilous situation in jail by making everyone around him laugh. You are a brilliant improviser and a funny storyteller, but it’s also true you have a belt in jiu-jitsu.
A blue belt. The second worst belt.

Second worst belt?  That kind of screws up the question a bit, but you’re in jail now and are surrounded by a bunch of roughnecks and you have to defuse the situation. Do you try and make them laugh or do you use your skills in jiu-jitsu?
What you’re describing sounds strikingly like my junior high school experience and I would say my strategy back then remains as it does today: try to make them laugh, but if they’re not in the mood to laugh I’m ready to choke someone out.

-- Lucas Hazlett is a comedy geek who improvises with anyone he can. He can be followed at his blog and can be seen performing with Nobody’s Token in the Soul Glo Project on SEPT 17 @ MIDNIGHT at The UCBT-NY.


Fesh's Tale 

This is the story of Fesh.

Part 1

Part 2

Part 3

Part 4

The events that transpired


News of the World

"I'm With CoCo" by Mike P. Mitchell

--IMPOSSIBLE IS NOTHING for Chris Gethard. He sets goals and then he achieves them sometimes!  He recently set a goal to get Diddy to do his show and after a brief online campaign, Diddy announced to his 2.4 MM Twitter followers, "Its official I'm gonna do the Chris Gethard show in 2010! its all because of you guys and he sounds like a pretty cool dude! @chrisgethard" So when is Diddy going to drop by? Chris tells us, "Hopefully next month. His schedule is crazy."

--Judd Apatow, Kanye West, and the staffs of no fewer than 4 talent agencies or PR firms got shout outs in the liner notes of Aziz Ansari's forthcoming CD, Intimate Moments for a Sensual Evening. Has Aziz unlocked A-List status?

--Experience a first date with Gavin Speiller from the comfort AND SAFETY of your own home.

--Jeff Rubin, Streeter Seidell, Thomas Middleditch, and Opus Moreschi will pursue universal records at the next URDB show. What inspirational feats of human accomplishment will they attempt?? See for more details.

--Hey look, someone posted a job on our job board: Casting for a Male Adventurous Social Networker. There are other positions there too. For example, if you select the Comedy tab and hit the filter button, a bunch of neat gigs pop up.

--Apiary contributor Aparna Nancherla recently had jaw surgery! Ouch! Feel better, Aparna!

--World renowned Painter of Pancakes, Dan Lacey, proudly unveiled his most moving work yet, "A Portrait of Jay Leno with a Pancake on His Head." It's being auctioned on eBay, but good luck trying to win it--you'll have trundle through your email inbox from the late '90s, find your eBay password, and try to outbid us. Not likely!


Ask For It By Name: Chris Gethard and Nate Shelkey for d-Con Mouse Traps

Improvisers often use three-line scenes to practice getting the who, what and where out in the open as quickly as possible. But leave it to Gethard (The Stepfathers, The Chris Gethard Show) and Shelkey (Gorilla Gorilla, Dogbasket), both of whom are excellent improvisers, to nail this in two lines. And I'm beyond certain they could have pulled it off just as well without the mouse costume. Because in this scene Gethard is clearly the guy who'd agree to a sitdown with the very mouse that has been tormenting him, and Shelkey's breathy pronuncation of "respect it" evokes high status and general creepiness.


Three seconds in, and I'm crushing big time on Emily Tarver (BFF, Thunderhead), the talkative Glee fan. This commercial would have probably stumbled in its execution had it not been for the throwaway line: "But I'm a dork, you know, I mean, you're a dork -- you know, right?" But big ups to Tarver's counterpart, too, who proves you don't always have to speak to let the world know exactly how you're feeling.

It's a double shot! Tarver shows up in this New York-centric T-Mobile ad. Within the foodie blogosphere, this particular spot garnered a lot of attention recently for featuring the Schnitzel & Things truck. Oh, yeah, it also played heavily during the World Series. So there's that.


Special thanks to Steven Dressler for the links. Were YOU or someone funny you know in a spot recently? Send the link!