Since its cancellation in 2000, the short-lived NBC series Freaks And Geeks has grown a considerable cult fan base for its realistic, sympathetic, and frequently gut-bustingly funny portrayal of two groups of high-school outsiders in 1980 suburban Michigan. The A.V. Club recently asked series creator Paul Feig to relive the writing and stories behind every one of Freaks And Geeks’ 18 episodes. Following Part 1 and Part 2, this section covers episodes eight through 11, beginning with “Girlfriends And Boyfriends” and concluding with “Looks And Books.”
“Girlfriends And Boyfriends” (Jan. 17, 2000)
Lindsay is uncomfortable with Nick’s aggressive displays of affection, while Sam is uncomfortable with Bill being assigned lab partner to his crush, Cindy.
Paul Feig: Another one of my absolute favorite episodes, that I wrote with Patty Lin.
The A.V. Club: This has maybe the most cringe-worthy moment in the entire series, when nick serenades Lindsay with “Lady.”
PF: The song I originally picked out for that was a Knack song, “Maybe Tonight.” But then we decided we should go with one that’s much more known, and that’s where the Styx came from.
As much as I love the Nick and Lindsay story, I love the geek story in that so much. I don’t think I’ve ever laughed so hard in my life as when we came up with the farting chair and when we shot the farting chair. The original thing was, again, based on something that happened to me. I had this date with a girl, this girl I really liked, and she went into the bathroom. We were at a bar. This happened later in my life. I was in my late teens. We went to this local bar, it was noisy, and we were sitting next to the restrooms. And I could hear her peeing. I don’t know how she did it. She was like firing a firehose. I was so immature at the time—it was so disturbing. I was like, “Oh my God, what’s going on?” Originally the scene was more of a disturbing scene for Sam. She’s like, “Oh, Sam, the bathroom door is broken, I have to use the men’s room, will you watch the door for me?” The same thing happens, he hears her peeing and he’s really disturbed by it. Judd [Apatow]’s like, “No, you can’t do that.” I was like, “Okay.” But that’s where, I think Judd had the first idea, like he should think she farted. I remember immediately thinking it was so funny, acting up in the room as we were talking about it, how Bill would try to recreate the fart sound on the chair. The line immediately came to me of, “Stupid chair, it always does that.”
But Patty Lin and I, we had to separate ourselves from the set, because during rehearsal we were just in tears. We shot that at a real house. The two of us realized we had to be as far away from the set as possible, because we will not be able to hold it together. And Patty Lin has the loudest, funniest laugh. She just bursts out laughing. So they had to set up the monitors way further away that you would normally on a TV show. Martin [Starr] played that to an absolute T. It was also finding the right fart sound, because I was hung up on it. It had to sound like a fart. A lot of debate went into that. That just makes me laugh so hard.
I like that one too, because that’s the first time you get to see the dad’s store, which is very much based on my dad’s store, which was an army-surplus store. I mean, more of a sporting surplus store for the dad in the show, but it really looks a lot like my dad’s store used to look like.
This was the one that really broke the camel’s back for Garth Ancier and the network, because he fixated on it. He was complaining to Judd one day, “There he is, the kid, he’s finally out on the date with the girl he’s in love with, she finally seems like she likes him, and then she tells him she likes somebody else!” It was like, “No, that’s the show. What would our show be if she professes her love for Sam? Then it’s not Freaks And Geeks. Then it’s a cool kid.” Let’s just say we had no interest in that. Six episodes in, your lead kid who’s awkward can’t get the girl of his dreams—it just doesn’t work that way in Judd’s and my world.
AVC: And you lay a groundwork for when they do get together later in the season. You give these hints that Cindy might actually be kind of a weirdo.
PF: Exactly. We always figured, or hoped, the show was going to go for seasons. We wanted to string out the Cindy-Sam thing for a number of seasons. Because that’s how I was. I had crushes on girls all the way through high school. You never lost that crush. Sometimes you would, but there’d be that one golden girl, who I was in love with, at least for three years, but never acted on it. Loved her from afar, got to know her a little bit, but was never brave enough. It was real to me, but as we can talk about down the line, once we broke them out, it was like, “We’re going to get cancelled, so we need to play this out.” He’s going to get her one episode; he’s going to lose her the next one.
AVC: We also meet one of my favorite bit players in this episode, Gordon.
PF: Oh yeah.
AVC: He’s sort of like a jollier version of Harris.
PF: Totally. It’s the same reason why I love the character of Megan [Melissa McCarthy] in Bridesmaids. The person who you set up to be, “Oh they’re the one who’s going to have self-esteem issues” is the one who has the highest self-esteem. Which is like, “Yeah, this is who I am. I’m cool.” Everyone is so afraid to say something to someone, then it’s like, “Hey, no, I’m fine. I’ve got a problem—it makes me special.” He was just such a wonderful kid. He embraced it, and had no problems with it, and was a good little actor. It was just fun to write for him.
AVC: So many of the characters on the show, who they are and their relationships are based on not being comfortable in a given situation. Lindsay is never really comfortable with her friends, nor Sam with his, but then you have these characters who you don’t expect to be super-confident or comfortable who are just—
PF: Yeah, like Neal. Neal is probably the most confident of the core group, which always makes us laugh. I had some friends who were just really confident, and you’re like, “Why are you so confident? You’re nerdier than I am. What do you know that’s making you so cool?” That all feels very realistic to me. It also breaks the stereotypes and breaks the archetypes. Because that’s all you can do, start with the archetypes and then subvert them—or play into them, then that’s shittier writing, when you kind of say that’s what it is and don’t change it.
I do have to say, some stuff I remember in hyper-detail, others I’m like, “God, that was 11 years ago. I don’t remember.” I also haven’t seen the episodes in years. Because when I watch them I get really depressed. It really bums me out when I watch them sometimes, because I miss it. You go, “Aw fuck, we really got cut down in the prime of our life.”
“We’ve Got Spirit” (Jan. 24, 2000)
As McKinley High’s basketball team prepares for the big game, Sam takes over as school mascot in order to be closer to cheerleader Cindy, a job he cedes to Neal when he sees Cindy flirting with her basketball-player crush. The freaks, meanwhile, seek school-spirit-fueled revenge after they’re beaten up by students from a rival school, while Lindsay tries to figure out how to break up with Nick—a task her mom accidentally completes for her.
PF: That’s another Mike White one. The thing that inspired us the most with this is, “What if your mom accidentally breaks up with your boyfriend?” which I think was Mike’s idea. That just made us laugh so hard. The show got less interesting to me when people were couples. Even in the moment we were trying to break up Nick and Lindsay, it started to feel very standard to me. Shows are always about couples and stuff, and I never wanted that to happen. We really wanted to break them up, and we obviously set that up with him singing and creeping her out in the previous episode. So it was very known we were going to break them up.
But on the “We’ve Got Spirit” side … It was just a hard episode to do because of all the basketball stuff, which we could have cared less about. We so don’t care about sports, then we’re suddenly shooting basketball games. It’s like, “Ugh, who cares?” I remember the mascot head is a funny story. We wanted it to look like a Viking head, but a big, cartoony Viking head. Somehow it got designed as ultra-realistic. That’s why there’s all those jokes in there about, “Wow, that mascot is disturbing.” Because we were so disturbed when it first showed up. Those giant teeth and it’s so real-looking. I was really creeped out, almost to the point where I was like, “We’ve got to redo this.” But then we started realizing, “Let’s just make fun of it in the episode about how creepy it is.” And it cost a fortune too, because it was so realistic.
AVC: Do you know where the head is now?
PF: Yeah, [Gabe] Sachs owns it. If you go online, if you put in my name online into a Google search, something’ll come up about a question and answer I did at USC about their new comedy department, and Gabe was the moderator that came and interviewed me. But he brought the Viking head with him, and put it onstage. So there’s this hilarious shot of me and him on chairs and on the table in the middle of us is the mascot head. It’s the funniest picture I’ve ever seen.
AVC: This episode is about “the big game,” and then last episode was about Lindsay maybe losing her virginity, and then band episode. You have these very familiar high-school drama plots, but everyone’s in a really crappy place at the end of this episode, even if they won the big game. Were you intentionally trying to pick these familiar tropes and kind of subvert them?
PF: Yeah. We always wanted to play on that stuff. That’s why it was fun for us to go like, “Yeah, the big game, who gives a shit?” So many people hang their lives on it. I think there was this feeling of, “Let’s put everybody in their worst place at the end, after a victory for everybody else.” I don’t remember if it was directly a “fuck you” to the people in charge, of saying, “You want victories? Here’s a victory that’s completely hollow and shallow and nobody cares.”
I remember, this episode was when some of the cast weren’t getting along great. We were kind of putting that into the writing a little bit. It was a very weird episode when we were making it. All that stuff with the guys trying to beat up a guy. It was very, a lot of weird testosterone in that episode, both behind the camera and in front of it. Behind the scenes and on the screen. Some of our cast were just at a weird place at the moment, in that episode. I can’t tell you why.
“The Diary” (January 31, 2000)
Sick of always being picked last in PE, Bill acts out his frustration through insult-laden prank calls to Coach Fredricks, leading to an awkward confrontation. The Weir parents, worried that Lindsay’s new friends are a bad influence, snoop into her diary, where they discover some harsh criticisms of their marriage, which sends them into a minor relationship crisis.
PF: This had so many things I loved in it, both the geek and the freak story. That sequence of [Coach Fredricks] trying to figure out who made the prank call is, I think, one of the funniest things we ever did on the show, with the “butt-patter” and all that. I wasn’t around a lot for the making of that one because I was so busy writing and putting together the next one, but what I remember is Ken Olin, who used to be on Thirtysomething, came in, and he directed that one. We really liked the idea of having the Weirs have a semi-marital-crisis, and also just found it very amusing if we could get them into a romantic situation, which was always one of our favorite things about that episode, when Joe Flaherty and Becky Ann Baker kiss on the bed. It’s like the most awkward, parental kiss you’ve ever seen in your life. [Laughs.]
AVC: I actually wrote that exact phrase in my notes, “awkward parental kiss.”
PF: Oh, that’s hilarious. It really made it everything we hoped it would be, because we were always thinking, like, “I wonder if we write in a kind of sexy scene for Joe, will he even go for it?” Just ’cause sometimes, as a comedian, you’re kind of like, “Ugh. It’s too vulnerable to do that kind of a thing on camera.” But he just went for it. I wasn’t there on the day they shot it, but I remember seeing the dailies and just going, “Oh my God, that’s the funniest thing I’ve ever seen.” [Laughs.] And then, we found it very amusing that everyone’s grossed out by their parents having sex, except Neal, who finds it weirdly titillating. That’s just playing into the personalities of our actors, at that point. Samm Levine was always the player in the group, or fancied himself the player.
That contains my favorite music choice I ever did on the show, which was XTC’s “No Language In Our Lungs” for the getting-picked-last montage, just because that was something I definitely went through a lot in school, the horrors of getting picked last. So I really wanted that to be kind of an emotional thing. It was originally written to be kind of sad, but also funny, but the way Ken shot it, it worked really well. So we edited it together, we had the sequence, and I pretty early on wanted to put “No Language In Our Lungs” on it. I remember playing it, and Judd goes, “Oh, it’s just way too sad. We gotta get something else.” So I remember sitting around on the weekend with tons of CDs, and just trying every single song I could imagine, anything I could come up with on it. Nothing topped it. So I remember, finally, just saying to Judd, “We have to put it on there.” He was not convinced, and then, he brought in one of our editorial assistants, this woman, and played it for her, and she just burst into tears. And he goes, “Okay, let’s do it.” Like, “Let’s just embrace how heart-wrenching it is.” [Laughs.] I take such great joy in that. Also, that is one of the moments and song choices that people most consistently, over the years, have come up to me and said how much they like and appreciate, so I continue to be very proud of that. Also, I’m a huge XTC fan.
AVC: This is the first appearance of Mr. Schweiber, Neal’s dad. He’s this “cool dad,” to contrast the Weirs, who are going through this crisis of un-coolness. Was that intentional, given what we’re going to learn about the Schweibers’ marriage in a couple of episodes?
PF: Yeah, we very much wanted to lay the groundwork that his dad was “cool,” knowing very well that we were gonna make him not so cool. When we first got the pickup after we had done the pilot, we were sitting around in our writers’ room for that two-week period where we handed out the questionnaires and got people’s real-life stories, and that was one of our writers, Jeff Judah. It actually happened to him, that he suspected his dad was having an affair, and he found this garage door clicker under his car seat, and rode around with his friends on his bike until he found his dad’s car in another person’s house. So we just felt like, “Yeah, let’s lay the groundwork that Neal’s dad is ‘so great,’” and we knew a couple episodes down, we were gonna subvert that.
AVC: There’s that line where Mr. Schweiber says that he has to come home in the middle of the day to change his shirt.
PF: Yeah, so we were definitely laying the groundwork. We knew what was coming, and it’s always kind of fun to set somebody up in another episode. I always hate when everything’s sort of self-contained in one episode, versus you think you know where somebody’s going, and we always liked to play with that. We always liked to subvert who you think people are, just like with revealing, down the line, that Ken is actually from rich parents. We just really liked that, because he’s probably the last person you would’ve thought would’ve come from rich parents.
“Looks And Books” (Feb. 7, 2000)
After crashing the family car while driving around the freaks, a shaken and grounded Lindsay distances herself from her new friends and rejoins the Mathletes. Hoping to impress Cindy, Sam decides to purchase a fashionable new outfit: a blue “Parisian nightsuit.”
AVC: This one almost serves as a flashback to Lindsay’s life before her grandma died and she fell in with the freaks. Was that something you felt was important to show?
PF: Yeah, I’m always hung up on origins and origin stories. I felt like we never really got to know what she was like. I knew them that I wanted to kind of illustrate that in a real-time way, as opposed to a flashback, of being able to see her go back to who she was, and see what she looked like at that point. So that was the genesis of it. It was also very heavily based on—I think the beginnings of it was that I just wanted to film the car accident that I got in when I was a teenager, which was very similar to that, where I was driving a friend of mine. I’d only had my license for, like, a week, and we went out to get the car washed and kind of went joyriding. We were so distracted with the radio, and laughing and making jokes and goofing around, and at one point—in Michigan, you can’t make a left turn if you’re on a main thoroughfare. They have these islands—
AVC: The “Michigan left”?
PF: Yes, exactly. They kind of go up and around and come back. So we were driving, and just out of the blue—we were looking for something, or laughing at something—and my friend goes, “Turn here!” and just points in front of me to go left. And it was such a shock, I just pulled the wheel and turned left, and went right into the side of this car that was filled with all these kids. It was a mom and all her kids, just this nightmarish kind of thing. I remember, when we were in the sound mix, just driving the sound guys crazy, because I wanted to recreate the sound of the accident, like it really sounded to me, and they had on a very TV/movie-sounding car crash. It was kinda like the big “smash!” and glass, and all this high end, and I just remembered so much. It didn’t sound anything like that. It just sounded like “thunk.” It was just a big thunk. I don’t know if we actually even got it quite right. I had them there for hours; they wanted to kill me. But it was like, “Take the glass out!” So that kinda started the idea of what would happen when that happened to her. It plays pretty dramatic. I have to say that it’s one of the more dramatic things we do, is after the accident, just how angry the dad is and how devastated she is. It’s pretty rough. My parents were not that mean to me when it happened, but they weren’t pleased, either. So that was a great catalyst to get her back where she was.
AVC: And then her crisis kind of ripples out to the freaks.
PF: Yeah, definitely. I always liked the fact that, whether they wanted to admit or not, she’s kind of their leader, just because she’s the smartest one among them, even though she still screws up all the time. But yeah, it was nice to see the glue of Lindsay, whether they realize it or not, starting to pull them apart. We always liked the idea that Kim was starting to kind of, whether she would admit it or not, want to emulate Lindsay a little bit, or at least, through her jealousy of her, also seeing, “Shit, I wish I was more together like that.” It was fun to kind of have her always reassessing Daniel and reassessing her life all the time, which forced him to have to, also. So that was fun. And then for me, it was such a personal story, the whole Parisian nightsuit. [Laughs.]
AVC: I was definitely going to ask about that.
PF: Oh, yeah. No, that is a true, true story.
AVC: Was Sam’s blue jumpsuit pretty similar to yours?
PF: It is, exactly. I mean, I literally recreated the exact suit. It was that exact cut, that exact color, everything. My only thing was, I was a junior in high school when I did it, and he was only a freshman. [Laughs.] I had less of an excuse than he did. But I just always remembered it being such a funny thing that happened to me. I’ll never forget that feeling of making this choice that you think is gonna be so great, and the second you walk into the school, you’re like, “I have so fucked up.” And all you see is this endless day stretching before you. [Laughs.] But it was also fun to recreate—things like That ’70s Show, and things about the ’70s in general, always get so cartoony. For some reason, whenever recreated, everyone would look like disco. It was always the cartoon version of it. And that’s why, when we were putting the show together, I was always very specific about making sure that people dressed like they did back then, which was mostly still jeans and stuff, but ski jackets were popular, and people kinda took care of their hair more, and bell-bottoms and all that. But beyond that, it wasn’t all disco, but there were people that did that, so it was a chance to kind of show, “Here’s how some of the other people looked.” It tended to be more of a popular kid’s look. You tended to go more disco-y with the Angel Flight pants and those polyester, faux-silk print shirts and all that. So it was just kind of a fun way to transition one of our characters into that.
AVC: And you got to bring in Joel Hodgson and dress him up.
PF: Yes. My hero. I was good friends with Joel for a number of years before that, but I also became friends with him as a crazed super-fan of Mystery Science Theater. So we had that part, and we were just thinking, “Oh, Joel would be so funny playing this,” and when I asked him, he said, [in Joel Hodgson voice] “I’ll only do it if I can wear a really bad wig.” I was like, “Uh, done. Okay.” So he picked out that stupid wig, and he really embraced that role. [Laughs.] And that Silverman’s store, that was exactly the name and everything of the store at the mall that I used to go to for all my disco clothes when I went through my heavy-duty disco phase.
AVC: So you weren’t put off by the initial jumpsuit trauma?
PF: No, no. I just realized the jumpsuit had gone one too far. [Laughs.] ’Cause I liked the clothes. I actually—I still do—I tend to dress up quite a bit. But it was fun to really recreate that exactly as it was.
One of my favorite scenes I ever wrote and that we shot is in that one. I always wanted the show to be very honest, and as politically incorrect as it was, words like “homo” and “fag” were thrown around like that was the currency that everybody dealt in. That’s why I called him Sam Weir, ’cause he was gonna be called “queer” all the time, ’cause I was Feig, so you can imagine what I got called all the time. So it was important to me to have a scene where they’re calling him a homo or something, but I remember checking—Judd got us into this, which was to call Standards and Practices and pass something by them before you try it, ’cause sometimes they’ll tell you something you didn’t think you could do you can actually go further with. So I remember checking, like, “Can I have these kids call him a homo?” And they basically said, “The only way you can do that is somebody then has to make a defense of the person, and tell everybody why it’s wrong to do that.” Which then, immediately, I go, “This could be the funniest scene ever.” They’re all calling him a “homo,” and the teacher comes to his defense in such a way that just makes it a thousand times worse. [Laughs.] And that actress was so funny. That, to me, kind of crystallized everything I ever wanted to do with the show, humor-wise and emotionally and cringe-wise, so I’m quite happy with it.
AVC: There’s also the moment toward the end where Mr. Rosso is counseling Sam, and it’s a really nice moment where he gets to be good at his job instead of just this goofy guy nagging Lindsay all the time.
PF: Yeah. My favorite thing about comedy, doing that style of comedy, is the undercutting of when you think it’s going to get maudlin or serious and then you undercut something with a joke. And that’s one of my favorite examples. I laughed so hard when I was writing it and when we were doing it. I don’t think other people even latched into it, but when Mr. Rosso’s telling that story about, “These guys, they took me into a back alley, they beat me up, they made me bark like a dog…” and Sam’s like, “What happened?” “Doesn’t matter.” [Laughs.] It’s such a terrible joke—God only knows what happened to Mr. Rosso—but again, that’s just an example of what I think made the show fun and what kept us from falling into the more standard teen stuff, like the maudlin “Now here’s what we’ve learned…” You can do it, but you have to undercut it as you’re going through it. Dave “Gruber” Allen is one of my best friends, one of my oldest friends, and any chance to get him to do something sincere—’cause he’s the most sincere man in the world, he’s literally like a saint, he does so much charity work and everything—we had a lot of fun with him in that way, almost making him go too far in that way. But we really took great pleasure in getting to show him as he is.
AVC: There’s some foreshadowing of the finale when Daniel shows an interest in Harris’ Dungeons & Dragons book. Did you know, at that point, that Daniel was eventually going to fall in with the geeks?
PF: I knew that I wanted to move him; he was always going to be the one who was on the biggest journey of discovery, ’cause in a weird way, that’s kind of who Franco really is. He was always reading different books and stuff—which now, everybody’s seen that he really plays off of wanting to read everything and do everything—and so it just felt natural for him to do it, because it was in his energy. Whenever we’d write, we were always trying to take things that we were noticing the kids were really doing and make it part of their characters. I think the genesis of that was kind of like, “Who’s the biggest nerd in our show, and who’s the coolest guy in our show? Let’s get them to have an understanding.” And that was really kind of the genesis of it.
We loved Stephen Lea Sheppard so much, who plays Harris, and we were always desperately trying to figure out weird situations to put him in, partly to just test his acting skills. [Laughs.] We were just always obsessed with Lea, because he came to us as such a complete non-pro. I told you that story, how we found him—he’d come along with a friend—and he just cracked us up so much ’cause he was so even-keel. So that was part of it too, like, “I wonder if Lea could do this. Let’s just write this scene.” I remember writing that scene, and I remember Judd and I were sitting around thinking of weird things for it, and Judd was like, “What if his parents were super-old?” And we just started piling stuff on there. I definitely knew that at some point—I didn’t know it was going to be the finale yet—but I knew that at some point I wanted to do a Dungeons & Dragons thing. So it was a good place to see it, in the book. But I really loved that scene, because it was kind of exactly what we wanted the world to be, which was that occasionally these people would intersect. For me, it was always in theater class, where it was all nerds and then burnouts. We’d have these encounters where, guys you were afraid of because they were tough guys out on the smoking patio, suddenly you’d get paired up with one of them for something and you’re talking and going, “Oh, they’re actually kind of cool.” You’d find some point of reference that you agreed upon. That was always fun for me, because it wasn’t as much conflict as allegiances being made.
AVC: Anything else you remember about this one?
PF: I think this one contains, of all the shows, my favorite music overall that Mike Andrews ever did for us. I think the whole “Mathletes” theme he did that plays throughout the Mathlete competition—it kind of became the “old” Lindsay’s theme. I loved it. I’ll still put it up on my computer and play it because I think it’s really so well produced and written and performed. It’s the tone I like; I really like minor-chord kind of soundtracks for comedy. I like when the music plays against comedy, or when it almost tries to make the comedy sadder, or make the circumstance a little sadder. I really respond to that. I think that technically that show came together so well. [Director] Ken Kwapis, who was always one of our favorites—we love everyone, but Ken’s such a craftsman—the way he shot the whole Mathlete competition, he used these split diopters, which is where you can keep the person in the foreground and the person in the background in focus at the same time. Stylistically, it was almost too fancy for us, for our show, but it just worked really well because it creates this great environment. It creates this almost surreal world that Lindsay’s in.
I really am so proud of that episode. The one thing about that episode is that I had a hard time writing it; it was the middle of the season and when I started writing it and I was at my most overwhelmed. I remember one day I was in the middle of it and really having trouble, just going, “If we’re going to get canceled, can we get canceled right now so I don’t have to keep writing this episode?”
AVC: I think anyone who’s ever faced a deadline knows that feeling.
PF: Oh yeah. It’s like, “Can it just end? Can it go away please?” Then I remember when I finally turned it in, it was when we were shooting a scene for “Boyfriends And Girlfriends”—I think it actually got cut out of the episode—it was when Sam and Cindy were going around trying to get yearbook ads, and there was a scene where they went to a funeral home. The guy there was really creepy and Sam gets nervous and runs away. But we were in there and I remember Judd calling me up and saying, “Okay, everybody read the script,” and I said, “What did they think?” “They loved it!” I was like, “Oh, thank God.” [Laughs.] I just remember kind of getting my mojo back. I sort of suffer through everything I write my whole career, so it was no different on Freaks And Geeks.
AVC: This far removed from it, do you have a favorite episode? Are you even able to think of one as your “favorite”?
PF: Well I always think I do, but then I’ll think of other things. It’s more representative of things that I love in each one. “Discos And Dragons” is my favorite because it’s the first one I finally got to direct, so I actually got to direct it after the whole season, and I really love how it wraps up, so that’s my favorite episode. And then this one is my favorite episode because it’s just such a deep episode of both comedy, and yet again it gets the dramatic part. And the production of it. So I love that, but then I also do love the pilot. So it’s really hard for me to say like a definitive one I have to pick. I guess if a gun was at my head, I probably would still pick “Discos And Dragons,” but it’s a tough one. I really, really love this one.