WEBVTT 00:00:00.000 --> 00:00:01.600 Welcome back to the deep dive. You know, this 00:00:01.600 --> 00:00:03.839 is where we really try to dig into the sources, 00:00:03.960 --> 00:00:06.339 the articles, all that research to bring you 00:00:06.339 --> 00:00:08.300 the most interesting bits, those moments that 00:00:08.300 --> 00:00:13.119 make you go aha. Exactly. And today, yeah, today 00:00:13.119 --> 00:00:15.199 we're setting off on a bit of a journey actually 00:00:15.199 --> 00:00:18.100 into the world of someone who's just incredibly 00:00:18.100 --> 00:00:21.260 skilled at, well, telling stories across pretty 00:00:21.260 --> 00:00:23.739 much every platform you can think of. We're talking 00:00:23.739 --> 00:00:28.170 standup, TV, film, radio, writing. She's done 00:00:28.170 --> 00:00:33.630 it all. Moved from comedy clubs in Ireland right 00:00:33.630 --> 00:00:36.210 into the heart of the New York City media scene. 00:00:36.649 --> 00:00:38.929 It's quite the story. It really is. We are of 00:00:38.929 --> 00:00:41.130 course diving deep into the amazing career of 00:00:41.130 --> 00:00:44.030 Maeve Higgins. Yeah, and our mission today really 00:00:44.030 --> 00:00:47.140 is to kind of... to unpack that whole career. 00:00:47.259 --> 00:00:49.299 It's like this complex tapestry, isn't it? We'll 00:00:49.299 --> 00:00:52.020 look at her path from those early days doing 00:00:52.020 --> 00:00:54.000 hidden camera stuff in Ireland. The naked camera. 00:00:54.159 --> 00:00:56.219 Exactly. And then through all those intense festival 00:00:56.219 --> 00:00:58.539 circuits, performing live all over the place, 00:00:59.020 --> 00:01:01.280 right up to where she is now, a respected author, 00:01:01.460 --> 00:01:03.740 that really familiar witty voice you hear on 00:01:03.740 --> 00:01:05.819 NPR. Wait, wait, don't tell me. That's the one. 00:01:06.260 --> 00:01:08.900 And hosting her own podcasts, too. We really 00:01:08.900 --> 00:01:12.530 want to explore how her voice... which is so 00:01:12.530 --> 00:01:15.230 distinct, you know, kind of gentle, subtle, but 00:01:15.230 --> 00:01:17.849 also incredibly sharp. Mm -hmm, understated. 00:01:18.069 --> 00:01:20.469 Yes, understated. How that voice has managed 00:01:20.469 --> 00:01:22.909 to not just, like, find a place, but actually 00:01:22.909 --> 00:01:25.730 thrive in so many different creative areas. So 00:01:25.730 --> 00:01:27.870 hopefully you'll get a real shortcut to understanding 00:01:27.870 --> 00:01:30.450 just how versatile she is. That's the plan. We 00:01:30.450 --> 00:01:32.469 want to pull out the most important bits, the 00:01:32.469 --> 00:01:35.329 key insights from her career. Not just the obvious 00:01:35.329 --> 00:01:37.790 stuff, but maybe some of those unexpected turns. 00:01:38.060 --> 00:01:40.439 You know, the choices she made that really shaped 00:01:40.439 --> 00:01:42.900 where she ended up. Deliberate choices, often. 00:01:43.079 --> 00:01:45.319 Yeah, exactly. So you'll get a pretty full picture 00:01:45.319 --> 00:01:48.780 of her work, her style, how it's evolved. And 00:01:48.780 --> 00:01:51.140 we'll even touch on a time when she faced some 00:01:51.140 --> 00:01:53.420 public criticism and how she handled that. Which 00:01:53.420 --> 00:01:55.319 is part of the story for many public figures. 00:01:55.420 --> 00:01:58.219 Absolutely. So yeah, get ready for some surprising 00:01:58.219 --> 00:02:00.640 facts. Hopefully, a few of those aha moments 00:02:00.640 --> 00:02:03.560 we mentioned. And just a real appreciation for 00:02:03.560 --> 00:02:08.159 the breadth of Mevi Vigiz's work. geared towards 00:02:08.159 --> 00:02:10.240 your curiosity, of course. What she really gives 00:02:10.240 --> 00:02:12.979 us, I think, is this master class in being adaptable 00:02:12.979 --> 00:02:15.719 as an artist. You know how one really authentic 00:02:15.719 --> 00:02:18.639 viewpoint, her specific comedic take, can just 00:02:18.639 --> 00:02:20.759 grow and find its way into almost every medium 00:02:20.759 --> 00:02:22.599 out there today. OK, let's do it. Let's start 00:02:22.599 --> 00:02:24.419 at the beginning. Every story needs an origin, 00:02:24.599 --> 00:02:27.080 right? And Maeve Higgins' starts back in Ireland. 00:02:27.180 --> 00:02:29.580 We're talking Maeveen Anna Higgins, born March 00:02:29.580 --> 00:02:34.930 24th, 1981. And the place. Cobb. Beautiful spot, 00:02:35.069 --> 00:02:37.430 right? Like, County Cork. Really historic harbor 00:02:37.430 --> 00:02:39.770 town. But now, as we said, she's mostly based 00:02:39.770 --> 00:02:41.909 in New York City. That's a huge jump, isn't it? 00:02:42.169 --> 00:02:45.930 From Cobb to NYC. Oh, massive. What do you think 00:02:45.930 --> 00:02:48.490 that does to a comedian, going from, like, a 00:02:48.490 --> 00:02:51.569 familiar Irish scene to that massive competitive 00:02:51.569 --> 00:02:54.810 international stage in New York? Must be. It's 00:02:54.810 --> 00:02:56.449 got to be incredibly intense. I mean, moving 00:02:56.449 --> 00:02:58.349 from a place like Cobb, which is, you know, relatively 00:02:58.349 --> 00:03:01.590 small, charming, to the absolute whirlwind of 00:03:01.590 --> 00:03:03.669 New York's media world. It says so much about 00:03:03.669 --> 00:03:06.650 her drive, her ambition, but also, I think, about 00:03:06.650 --> 00:03:09.469 how adaptable her actual comedy is. Right. Does 00:03:09.469 --> 00:03:13.379 it translate? Exactly. And clearly it does. Because 00:03:13.379 --> 00:03:16.039 while her humor definitely has that Irish flavor, 00:03:16.259 --> 00:03:18.800 that rhythm, there's something universal in her 00:03:18.800 --> 00:03:21.680 observations. New York, I imagine, was this double 00:03:21.680 --> 00:03:24.379 -edged sword. Huge challenge, way more competition, 00:03:24.539 --> 00:03:26.419 you've got to really stand out. Yeah, find your 00:03:26.419 --> 00:03:29.520 niche. But on the other hand... Wow, the opportunities, 00:03:29.960 --> 00:03:32.280 access to so many different platforms, different 00:03:32.280 --> 00:03:35.599 audiences. It probably forced her to sharpen 00:03:35.599 --> 00:03:38.139 her voice even more, figure out how to connect 00:03:38.139 --> 00:03:41.090 with people from all sorts of backgrounds. Makes 00:03:41.090 --> 00:03:43.370 sense. That cross -cultural thing is key for 00:03:43.370 --> 00:03:45.430 lasting talent, I suppose. Totally. It helps 00:03:45.430 --> 00:03:48.770 you understand how her kind of specific witty 00:03:48.770 --> 00:03:51.169 observations manage to work, whether you're hearing 00:03:51.169 --> 00:03:54.229 them in Cork or, you know, Brooklyn. OK, so she's 00:03:54.229 --> 00:03:56.830 got this background, this journey. When did the 00:03:56.830 --> 00:03:58.650 comedy thing actually kick off professionally? 00:03:58.770 --> 00:04:01.409 We usually hear 2005 as the start date. Yeah, 00:04:01.509 --> 00:04:04.789 that's the generally cited year. But, and this 00:04:04.789 --> 00:04:06.710 is the part I find fascinating, maybe even a 00:04:06.710 --> 00:04:10.180 bit surprising. her first sort of step into the 00:04:10.180 --> 00:04:12.759 public eye, media -wise, was, well, it wasn't 00:04:12.759 --> 00:04:15.939 straightforward. Back in February 2004, so a 00:04:15.939 --> 00:04:19.439 year before that official start, she auditioned 00:04:19.439 --> 00:04:22.579 for The Ray Darcy Show. On Today FM, yeah. Big 00:04:22.579 --> 00:04:25.079 Irish radio show. Right. And here's the kicker. 00:04:25.620 --> 00:04:27.720 She auditioned for a competition on the show, 00:04:28.579 --> 00:04:31.680 and she didn't win. Uh -huh, yeah. I mean, how 00:04:31.680 --> 00:04:33.660 often do you hear about someone having a pretty 00:04:33.660 --> 00:04:36.759 public failure right at the very beginning, which 00:04:36.759 --> 00:04:39.990 then turns into this huge career? It's kind of 00:04:39.990 --> 00:04:42.129 inspiring, actually. It's incredibly telling, 00:04:42.290 --> 00:04:44.389 isn't it? And I think it's such a key insight 00:04:44.389 --> 00:04:46.910 for anyone trying to make it in, well, anything 00:04:46.910 --> 00:04:49.850 creative. That setback. Yeah. Failing that audition 00:04:49.850 --> 00:04:52.149 publicly, most people might just think, OK, that's 00:04:52.149 --> 00:04:54.290 it, door closed. Yeah, pack it in. Right. But 00:04:54.290 --> 00:04:56.370 she didn't. She somehow turned that failure into 00:04:56.370 --> 00:04:58.689 this, like, weird little side door opportunity. 00:04:58.769 --> 00:05:00.870 She didn't get the main prize, no. But clearly, 00:05:00.889 --> 00:05:02.790 she made an impression. Her personality, her 00:05:02.790 --> 00:05:05.300 charm. Yeah. Something clicked because pretty 00:05:05.300 --> 00:05:07.959 soon after she became a regular contributor on 00:05:07.959 --> 00:05:11.079 that exact same show She got her own segment. 00:05:11.259 --> 00:05:15.220 What would Maeve do? Perfect title. Isn't it? 00:05:15.319 --> 00:05:17.639 So it wasn't just about being resilient. It showed 00:05:17.639 --> 00:05:20.379 this amazing knack she has for pivoting, for 00:05:20.379 --> 00:05:22.399 seeing a different angle, like you said, a closed 00:05:22.399 --> 00:05:25.199 door. Nah, she found an open window right next 00:05:25.199 --> 00:05:27.399 to it. Shows real self -belief, I think, even 00:05:27.399 --> 00:05:29.660 when the system didn't immediately say yes in 00:05:29.660 --> 00:05:31.660 the conventional way. Exactly. She believed in 00:05:31.660 --> 00:05:33.839 her own voice. And that early experience, that 00:05:33.839 --> 00:05:36.860 kind of having to figure it out herself, reinterpret 00:05:36.860 --> 00:05:40.329 the situation. Those skills must have been invaluable 00:05:40.329 --> 00:05:42.550 later on when she started navigating all these 00:05:42.550 --> 00:05:45.350 different platforms self -reliance creative thinking 00:05:45.350 --> 00:05:48.410 Born right there. Maybe yeah, I buy that and 00:05:48.410 --> 00:05:50.610 it makes you wonder how much of that is just 00:05:50.610 --> 00:05:52.829 Innate and how much do you learn from those early 00:05:52.829 --> 00:05:55.949 knocks, you know? Hmm. Good question nature versus 00:05:55.949 --> 00:05:58.670 nurture and comedy resilience, huh? Exactly. 00:05:58.850 --> 00:06:01.990 So from those early radio days her actual comedic 00:06:01.990 --> 00:06:05.009 style started taking shape And she mainly works 00:06:05.009 --> 00:06:07.569 in observational comedy and sketch, right? Which 00:06:07.569 --> 00:06:09.529 probably explains why she connects so well. It's 00:06:09.529 --> 00:06:12.149 all rooted in stuff we recognize. Very much so. 00:06:12.629 --> 00:06:15.970 That observational style especially, it demands 00:06:15.970 --> 00:06:18.930 such a sharp eye for detail. You know, the little 00:06:18.930 --> 00:06:21.329 things in human behavior, the unspoken rules, 00:06:21.769 --> 00:06:25.209 the quiet absurdities of just... getting through 00:06:25.209 --> 00:06:27.269 the day. Like holding a door or making small 00:06:27.269 --> 00:06:29.970 talk. Precisely. It's not about huge political 00:06:29.970 --> 00:06:32.889 statements, usually. It's about nailing those 00:06:32.889 --> 00:06:35.029 kind of fleeting moments that make you go, oh 00:06:35.029 --> 00:06:36.769 my god, yes, I know exactly what she means. She 00:06:36.769 --> 00:06:39.269 puts words to those feelings. There's a real 00:06:39.269 --> 00:06:41.629 gentleness to it sometimes, even when it's sharp. 00:06:41.819 --> 00:06:44.040 Like a gentle subversion, maybe? That's a great 00:06:44.040 --> 00:06:46.040 way to put it. Gentle subversion. She'll set 00:06:46.040 --> 00:06:48.339 up something total normal, then just twist it 00:06:48.339 --> 00:06:50.339 slightly with this deadpan delivery exposing 00:06:50.339 --> 00:06:53.199 the weirdness underneath. It invites you to laugh 00:06:53.199 --> 00:06:56.319 with the observation, not really at anyone. And 00:06:56.319 --> 00:06:58.800 sketch comedy lets her stretch a bit more. Play 00:06:58.800 --> 00:07:01.230 characters. Yeah, sketch gives her that wider 00:07:01.230 --> 00:07:04.170 canvas, more theatrical, more about creating 00:07:04.170 --> 00:07:07.410 distinct personas and situations. So having both 00:07:07.410 --> 00:07:09.990 those tools, observation and sketch right from 00:07:09.990 --> 00:07:13.050 the start, super versatile, foundational for 00:07:13.050 --> 00:07:15.329 everything that came later, intimate and broadly 00:07:15.329 --> 00:07:18.129 appealing. That's her sweet spot. And it didn't 00:07:18.129 --> 00:07:20.589 take long for that talent to land her a pretty 00:07:20.589 --> 00:07:25.110 big early gig on TV. 2005 to 2007, she was a 00:07:25.110 --> 00:07:28.149 main actor and writer on Naked Camera. RT, yeah, 00:07:28.250 --> 00:07:30.529 hidden camera show. That's Ireland's public broadcaster, 00:07:30.769 --> 00:07:33.149 for context. And she worked a lot with PJ Gallagher 00:07:33.149 --> 00:07:35.870 on that, another great Irish comedian. They're 00:07:35.870 --> 00:07:37.250 friends. They're good friends. And working together 00:07:37.250 --> 00:07:39.730 on a show like Naked Camera? Yeah. Wow. Talk 00:07:39.730 --> 00:07:42.339 about a trial by fire. Seriously. Hitting to 00:07:42.339 --> 00:07:44.519 the camera seems like the ultimate improv challenge. 00:07:44.899 --> 00:07:47.660 It's arguably one of the toughest but best training 00:07:47.660 --> 00:07:49.879 grounds imaginable. You have got to be sharp. 00:07:50.220 --> 00:07:52.420 You're reacting instantly no script to people 00:07:52.420 --> 00:07:54.420 who have no idea they're being filmed. While 00:07:54.420 --> 00:07:57.240 staying in character. Exactly. Maintaining a 00:07:57.240 --> 00:07:59.720 character, making up dialogue on the fly, thinking 00:07:59.720 --> 00:08:02.259 incredibly fast, all while trying not to blow 00:08:02.259 --> 00:08:05.560 your cover. It forces you to become hyper observant 00:08:05.560 --> 00:08:08.379 of how people behave, how they react, those tiny 00:08:08.379 --> 00:08:10.360 little tells. Reading the room, but like the 00:08:10.360 --> 00:08:13.100 whole street. Yeah, basically. You learn to anticipate, 00:08:13.360 --> 00:08:15.600 adapt instantly. These aren't just performance 00:08:15.600 --> 00:08:18.040 tricks. They're deep insights into human interaction, 00:08:18.399 --> 00:08:21.100 that foundation. You can see echoes of it in 00:08:21.100 --> 00:08:23.500 everything she did later writing essays, riffing 00:08:23.500 --> 00:08:26.310 on NPR, that ability to be present, observant, 00:08:26.649 --> 00:08:30.009 witty. Forged right there, I bet. You could totally 00:08:30.009 --> 00:08:31.589 see that connection. Okay, so she's got this 00:08:31.589 --> 00:08:34.350 national TV exposure, honed these amazing improv 00:08:34.350 --> 00:08:37.649 skills, and then comes the period that, well, 00:08:37.789 --> 00:08:40.269 every comedian seems to go through. The grind. 00:08:40.289 --> 00:08:42.649 Ah, yes, the grinding years. Right. Hitting the 00:08:42.649 --> 00:08:44.549 road, playing festivals, really hammering out 00:08:44.549 --> 00:08:47.809 the act night after night. From about 2006 to 00:08:47.809 --> 00:08:50.570 2010, Maeve was touring constantly. All over 00:08:50.570 --> 00:08:52.590 the world, actually. Major festivals. This wasn't 00:08:52.590 --> 00:08:54.610 just about getting gigs. This was serious craft 00:08:54.610 --> 00:08:57.629 development. Oh, absolutely essential. That period 00:08:57.629 --> 00:09:00.429 of intense live performing, often collaborating 00:09:00.429 --> 00:09:03.049 too, it's where you really figure out who you 00:09:03.049 --> 00:09:05.590 are on stage. The audience is right there. Instant 00:09:05.590 --> 00:09:08.860 feedback. No hiding. Brutal sometimes, I imagine. 00:09:09.139 --> 00:09:12.039 Can be, but it forces you to learn stagecraft, 00:09:12.139 --> 00:09:14.639 timing, how to build that connection, and the 00:09:14.639 --> 00:09:17.419 festival circuit, Ember, Fringe, Melbourne, Adelaide. 00:09:17.840 --> 00:09:19.840 It's like a pressure cooker. Different audiences, 00:09:20.080 --> 00:09:22.840 different cultures. You have to adapt, refine, 00:09:23.039 --> 00:09:24.720 keep things fresh. It really makes you tough 00:09:24.720 --> 00:09:27.120 and versatile. And she was incredibly active 00:09:27.120 --> 00:09:28.980 during this time. Lots of different shows, different 00:09:28.980 --> 00:09:31.919 collaborators. Like in 2006, she did Ha Ha Young 00:09:31.919 --> 00:09:33.980 with her sister, Lily Higgins, at Edinburgh. 00:09:34.159 --> 00:09:35.960 Yeah, Lily's a well -known food writer and chef 00:09:35.960 --> 00:09:38.080 now, right? Interesting early collaboration. 00:09:38.399 --> 00:09:40.940 Very. Then 2007, she took Slightly Amazing to 00:09:40.940 --> 00:09:42.919 the Adelaide Fringe in Australia. And another 00:09:42.919 --> 00:09:45.340 show, My News, back to Edinburgh. Working with 00:09:45.340 --> 00:09:47.549 family like that early on. Must have been a safe 00:09:47.549 --> 00:09:50.409 space to try things out. Probably, yeah. And 00:09:50.409 --> 00:09:53.029 working with peers, too, like Claudia Odawarty 00:09:53.029 --> 00:09:55.750 later, it gives you that instant feedback loop. 00:09:55.850 --> 00:09:58.350 Someone to bounce ideas off, maybe push each 00:09:58.350 --> 00:10:00.909 other creatively, trying different styles, maybe 00:10:00.909 --> 00:10:02.529 more personal stuff with their sister, maybe 00:10:02.529 --> 00:10:04.750 something else entirely. And these festivals 00:10:04.750 --> 00:10:07.029 are famous for letting you experiment. You might 00:10:07.029 --> 00:10:10.029 do your main solo show, but also pop up in compilation 00:10:10.029 --> 00:10:13.250 shows, do weird late night things. Exactly. It 00:10:13.250 --> 00:10:15.289 encourages that kind of cross -pollination and 00:10:15.289 --> 00:10:17.649 trying new things. You can see how doing all 00:10:17.649 --> 00:10:20.259 that back then really set her up for... being 00:10:20.259 --> 00:10:22.220 comfortable jumping between different kinds of 00:10:22.220 --> 00:10:24.100 projects later on. She kept that up, didn't she? 00:10:24.399 --> 00:10:27.120 2008, she took Ha Ha Yum, that show with her 00:10:27.120 --> 00:10:29.240 sister, to the Melbourne International Comedy 00:10:29.240 --> 00:10:31.779 Festival, but this time with Claudio Daugherty. 00:10:32.059 --> 00:10:34.500 Right. Another great, slightly surreal comedian. 00:10:34.740 --> 00:10:37.399 Good pairing. Then same year, back in Edinburgh, 00:10:37.919 --> 00:10:40.340 she had a show called Kitten Brides, which just 00:10:40.340 --> 00:10:44.019 sounds perfectly Maeve Higgins somehow. Doesn't 00:10:44.019 --> 00:10:46.480 it? You can almost picture it. Whimsical, but 00:10:46.480 --> 00:10:49.889 maybe a little dark. Maybe. And she also performed 00:10:49.889 --> 00:10:51.909 in a children's play that year in Edinburgh, 00:10:52.370 --> 00:10:55.370 I Can't Sleep, written by David O'Doherty. She 00:10:55.370 --> 00:10:57.429 performed it with him. That's quite a range in 00:10:57.429 --> 00:10:59.750 just one festival season. That is impressive. 00:11:00.029 --> 00:11:02.690 Adult stand -up, sketch, and then a kid's play. 00:11:02.990 --> 00:11:05.289 It shows incredible versatility right from the 00:11:05.289 --> 00:11:07.970 get -go. Performing for kids requires a totally 00:11:07.970 --> 00:11:10.350 different energy, different timing, a different 00:11:10.350 --> 00:11:12.250 way of connecting. Totally different skill set. 00:11:12.350 --> 00:11:14.590 And working with David O'Doherty, another really 00:11:14.590 --> 00:11:18.169 inventive, unique comedian, often uses music. 00:11:18.379 --> 00:11:20.860 That would have been a fantastic learning experience 00:11:20.860 --> 00:11:22.960 too. Different structures, different approaches, 00:11:23.500 --> 00:11:25.879 all feeding into her own development. Constantly 00:11:25.879 --> 00:11:29.059 mixing it up, collaborating, adapting. That forces 00:11:29.059 --> 00:11:31.600 you to find out just how flexible your own voice 00:11:31.600 --> 00:11:34.740 can be. That adaptability again, it keeps coming 00:11:34.740 --> 00:11:37.659 up. And that process over years really seems 00:11:37.659 --> 00:11:39.759 like the key to her being able to jump between 00:11:39.759 --> 00:11:42.399 platforms later. Without a doubt. So the momentum 00:11:42.399 --> 00:11:46.200 continues. 2009, she revisits those shows. Kitten 00:11:46.200 --> 00:11:48.940 Brides and I Can't Sleep are back at the Melbourne 00:11:48.940 --> 00:11:51.500 Festival. And she takes Kitten Brides all the 00:11:51.500 --> 00:11:53.879 way to New Zealand. So she's building on success, 00:11:54.200 --> 00:11:57.080 refining those shows, taking them to new audiences. 00:11:57.320 --> 00:11:59.740 That's important, too. It's not just about creating 00:11:59.740 --> 00:12:02.340 endless new stuff, but about making the good 00:12:02.340 --> 00:12:04.799 stuff really work, building that solid repertoire 00:12:04.799 --> 00:12:06.799 and reputation on the international circuit. 00:12:07.039 --> 00:12:09.759 Getting the miles in. Exactly. And getting known. 00:12:09.940 --> 00:12:12.980 That consistent touring, showing up year after 00:12:12.980 --> 00:12:16.409 year. It builds credibility. Priceless experience. 00:12:16.750 --> 00:12:19.190 And then 2010 throws another curveball that really 00:12:19.190 --> 00:12:21.529 highlights that adaptability. She's performing 00:12:21.529 --> 00:12:24.710 a show called A Rare Sight with Nick Coyle. They 00:12:24.710 --> 00:12:27.029 do it in Brisbane and Melbourne. OK. But then 00:12:27.029 --> 00:12:28.590 when it's time for the New Zealand International 00:12:28.590 --> 00:12:31.769 Comedy Festival leg, Nick Coyle has to have shoulder 00:12:31.769 --> 00:12:34.730 surgery and can't make it. Oh, wow. What happened? 00:12:34.909 --> 00:12:37.379 She performs A Rare Sight solo. just pivots and 00:12:37.379 --> 00:12:39.740 does the show herself. And she also did another 00:12:39.740 --> 00:12:42.039 solo show, Personal Best, at Edinburgh that same 00:12:42.039 --> 00:12:44.960 year. Adapting a duo show to solo like that, 00:12:44.980 --> 00:12:47.440 Last Minute, that takes serious guts and skill. 00:12:47.720 --> 00:12:50.879 That is seriously impressive. It shows real professionalism, 00:12:51.360 --> 00:12:54.539 a deep understanding of the material, and just 00:12:54.539 --> 00:12:57.440 confidence, being able to carry alone when needed, 00:12:58.080 --> 00:13:00.080 turning a problem into, well, maybe a chance 00:13:00.080 --> 00:13:02.539 to shine individually. Totally. So that whole 00:13:02.539 --> 00:13:07.460 period, 2006 to 2010, all that touring, collaborating, 00:13:08.139 --> 00:13:10.120 dealing with the unexpected, it wasn't just about 00:13:10.120 --> 00:13:13.059 jokes. It was building the foundation, the reputation, 00:13:13.220 --> 00:13:15.360 the resilience for everything that came next. 00:13:15.519 --> 00:13:17.759 Absolutely. You really see how vital that live 00:13:17.759 --> 00:13:19.700 performance grind is. It's where you earn your 00:13:19.700 --> 00:13:22.080 stripes before you can really leverage that talent 00:13:22.080 --> 00:13:25.220 on bigger platforms like TV or film. It's the 00:13:25.220 --> 00:13:27.759 bedrock. Exactly. And all that work definitely 00:13:27.759 --> 00:13:29.659 started to pay off in a bigger way. She starts 00:13:29.659 --> 00:13:32.159 expanding, really moving beyond just live comedy, 00:13:32.659 --> 00:13:35.399 TV, film, writing. Things start opening up. And 00:13:35.399 --> 00:13:37.559 2009 was a key year here, because she gets her 00:13:37.559 --> 00:13:39.879 own TV show. Maeve Higgins' Fancy Vittles. Yeah, 00:13:39.899 --> 00:13:41.779 that was a big deal. Huge leap, right? Yeah. 00:13:41.860 --> 00:13:43.960 Going from being maybe a guest or part of an 00:13:43.960 --> 00:13:46.360 ensemble like Naked Camera to suddenly headlining 00:13:46.360 --> 00:13:48.740 your own show on national television. It's a 00:13:48.740 --> 00:13:51.620 massive vote of confidence. It means the network, 00:13:51.899 --> 00:13:54.360 Arte, again, I believe, saw her unique voice, 00:13:54.620 --> 00:13:57.179 saw her appeal, and trusted her to carry a whole 00:13:57.179 --> 00:14:00.419 show. And she wasn't just the star, right? She 00:14:00.419 --> 00:14:02.259 was writing it too, probably heavily involved 00:14:02.259 --> 00:14:03.940 in the whole concept. Yeah, definitely writing. 00:14:04.240 --> 00:14:06.519 Star and writer. So she's taking on this much 00:14:06.519 --> 00:14:09.320 bigger creative role. It's her platform to really 00:14:09.320 --> 00:14:12.240 define her style, her vision, directly to the 00:14:12.240 --> 00:14:14.679 audience. A major step up in terms of creative 00:14:14.679 --> 00:14:17.700 control and visibility. And her TV presence kept 00:14:17.700 --> 00:14:20.720 growing. She became a pretty familiar face, not 00:14:20.720 --> 00:14:23.039 just on her own show, but popping up everywhere, 00:14:23.399 --> 00:14:25.919 as herself on panel shows, talk shows. Yeah, 00:14:25.919 --> 00:14:28.120 lots of those appearances. Like Spicks and Specks 00:14:28.120 --> 00:14:30.620 in Australia back in 2008, Too Brutty Tonight 00:14:30.620 --> 00:14:33.139 in Ireland a couple of times, Paj and Raj talking 00:14:33.139 --> 00:14:35.659 about Your Generation, even David O'Dowherty's 00:14:35.659 --> 00:14:37.840 show. Building that profile as Mae Viggins is 00:14:37.840 --> 00:14:41.059 a personality. Exactly. But then there's that 00:14:41.059 --> 00:14:43.220 one appearance that really stands out as showing 00:14:43.220 --> 00:14:47.399 her wider appeal. 2015, she's on Star Talk with 00:14:47.399 --> 00:14:49.580 Neil deGrasse Tyson. Right. That's the one. That 00:14:49.580 --> 00:14:51.259 is fascinating. It's not your typical comedy 00:14:51.259 --> 00:14:54.000 panel show, is it? Not at all. Talking astrophysics 00:14:54.000 --> 00:14:56.659 and cosmic queries. It says so much about how 00:14:56.659 --> 00:14:59.320 her humor works. It's not just jokes. It's intelligent. 00:14:59.620 --> 00:15:02.940 It's accessible. She can hang in that kind of 00:15:02.940 --> 00:15:05.320 conversation. It shows she connects with a different 00:15:05.320 --> 00:15:07.659 kind of audience, too. People interested in science, 00:15:07.820 --> 00:15:11.600 big ideas, but who also appreciate wit. her kind 00:15:11.600 --> 00:15:14.720 of quiet observational style maybe cuts through 00:15:14.720 --> 00:15:17.240 in a different way there. I think so. She doesn't 00:15:17.240 --> 00:15:19.620 need to be the loudest voice. She can offer that 00:15:19.620 --> 00:15:22.399 slightly wry, smart take that connects comedy 00:15:22.399 --> 00:15:25.559 and intellectual curiosity. It really broadened 00:15:25.559 --> 00:15:27.860 her perceived range, especially in the US market, 00:15:27.960 --> 00:15:29.919 I'd imagine. Made her seem like more than just 00:15:29.919 --> 00:15:32.120 a comedian. And she wasn't just playing herself 00:15:32.120 --> 00:15:35.440 on TV. She was acting, too, taking on roles in 00:15:35.440 --> 00:15:37.740 scripted stuff. Yeah, showing that dramatic side, 00:15:37.759 --> 00:15:40.039 or at least character acting side. Like way back 00:15:40.039 --> 00:15:42.039 in 2000. In 2006, she was in a thing called Magic. 00:15:42.519 --> 00:15:44.899 Then she was in Moony Boy in 2012. Which was 00:15:44.899 --> 00:15:47.399 a great, critically loved Irish comedy series 00:15:47.399 --> 00:15:49.860 created by Chris O'Dowd. Being part of that ensemble 00:15:49.860 --> 00:15:52.639 was another good credit. Definitely. And then 00:15:52.639 --> 00:15:55.399 significantly for her U .S. profile, she pops 00:15:55.399 --> 00:15:58.360 up on Inside Amy Schumer in 2015. Okay, yeah, 00:15:58.379 --> 00:16:01.659 that's a big one. Inside Amy Schumer was huge. 00:16:02.440 --> 00:16:06.169 Critically acclaimed, Emmy -winning. very sharp, 00:16:06.250 --> 00:16:09.629 topical, feminist sketch comedy. Getting a spot 00:16:09.629 --> 00:16:11.309 on that show would have been a major signal, 00:16:11.649 --> 00:16:13.330 right? Especially for an Irish comedian breaking 00:16:13.330 --> 00:16:15.529 into the U .S. scene. Absolutely. It put her 00:16:15.529 --> 00:16:18.009 in front of a really influential American audience, 00:16:18.269 --> 00:16:21.149 people who follow comedy closely, cultural commentary. 00:16:21.509 --> 00:16:23.809 It showed she could fit into that high caliber 00:16:23.809 --> 00:16:26.049 sketch environment that her style worked within 00:16:26.049 --> 00:16:29.690 that very American, very specific comedic sensibility, 00:16:30.289 --> 00:16:32.470 a definite boost to her recognition stateside. 00:16:32.570 --> 00:16:34.809 And then just to show even more range? Yeah. 00:16:35.039 --> 00:16:38.480 In 2016, she does voice work for Doc McStuffins. 00:16:38.600 --> 00:16:40.559 Uh -huh, yes. As Gillian the giraffe, I think. 00:16:40.620 --> 00:16:42.710 That sounds right. from hidden cameras and Amy 00:16:42.710 --> 00:16:45.590 Shimmer sketches to a beloved kids cartoon. It 00:16:45.590 --> 00:16:47.590 just hammers home the versatility point again, 00:16:47.750 --> 00:16:49.850 doesn't it? Adapting her voice, her timing for 00:16:49.850 --> 00:16:51.389 a completely different audience, a different 00:16:51.389 --> 00:16:53.389 medium, it shows she's not boxed in by genre 00:16:53.389 --> 00:16:56.009 at all. She can do the wry adult stuff and the 00:16:56.009 --> 00:16:58.009 bright, engaging kids entertainment. That's real 00:16:58.009 --> 00:17:00.950 range. All these different roles, these experiences, 00:17:01.789 --> 00:17:03.570 it feels like they were all building towards 00:17:03.570 --> 00:17:06.049 something bigger in film. And that came in 2019. 00:17:06.299 --> 00:17:09.359 with Extraordinary. Her first starring role in 00:17:09.359 --> 00:17:11.599 a movie. Yeah, he played the lead, Rose Dooley, 00:17:12.079 --> 00:17:14.759 in this really charming Irish supernatural comedy. 00:17:15.039 --> 00:17:17.990 Getting that lead role? That's a huge milestone. 00:17:18.230 --> 00:17:20.490 It's the filmmaker saying, we trust you to carry 00:17:20.490 --> 00:17:23.029 this entire movie. You're the heart of it. It's 00:17:23.029 --> 00:17:25.170 not just about being funny in short bursts. It's 00:17:25.170 --> 00:17:27.710 about anchoring a whole story emotionally and 00:17:27.710 --> 00:17:30.130 comedically. And the film did pretty well, critically, 00:17:30.250 --> 00:17:32.549 didn't it? It had a really specific, quirky charm. 00:17:32.670 --> 00:17:35.569 It did. It felt very suited to her style. It 00:17:35.569 --> 00:17:37.549 showed she could absolutely handle that larger 00:17:37.549 --> 00:17:40.329 canvas of a feature film, draw audiences in for 00:17:40.329 --> 00:17:43.190 90 minutes plus, a major achievement, proving 00:17:43.190 --> 00:17:45.910 her abilities went way beyond standup or TV sketch. 00:17:45.869 --> 00:17:49.309 So she's conquered live comedy, TV, voice acting, 00:17:49.769 --> 00:17:52.609 starring movie roles. Mm. But wait, there's more. 00:17:52.990 --> 00:17:55.230 Always more with Maeve Higgins. She also becomes 00:17:55.230 --> 00:17:57.230 this really respected writer. Not just scripts, 00:17:57.470 --> 00:18:00.799 but books. essays. Which feels like such a natural 00:18:00.799 --> 00:18:03.019 progression, doesn't it? Given her observational 00:18:03.019 --> 00:18:05.839 skills and her experience writing for TV. Totally. 00:18:06.240 --> 00:18:08.740 Her first book came out in 2012. We have a good 00:18:08.740 --> 00:18:11.240 time, don't we? A collection of essays. Published 00:18:11.240 --> 00:18:13.500 by Hetchett, a major publisher. That's significant 00:18:13.500 --> 00:18:17.420 too. Then in 2018, reflecting that big life change, 00:18:17.680 --> 00:18:20.509 came Eve in America. more essays, presumably 00:18:20.509 --> 00:18:23.190 about that transition. Yeah, exploring that experience 00:18:23.190 --> 00:18:25.349 of being an immigrant, finding her way in a new 00:18:25.349 --> 00:18:28.250 country, all through her unique lens. And then 00:18:28.250 --> 00:18:31.970 most recently, 2022, tell everyone on this train, 00:18:32.109 --> 00:18:35.029 I love them. Another collection. The titles alone 00:18:35.029 --> 00:18:37.049 give you a sense of her voice, don't they? Quirky, 00:18:37.269 --> 00:18:39.910 warm, slightly melancholic, maybe? Exactly. And 00:18:39.910 --> 00:18:42.890 moving into writing essays. It seems like a perfect 00:18:42.890 --> 00:18:45.849 fit for her comedy style. It allows for that... 00:18:45.450 --> 00:18:48.349 Deeper dive, more reflection than a stand -up 00:18:48.349 --> 00:18:50.430 set mic. Absolutely. You can explore nuances, 00:18:50.730 --> 00:18:53.009 tell longer stories, connect observations in 00:18:53.009 --> 00:18:55.369 a different way. The skills are related. Joke 00:18:55.369 --> 00:18:57.029 structure isn't that different from crafting 00:18:57.029 --> 00:18:59.329 a good sentence or paragraph, but the form allows 00:18:59.329 --> 00:19:01.609 for more depth, more introspection. And she was 00:19:01.609 --> 00:19:03.789 writing for newspapers too, right? Like the Irish 00:19:03.789 --> 00:19:06.690 Durant? Yeah, regular columns. Which again, hones 00:19:06.690 --> 00:19:09.230 that ability to deliver insightful, often funny 00:19:09.230 --> 00:19:12.809 commentary in a concise written form. It all 00:19:12.809 --> 00:19:15.490 feeds into this identity as a writer. someone 00:19:15.490 --> 00:19:18.609 with a distinct perspective on the world, expressed 00:19:18.609 --> 00:19:21.190 beautifully in prose. It's just amazing how she 00:19:21.190 --> 00:19:23.509 uses all these different platforms, TV, film, 00:19:23.710 --> 00:19:26.930 books, to explore different sides of her storytelling. 00:19:27.109 --> 00:19:30.029 reaching you, the listener or reader, in so many 00:19:30.029 --> 00:19:32.029 different ways. It really is. And what strikes 00:19:32.029 --> 00:19:34.809 me is how interconnected it all feels. It's not 00:19:34.809 --> 00:19:36.809 like she just randomly jumped between things. 00:19:37.130 --> 00:19:40.109 The skills from stand up and hitting camera clearly 00:19:40.109 --> 00:19:42.690 informed her TV writing. Right. That narrative 00:19:42.690 --> 00:19:44.890 sense then grows into the essays in her books. 00:19:45.109 --> 00:19:47.609 And all those experiences, the insights gained, 00:19:47.890 --> 00:19:49.869 they then feed into what she does next, like 00:19:49.869 --> 00:19:52.789 her radio and podcast work. It's like each medium 00:19:52.789 --> 00:19:55.130 adds another layer, another dimension to her 00:19:55.130 --> 00:19:57.710 overall creative voice. She uses the strengths 00:19:57.710 --> 00:20:01.049 of each platform perfectly. A real master class 00:20:01.049 --> 00:20:03.250 in cross -platform artistry, as we said at the 00:20:03.250 --> 00:20:05.309 start. Okay, so let's talk about that next layer 00:20:05.309 --> 00:20:10.009 then. Radio and podcasts. Because her voice literally 00:20:10.009 --> 00:20:13.130 became a really key part of her identity, reaching 00:20:13.130 --> 00:20:16.170 huge new audiences through audio. We mentioned 00:20:16.170 --> 00:20:18.049 her early radio stuff in Ireland. What would 00:20:18.049 --> 00:20:20.690 Maeve do? Yeah. At the very beginning. But she 00:20:20.690 --> 00:20:23.630 also popped up on UK radio. Like on the Unbelievable 00:20:23.630 --> 00:20:27.130 Truth. Ah, fantastic show. Hosted by David Mitchell. 00:20:27.589 --> 00:20:30.869 She was on series 16 back in 2016. For people 00:20:30.869 --> 00:20:32.509 who don't know it, can you explain the format? 00:20:32.789 --> 00:20:35.130 It's quite clever. It's brilliant. Each comedian 00:20:35.130 --> 00:20:37.089 gives a short lecture on a topic, trying to sound 00:20:37.089 --> 00:20:39.690 completely factual, but buried in their lecture 00:20:39.690 --> 00:20:41.710 are a certain number of lies, usually four or 00:20:41.710 --> 00:20:44.690 five. The other panelists have to buzz in and 00:20:44.690 --> 00:20:46.809 identify the lies. So you need to be a convincing 00:20:46.809 --> 00:20:49.990 liar, basically. Well, yes, but also knowledgeable 00:20:49.990 --> 00:20:52.410 enough to deliver the true facts convincingly. 00:20:52.609 --> 00:20:54.910 It requires quick thinking, great delivery, the 00:20:54.910 --> 00:20:57.950 ability to bluff, and that sharp wit to play 00:20:57.950 --> 00:21:00.789 along. It's a perfect showcase for her kind of 00:21:00.789 --> 00:21:03.190 subtle, intelligent humor. You have to weave 00:21:03.019 --> 00:21:05.779 the absurd seamlessly into the factual. Sounds 00:21:05.779 --> 00:21:09.039 right up her street. But then, showing that range 00:21:09.039 --> 00:21:10.839 again, she also did something completely different 00:21:10.839 --> 00:21:13.779 in radio. She produced documentaries. Yeah, like 00:21:13.779 --> 00:21:16.119 Valentine's Bones for Arte Radio 1. That's a 00:21:16.119 --> 00:21:18.640 different beast entirely. Totally. Moving from 00:21:18.640 --> 00:21:21.519 a comedy panel show to crafting a documentary. 00:21:21.710 --> 00:21:23.890 It shows a really different side, doesn't it? 00:21:23.910 --> 00:21:26.250 Yeah. More serious maybe, journalistic even. 00:21:26.430 --> 00:21:29.690 Definitely journalistic. It takes research, structure, 00:21:30.009 --> 00:21:32.069 interviewing skills, finding a narrative arc. 00:21:32.470 --> 00:21:34.730 It shows a real depth of interest beyond just 00:21:34.730 --> 00:21:37.549 making people laugh. And intellectual curiosity 00:21:37.549 --> 00:21:40.009 and the ability to tell stories with more emotional 00:21:40.009 --> 00:21:42.470 weight, more reflection. It proves she's not 00:21:42.470 --> 00:21:44.569 just a comedian who does audio, but a genuine 00:21:44.569 --> 00:21:46.670 audio creator interested in the full potential 00:21:46.670 --> 00:21:49.329 of the medium. But probably her biggest splash 00:21:49.329 --> 00:21:51.740 in American audio, certainly in radio. came with 00:21:51.740 --> 00:21:54.200 NPR. She became a regular on Wait, Wait, Don't 00:21:54.200 --> 00:21:57.680 Tell Me. Since 2018. Yeah. And that is huge. 00:21:57.859 --> 00:21:59.799 Explain why that's such a significant platform 00:21:59.799 --> 00:22:02.240 for her in the U .S. Well, Wait, Wait is just 00:22:02.240 --> 00:22:05.039 massively popular. It has this huge loyal audience 00:22:05.039 --> 00:22:07.960 across the U .S. People who listen to NPR tend 00:22:07.960 --> 00:22:10.960 to be educated, engaged, interested in current 00:22:10.960 --> 00:22:14.220 events, and they appreciate smart humor. Being 00:22:14.220 --> 00:22:16.619 a regular panelist bring our voice literally 00:22:16.619 --> 00:22:19.740 into millions of ears every week. And the show's 00:22:19.740 --> 00:22:23.900 style. It's witty, fast -paced, news -based. 00:22:24.140 --> 00:22:26.809 How does her particular style fit in there? I 00:22:26.809 --> 00:22:28.549 think it fits beautifully, actually, because 00:22:28.549 --> 00:22:30.750 while it is fast and witty, her contributions 00:22:30.750 --> 00:22:32.849 often have that characteristic understatement. 00:22:32.890 --> 00:22:35.309 She doesn't always go for the obvious joke. She'll 00:22:35.309 --> 00:22:37.690 come in with this quiet, sharp observation about 00:22:37.690 --> 00:22:40.329 a news story that just lands perfectly. It cuts 00:22:40.329 --> 00:22:42.970 through the noise. It cemented her as a known 00:22:42.970 --> 00:22:44.829 comedic voice in the U .S., someone who could 00:22:44.829 --> 00:22:47.009 comfortably play in that very American, very 00:22:47.009 --> 00:22:49.769 established public radio space but still sound 00:22:49.769 --> 00:22:52.250 entirely like herself. That's key, isn't it? 00:22:52.430 --> 00:22:54.869 Not losing your own voice while fitting in. Critical 00:22:54.869 --> 00:22:57.250 and she managed it brilliantly and her audio 00:22:57.250 --> 00:22:59.109 work wasn't just panel shows she got involved 00:22:59.109 --> 00:23:01.289 in some really innovative podcasting to like 00:23:01.289 --> 00:23:05.609 Everything is alive. Ah, yeah radio topia great 00:23:05.609 --> 00:23:07.630 podcast network known for pushing boundaries 00:23:07.630 --> 00:23:11.450 She was in the episode Maeve lampost in 2018. 00:23:11.630 --> 00:23:14.910 Okay, tell us about Everything is alive. The 00:23:14.910 --> 00:23:17.869 concept is unusual It's wonderfully unusual. 00:23:18.210 --> 00:23:21.410 The host, Ian Chalag, interviews inanimate objects, 00:23:22.069 --> 00:23:25.210 like a can of generic cola, a pillow, a lamp 00:23:25.210 --> 00:23:28.230 post, and the guest plays the object. So it may 00:23:28.230 --> 00:23:31.329 be played. Lamposts. Apparently so. And to do 00:23:31.329 --> 00:23:34.670 that well, you need incredible imagination, empathy. 00:23:35.130 --> 00:23:37.430 You have to somehow give this non -human thing 00:23:37.430 --> 00:23:40.690 a personality, a history, feelings, maybe even 00:23:40.690 --> 00:23:43.509 jokes. It's about bringing character and story 00:23:43.509 --> 00:23:45.589 to the mundane. It really makes you think about 00:23:45.589 --> 00:23:47.569 what storytelling can be. That requires serious 00:23:47.569 --> 00:23:50.089 creative chops. Totally. It shows she's up for 00:23:50.089 --> 00:23:52.150 experimenting, for trying these really abstract, 00:23:52.190 --> 00:23:54.369 creative formats, not just sticking to the tried 00:23:54.369 --> 00:23:56.150 and tested. And then taking even more control, 00:23:56.210 --> 00:23:58.349 she became a podcast host herself, Mothers of 00:23:58.349 --> 00:24:01.059 Inven - also started in 2018. Yeah, co -hosting 00:24:01.059 --> 00:24:03.000 originally with Mary Robinson, the former president 00:24:03.000 --> 00:24:05.180 of Ireland, which is amazing in itself. Wow, 00:24:05.259 --> 00:24:07.400 what's the significance of her moving into hosting 00:24:07.400 --> 00:24:10.420 her own show? Well, it's that next step in creative 00:24:10.420 --> 00:24:13.839 evolution. Being a guest is one thing, being 00:24:13.839 --> 00:24:16.640 a panelist is another. Hosting means you're setting 00:24:16.640 --> 00:24:19.619 the agenda. You're shaping the whole conversation, 00:24:19.940 --> 00:24:22.460 choosing the topics, guiding the narrative. It 00:24:22.460 --> 00:24:25.140 gives you way more autonomy. You get to explore 00:24:25.140 --> 00:24:27.869 things you really care about. Exactly. And Mothers 00:24:27.869 --> 00:24:30.250 of Invention focuses on feminist solutions to 00:24:30.250 --> 00:24:32.609 climate change, interviewing women around the 00:24:32.609 --> 00:24:35.609 world doing amazing work. It allows her to use 00:24:35.609 --> 00:24:37.890 her platform, her voice, her interviewing skills 00:24:37.890 --> 00:24:40.769 to explore these really important substantive 00:24:40.769 --> 00:24:44.130 themes. It shows her moving from purely entertainment 00:24:44.130 --> 00:24:46.890 into advocacy and deeper exploration, leading 00:24:46.890 --> 00:24:50.019 her own media project. It's a major step. So 00:24:50.019 --> 00:24:52.900 this whole journey, incredible growth, constant 00:24:52.900 --> 00:24:55.660 adaptation, finding success across just about 00:24:55.660 --> 00:24:58.019 every medium imaginable. Truly remarkable. But, 00:24:58.079 --> 00:24:59.940 you know, being a public figure, especially one 00:24:59.940 --> 00:25:02.420 who uses personal stories and commentary, it's 00:25:02.420 --> 00:25:05.099 rarely a completely smooth ride, is it? There 00:25:05.099 --> 00:25:07.140 are often bumps, moments of public attention 00:25:07.140 --> 00:25:09.519 that aren't always positive. That's definitely 00:25:09.519 --> 00:25:11.940 true. The more public you become, the more scrutiny 00:25:11.940 --> 00:25:15.059 you face. And sometimes things you say or do, 00:25:15.279 --> 00:25:17.500 even casually, can touch a nerve or intersect 00:25:17.500 --> 00:25:20.259 with sensitive issues in unexpected ways. Which 00:25:20.259 --> 00:25:22.599 brings us to an incident that generated quite 00:25:22.599 --> 00:25:25.339 a bit of discussion and concern involving Maeve 00:25:25.339 --> 00:25:28.000 Higgins. It's often referred to as the assistance 00:25:28.000 --> 00:25:31.039 dog controversy. Right. And this really highlights 00:25:31.039 --> 00:25:33.460 those challenges public figures face, especially 00:25:33.460 --> 00:25:36.920 now with social media amplifying everything instantly. 00:25:37.099 --> 00:25:39.819 It's about that tricky intersection of comedy, 00:25:40.140 --> 00:25:42.839 personal stories and social sensitivities. OK, 00:25:42.859 --> 00:25:44.700 let's just lay out the basic facts as reported. 00:25:45.299 --> 00:25:49.200 On March 30th, 2018, Maeve was on the Irish Late 00:25:49.200 --> 00:25:53.019 Late Show, big live national TV show. Very high 00:25:53.019 --> 00:25:55.519 profile platform in Ireland. And during the interview, 00:25:55.539 --> 00:25:57.680 she told a story. She said she'd bought a service 00:25:57.680 --> 00:26:00.569 dog vest online. mention Amazon specifically, 00:26:01.190 --> 00:26:04.089 and she used this vest to pass off her own pet 00:26:04.089 --> 00:26:06.329 dog as an assistant's dog so she could take it 00:26:06.329 --> 00:26:08.069 in the cabin on a flight across the Atlantic. 00:26:08.309 --> 00:26:10.170 And importantly, this was her telling the story 00:26:10.170 --> 00:26:12.289 herself. It wasn't something someone else revealed. 00:26:12.349 --> 00:26:15.349 She offered it up as an anecdote. Right. That's 00:26:15.349 --> 00:26:19.910 key. It was self -disclosed, presented as perhaps 00:26:19.910 --> 00:26:23.140 a slightly mischievous personal tale. Which is 00:26:23.140 --> 00:26:25.359 often the currency of comedians, right? Those 00:26:25.359 --> 00:26:27.960 relatable stories of bending the rules or navigating 00:26:27.960 --> 00:26:30.759 awkward situations. But this one touched on a 00:26:30.759 --> 00:26:33.960 specific sensitive area. It did. Because immediately 00:26:33.960 --> 00:26:36.940 after the show aired, she faced quite a backlash. 00:26:37.559 --> 00:26:40.480 Significant criticism came from disability campaigners, 00:26:40.740 --> 00:26:43.640 advocacy groups. People who rely on genuine assistance 00:26:43.640 --> 00:26:47.220 dogs. Exactly. And Arte, the broadcaster, they 00:26:47.220 --> 00:26:49.099 confirmed they received a lot of official complaints 00:26:49.099 --> 00:26:51.779 about that segment of the interview. So it clearly 00:26:51.779 --> 00:26:54.259 struck a chord, and not in a good way, with a 00:26:54.259 --> 00:26:55.920 significant part of the audience. And you can 00:26:55.920 --> 00:26:58.240 understand why the issue of legitimate assistance 00:26:58.240 --> 00:27:00.299 animals is incredibly important for people with 00:27:00.299 --> 00:27:03.059 disabilities. Faking it, even a as a one -off 00:27:03.059 --> 00:27:05.480 anecdote. Well, it can be seen as trivializing 00:27:05.480 --> 00:27:07.799 the vital role these animals play. Undermining 00:27:07.799 --> 00:27:11.099 their legitimacy. Potentially, yeah. Or creating 00:27:11.099 --> 00:27:13.859 more skepticism and hassle for people who genuinely 00:27:13.859 --> 00:27:16.599 need them to navigate the world. It raises questions 00:27:16.599 --> 00:27:19.079 about access, about respect, about the real -world 00:27:19.079 --> 00:27:21.299 impact of seemingly small deceptions when they 00:27:21.299 --> 00:27:23.859 relate to disability aids. So there was this 00:27:23.859 --> 00:27:26.420 public reaction, the complaints. How did Mae 00:27:26.420 --> 00:27:28.839 Viggins respond? She did respond. She issued 00:27:28.839 --> 00:27:31.160 an apology afterwards, directed towards anyone 00:27:31.160 --> 00:27:33.859 who was offended or hurt by what she'd said and 00:27:33.859 --> 00:27:36.440 done. So an acknowledgement of the impact it 00:27:36.440 --> 00:27:38.779 had? Yes. Which leads to that bigger question, 00:27:38.900 --> 00:27:41.019 doesn't it? What does an incident like this tell 00:27:41.019 --> 00:27:43.539 us? Not just about her, but about public figures 00:27:43.539 --> 00:27:45.720 generally. What are the responsibilities when 00:27:45.720 --> 00:27:47.839 your personal stories, maybe told for laughs, 00:27:48.380 --> 00:27:50.859 bump up against issues that deeply affect certain 00:27:50.859 --> 00:27:52.880 communities? Especially today, when everything 00:27:52.880 --> 00:27:55.960 can blow up online so quickly. Exactly. It forces 00:27:55.960 --> 00:27:59.099 a conversation about intent versus impact. Maybe 00:27:59.099 --> 00:28:01.319 the intent was just a funny story, but the impact 00:28:01.319 --> 00:28:03.640 was felt very differently by people directly 00:28:03.640 --> 00:28:06.039 affected by the issue. It's a really fine line 00:28:06.039 --> 00:28:08.480 for comedians, isn't it? Their job often involves 00:28:08.480 --> 00:28:10.980 pushing boundaries, using personal experience, 00:28:11.400 --> 00:28:13.660 finding humor in awkwardness or rule breaking. 00:28:14.579 --> 00:28:16.660 Does something like this change how a comedian 00:28:16.660 --> 00:28:19.940 approaches their material or how audiences see 00:28:19.940 --> 00:28:22.599 them? It must be incredibly difficult to navigate. 00:28:22.970 --> 00:28:26.369 If your comedy is built on being relatable, honest, 00:28:26.569 --> 00:28:29.250 maybe a bit mischievous, an incident like this 00:28:29.250 --> 00:28:31.430 can definitely complicate that relationship with 00:28:31.430 --> 00:28:33.569 the audience. It might make a performer more 00:28:33.569 --> 00:28:36.029 cautious about certain topics. Or at least think 00:28:36.029 --> 00:28:38.190 harder about the potential implications beyond 00:28:38.190 --> 00:28:41.369 just the joke itself. Precisely. It forces a 00:28:41.369 --> 00:28:44.170 recognition that even a seemingly small personal 00:28:44.170 --> 00:28:46.650 anecdote shared on a large platform can have 00:28:46.650 --> 00:28:49.289 ripple effects, can carry weight beyond its comedic 00:28:49.289 --> 00:28:51.809 intention. The speed and reach of modern media 00:28:51.809 --> 00:28:54.609 mean that context can get lost and reactions 00:28:54.609 --> 00:28:57.329 can be intense. It really underscores that amplified 00:28:57.329 --> 00:28:59.369 responsibility that comes with having a public 00:28:59.369 --> 00:29:01.690 voice. It makes you think about that line between 00:29:01.690 --> 00:29:03.890 personal expression and social responsibility, 00:29:04.230 --> 00:29:07.230 especially for people in the public eye. It absolutely 00:29:07.230 --> 00:29:09.750 does. And how those lines are constantly being 00:29:09.750 --> 00:29:12.849 negotiated and renegotiated both by the public 00:29:12.849 --> 00:29:16.049 figures themselves and by us, the audience, it's 00:29:16.049 --> 00:29:18.430 a moment that probably prompted a lot of reflection 00:29:18.430 --> 00:29:21.009 for her and for people watching. Well, we have 00:29:21.009 --> 00:29:23.400 certainly covered a lot of ground today. journeying 00:29:23.400 --> 00:29:25.859 through Maeve Higgins' incredibly varied career. 00:29:26.019 --> 00:29:28.619 I mean, from hitting cameras and packed festival 00:29:28.619 --> 00:29:32.200 tents. Well, grinding years. Uh -huh, yeah. To 00:29:32.200 --> 00:29:35.480 starring on TV, in films, writing best -selling 00:29:35.480 --> 00:29:38.319 books, becoming a familiar voice on NPR, leading 00:29:38.319 --> 00:29:41.240 innovative podcasts. It's quite something. It 00:29:41.240 --> 00:29:44.140 really is. And you've really seen how her unique 00:29:44.140 --> 00:29:48.240 humor, that sharp observation, that amazing adaptability... 00:29:48.299 --> 00:29:50.400 how it let her succeed across all these different 00:29:50.400 --> 00:29:52.680 arenas, and also how she navigated a moment of 00:29:52.680 --> 00:29:54.900 public challenge, acknowledged it, and continued 00:29:54.900 --> 00:29:57.779 moving forward. Her career really is this powerful 00:29:57.779 --> 00:30:00.440 example of what happens when a unique, authentic 00:30:00.440 --> 00:30:03.480 voice meets relentless creativity and hard work. 00:30:03.759 --> 00:30:05.859 It shows how one person's talent can find so 00:30:05.859 --> 00:30:07.700 many different ways to express itself, always 00:30:07.700 --> 00:30:10.380 evolving, always reaching further. It highlights 00:30:10.380 --> 00:30:12.619 that persistence you need, doesn't it? And the 00:30:12.619 --> 00:30:14.900 sheer guts to just keep trying new things, pushing 00:30:14.900 --> 00:30:17.720 into new creative spaces. Hopefully you've gained 00:30:17.720 --> 00:30:20.079 some really valuable insights from her journey 00:30:20.079 --> 00:30:22.579 into just what it takes to build that kind of 00:30:22.579 --> 00:30:25.440 modern, multi -platform creative life. Absolutely, 00:30:25.700 --> 00:30:27.819 a real testament to resilience and reinvention. 00:30:28.559 --> 00:30:30.579 So as we finish up this deep dive, here's something 00:30:30.579 --> 00:30:33.339 to maybe chew on, a final thought for you. When 00:30:33.339 --> 00:30:35.880 creative people like Maeve Higgins operate across 00:30:35.880 --> 00:30:39.160 so many platforms, blurring lines between performance, 00:30:39.339 --> 00:30:41.859 writing, podcasting, sharing so much of their 00:30:41.859 --> 00:30:44.460 perspective, what kind of responsibilities do 00:30:44.460 --> 00:30:47.079 they actually carry towards us, their audience? 00:30:47.900 --> 00:30:51.740 That's a big question. It is. And maybe... How 00:30:51.740 --> 00:30:54.660 does the way we consume all this content, the 00:30:54.660 --> 00:30:56.779 TV shows, the books, the podcasts or reactions 00:30:56.779 --> 00:30:59.359 online, how does that influence these public 00:30:59.359 --> 00:31:01.619 figures and maybe even shape the future of entertainment 00:31:01.619 --> 00:31:03.660 itself? Just something to think about as you 00:31:03.660 --> 00:31:05.700 go about your day. Definitely food for thought. 00:31:05.880 --> 00:31:07.900 It's conversation that's always changing, always 00:31:07.900 --> 00:31:11.279 evolving, much like the careers of the fascinating 00:31:11.279 --> 00:31:12.740 people we get to explore here.