WEBVTT 00:00:00.000 --> 00:00:03.259 Welcome to the Deep Dive. We sift through, well, 00:00:03.379 --> 00:00:05.419 a whole stack of sources about really successful 00:00:05.419 --> 00:00:08.060 artists, and we try to pull out the key story, 00:00:08.380 --> 00:00:12.039 the insights, just for you. Today, we're focusing 00:00:12.039 --> 00:00:14.279 on someone whose work is kind of defined by this 00:00:14.279 --> 00:00:17.350 interesting duality, Jenny Slate. Yeah, it's 00:00:17.350 --> 00:00:19.449 a really fascinating way to look at her career, 00:00:19.589 --> 00:00:21.670 because when you, you know, lay out all the source 00:00:21.670 --> 00:00:24.690 material, you see this person who's just as brilliant 00:00:24.690 --> 00:00:29.050 doing intensely personal indie work, the stuff 00:00:29.050 --> 00:00:31.589 that gets serious critical acclaim. As she is 00:00:31.589 --> 00:00:34.590 voicing characters in these huge mainstream animated 00:00:34.590 --> 00:00:37.350 movies, she really thrives in both worlds. And 00:00:37.350 --> 00:00:39.850 that's exactly what makes digging into her story 00:00:39.850 --> 00:00:42.310 so interesting, I think. Our mission here is 00:00:42.310 --> 00:00:45.250 to unpack all this, trace her path right from 00:00:45.250 --> 00:00:48.380 her Massachusetts roots. strong academic start, 00:00:48.479 --> 00:00:50.979 all the way through the big roles, the awards, 00:00:51.159 --> 00:00:53.439 and even some pretty significant ethical choices 00:00:53.439 --> 00:00:55.520 she's made in the industry. It's quite a journey. 00:00:55.640 --> 00:00:57.899 I mean, from accidentally dropping the F -bomb 00:00:57.899 --> 00:01:00.640 live on SNL. Oh, yeah, the infamous moment. To 00:01:00.640 --> 00:01:02.899 winning an Annie Award years later for voice 00:01:02.899 --> 00:01:05.400 acting. It's quite the arc. That really does 00:01:05.400 --> 00:01:07.280 capture it, doesn't it? I mean, just the snapshot. 00:01:07.920 --> 00:01:10.379 SNL, even if it was short, made her instantly 00:01:10.379 --> 00:01:13.519 known. Then there's Tammy Larson in Bob's Burgers. 00:01:13.599 --> 00:01:16.900 Beloved character. Totally. And the film Obvious 00:01:16.900 --> 00:01:19.120 Child, which was such a defining moment for her 00:01:19.120 --> 00:01:21.739 in live action. And then, of course, Marcel the 00:01:21.739 --> 00:01:24.719 Shell with shoes on. Oh, and she didn't just 00:01:24.719 --> 00:01:27.540 voice, she co -created it. Right. Complete creative 00:01:27.540 --> 00:01:31.000 ownership there. Exactly. She's just this incredibly 00:01:31.000 --> 00:01:34.140 unique and multifaceted talent. So let's start 00:01:34.140 --> 00:01:35.840 at the beginning, lay that foundation. It seems 00:01:35.840 --> 00:01:38.760 rooted in a certain intellectual drive. Born 00:01:38.760 --> 00:01:42.120 1982, Milton, Massachusetts, Jewish family. And 00:01:42.120 --> 00:01:44.819 the sources really emphasize her academic start. 00:01:44.900 --> 00:01:47.439 It wasn't just average. No, not at all. They 00:01:47.439 --> 00:01:49.620 make a point of noting she was valedictorian 00:01:49.620 --> 00:01:52.159 at Milton Academy, that kind of focus, that discipline. 00:01:52.299 --> 00:01:54.500 You can often see how that might translate later 00:01:54.500 --> 00:01:57.680 into crafting really complex creative work. It's 00:01:57.680 --> 00:01:59.599 a different kind of prep than just jumping into 00:01:59.599 --> 00:02:02.019 performing. And she carried that focus to Columbia 00:02:02.019 --> 00:02:04.920 University, graduated in 2004, literature major. 00:02:05.099 --> 00:02:07.719 But it wasn't all books and essays, right? Columbia 00:02:07.719 --> 00:02:10.180 is also where the comedy bug really bit. That's 00:02:10.180 --> 00:02:13.219 key. The lit background definitely feels like 00:02:13.219 --> 00:02:16.509 it informs her style observant. Sometimes surreal, 00:02:16.689 --> 00:02:19.210 very language -focused. But yeah, at Columbia, 00:02:19.389 --> 00:02:22.229 she helped start an improv group, Fruit Ponch. 00:02:22.490 --> 00:02:24.289 That's where you get a spontaneity, the risk 00:02:24.289 --> 00:02:25.870 -taking. And she starred on The Varsity Show, 00:02:25.969 --> 00:02:28.389 too, so clearly comfortable on stage early on. 00:02:28.509 --> 00:02:30.789 Right. But maybe the most crucial connection 00:02:30.789 --> 00:02:33.449 from that time was meeting Gabe Liedman back 00:02:33.449 --> 00:02:37.270 in 2000. That partnership really shaped her early 00:02:37.270 --> 00:02:39.710 New York career. It became pretty central, didn't 00:02:39.710 --> 00:02:42.330 it? They formed the comedy duo Gabe and Jenny. 00:02:42.650 --> 00:02:44.669 Yeah, and it sounds like it was this incredibly 00:02:45.120 --> 00:02:48.400 Close, fertile, creative relationship. Slade 00:02:48.400 --> 00:02:50.879 herself called it a non -sexual romance. That's 00:02:50.879 --> 00:02:52.919 a great description. And she compared them to 00:02:52.919 --> 00:02:55.139 Elaine Benes and George Costanza. Right. But 00:02:55.139 --> 00:02:57.379 with the key difference being we like each other. 00:02:57.520 --> 00:03:00.180 Yeah. That tells you a lot, I think. Shared weirdness, 00:03:00.199 --> 00:03:02.159 but with actual affection underneath. That's 00:03:02.159 --> 00:03:04.360 often where the best comedy comes from. Totally. 00:03:04.419 --> 00:03:06.840 It's that perfect mix. And together with Max 00:03:06.840 --> 00:03:09.560 Silvestri, they launched the stand -up show Big 00:03:09.560 --> 00:03:12.979 Terrific. This wasn't just some small open mic 00:03:12.979 --> 00:03:15.939 thing. It became a real fixture in that NYC old 00:03:15.939 --> 00:03:18.740 comedy scene. And it got noticed fast. Time Out 00:03:18.740 --> 00:03:20.699 New York called it the best new variety show 00:03:20.699 --> 00:03:23.340 back in 2008. It was more than just fun. It was 00:03:23.340 --> 00:03:25.599 a place where comedians were really developing 00:03:25.599 --> 00:03:27.879 their unique voices. Yeah, Big Terrific became 00:03:27.879 --> 00:03:31.020 a real destination show. The sources mentioned, 00:03:31.120 --> 00:03:32.960 though, that it ended its regular run around 00:03:32.960 --> 00:03:35.909 2015. You know how it goes, everyone's schedules 00:03:35.909 --> 00:03:37.710 just got too insane with individual success. 00:03:38.129 --> 00:03:40.530 A familiar story, kind of the end of that specific 00:03:40.530 --> 00:03:42.349 era for them, though they've popped up together 00:03:42.349 --> 00:03:45.330 since. Right, that connection remains. But even 00:03:45.330 --> 00:03:47.409 while that duo was going strong, she was already 00:03:47.409 --> 00:03:50.110 carving out her solo path. Shows her drive, really. 00:03:50.250 --> 00:03:53.069 In 2008 -2009, she was doing her one -woman show, 00:03:53.210 --> 00:03:56.250 Jenny Slate. dead millionaire at the UCB theater 00:03:56.250 --> 00:03:58.610 in New York. And UCB at that time was the place. 00:03:58.750 --> 00:04:00.969 Doing a solo show there takes serious creative 00:04:00.969 --> 00:04:03.449 muscle. It forces you to really hone your own 00:04:03.449 --> 00:04:06.289 voice without that safety net of a partner. Exactly. 00:04:06.289 --> 00:04:09.469 So you see this layering literature, improv, 00:04:09.689 --> 00:04:13.409 duo work, solo show. She was basically building 00:04:13.409 --> 00:04:15.870 this incredible toolkit ready for whatever came 00:04:15.870 --> 00:04:19.379 next. And TV was definitely calling. Yeah. That 00:04:19.379 --> 00:04:21.480 groundwork, especially the Sonos stuff, really 00:04:21.480 --> 00:04:24.079 set the stage for moving into major television. 00:04:24.160 --> 00:04:26.040 Even before the big late night break, she was 00:04:26.040 --> 00:04:27.660 already getting noticed, just maybe in different 00:04:27.660 --> 00:04:30.139 ways. She was definitely visible. She did a lot 00:04:30.139 --> 00:04:32.420 of those VH1 talking head shows, you know. Yeah. 00:04:32.980 --> 00:04:36.350 Quick. Personality -driven commentary is a different 00:04:36.350 --> 00:04:38.689 skill set than scripted stuff. And she was weaving 00:04:38.689 --> 00:04:41.209 in actual roles, too. She had that recurring 00:04:41.209 --> 00:04:43.790 bit as Jenny the Page on Late Night with Jimmy 00:04:43.790 --> 00:04:46.129 Fallon. Right, in Seventh Floor West. They later 00:04:46.129 --> 00:04:48.029 promoted her to his assistant in the sketches. 00:04:48.350 --> 00:04:49.990 And she was on board to death, too, recurring 00:04:49.990 --> 00:04:52.170 role there. So she was building momentum, making 00:04:52.170 --> 00:04:54.889 connections. And all that led straight to, well, 00:04:54.970 --> 00:04:57.470 the biggest stage in sketch comedy, Saturday 00:04:57.470 --> 00:05:00.769 Night Live. She joined the cast in 2009 for season 00:05:00.769 --> 00:05:04.290 35. appeared in 22 episodes, and that's when 00:05:04.290 --> 00:05:06.730 she became known overnight, though maybe not 00:05:06.730 --> 00:05:10.829 quite how anyone planned. Oh, yes, the F -bomb. 00:05:11.529 --> 00:05:14.449 It's almost legendary now, isn't it? Her very 00:05:14.449 --> 00:05:17.790 first episode, first sketch, accidentally drops 00:05:17.790 --> 00:05:21.250 the word live on air, coast to coast. Instant 00:05:21.250 --> 00:05:23.490 internet fodder. Yeah. I mean, back then it was 00:05:23.490 --> 00:05:26.170 huge news right after the show aired. The sources 00:05:26.170 --> 00:05:28.050 do confirm, though, that it was scrubbed from 00:05:28.050 --> 00:05:31.120 reruns. Gone. But yeah, what a way to start a 00:05:31.120 --> 00:05:33.879 real trial by fire. But despite that initial 00:05:33.879 --> 00:05:36.860 kerfuffle, she did create some memorable stuff. 00:05:37.019 --> 00:05:39.339 Her best known character from that season was 00:05:39.339 --> 00:05:41.779 probably Tina Schnoose. Oh, Tina Tina was great. 00:05:41.879 --> 00:05:45.000 That manic energy, selling those completely bizarre 00:05:45.000 --> 00:05:47.519 personalized things, doorbells, car horns. Yeah. 00:05:47.639 --> 00:05:50.779 It really showcased her specific brand of slightly 00:05:50.779 --> 00:05:53.379 off -kilter, high -energy humor. But as we know, 00:05:53.480 --> 00:05:55.800 the SNL gig only lasted that one season, and 00:05:55.800 --> 00:05:57.439 naturally everyone assumed it was because of 00:05:57.439 --> 00:05:59.240 the F -bomb incident. That was the immediate 00:05:59.240 --> 00:06:02.199 narrative for sure. But Slade herself, according 00:06:02.199 --> 00:06:04.060 to sources, has always maintained that wasn't 00:06:04.060 --> 00:06:05.779 the reason. She's consistently said it wasn't 00:06:05.779 --> 00:06:08.079 like a punishment, more that she just didn't 00:06:08.079 --> 00:06:10.100 click with the show's environment, the structure. 00:06:10.339 --> 00:06:12.500 Which suggests maybe it just wasn't the right 00:06:12.500 --> 00:06:15.160 fit for her style, creatively speaking. Exactly. 00:06:15.639 --> 00:06:18.379 Maybe her character -driven, slightly weirder 00:06:18.379 --> 00:06:21.740 stuff wasn't ideal for that super fast -paced 00:06:21.740 --> 00:06:23.920 weekly sketch machine. And maybe realizing that 00:06:23.920 --> 00:06:25.899 and moving on quickly was actually a good thing. 00:06:26.250 --> 00:06:29.089 Because her career right after SNL, it just exploded. 00:06:29.250 --> 00:06:31.529 She became this go -to guest star popping up 00:06:31.529 --> 00:06:34.129 everywhere on major sitcoms in the early 2010s. 00:06:34.149 --> 00:06:36.550 Absolutely ubiquitous. Yeah. And she really cemented 00:06:36.550 --> 00:06:40.329 her presence between, say, 2012 and 2015. I think 00:06:40.329 --> 00:06:42.449 for a lot of people, the most unforgettable character 00:06:42.449 --> 00:06:45.189 from that time has to be Mona Lisa Saperstein 00:06:45.189 --> 00:06:48.259 on Parks and Recreation. Oh, money, please. Jean 00:06:48.259 --> 00:06:50.600 -Ralphio's twin sister. Just nine episodes, but 00:06:50.600 --> 00:06:54.220 every single one was iconic. Pure, chaotic, narcissistic 00:06:54.220 --> 00:06:56.860 energy. She made someone potentially just annoying 00:06:56.860 --> 00:07:00.759 into someone utterly captivatingly awful and 00:07:00.759 --> 00:07:03.160 hilarious. She nailed that. But she also showed 00:07:03.160 --> 00:07:06.019 range. Like her role as Sarah Guggenheim on House 00:07:06.019 --> 00:07:08.779 of Lies for 11 episodes, it was more dialed back, 00:07:08.980 --> 00:07:11.860 showed she could play within a more sort of mature 00:07:11.860 --> 00:07:14.779 ensemble comedy. But for sheer versatility in 00:07:14.779 --> 00:07:16.360 that period, you've got to look at The Curl Show. 00:07:16.459 --> 00:07:19.339 She was in nearly every episode until 2015. She 00:07:19.339 --> 00:07:21.980 was fundamental to that show. Probably best known 00:07:21.980 --> 00:07:26.000 for Liz B in the publicity sketches. Yes. Those 00:07:26.000 --> 00:07:28.889 were just... Brilliant satire. That hyper -specific 00:07:28.889 --> 00:07:32.970 take on LAPR types. But she played tons of other 00:07:32.970 --> 00:07:35.410 characters, too. It really showed her chops as 00:07:35.410 --> 00:07:37.250 a character actress who could just vanish into 00:07:37.250 --> 00:07:39.370 a role. And on top of all that, she was also 00:07:39.370 --> 00:07:41.529 co -starring in the first season of that FX show, 00:07:41.629 --> 00:07:44.540 Married. playing Jess. When she left, another 00:07:44.540 --> 00:07:47.139 actor stepped in. It just shows the sheer volume 00:07:47.139 --> 00:07:49.540 of work she was doing, constantly in demand after 00:07:49.540 --> 00:07:52.579 SNL, proving herself in these really meaty, character 00:07:52.579 --> 00:07:55.220 -focused TV roles. Which really leads us into 00:07:55.220 --> 00:07:57.259 the next major phase, where she transitions from 00:07:57.259 --> 00:08:00.180 being this really reliable, funny player into 00:08:00.180 --> 00:08:02.730 something more. Like a unique creative force 00:08:02.730 --> 00:08:04.829 in her own right. Exactly. And it happens through 00:08:04.829 --> 00:08:07.689 two incredibly important but very different projects 00:08:07.689 --> 00:08:10.170 that showcase both her voice and her emotional 00:08:10.170 --> 00:08:12.310 depth. It really starts with the completely unexpected 00:08:12.310 --> 00:08:15.470 success of Marcel Dechelle with Shoes On. And 00:08:15.470 --> 00:08:17.750 the origin of Marcel is so tied to her personal 00:08:17.750 --> 00:08:19.490 life then, which I think is part of why it resonated. 00:08:20.000 --> 00:08:22.899 That little shell had such a huge impact. She 00:08:22.899 --> 00:08:25.319 co -wrote it and voiced it with Dean Fleischerkamp, 00:08:25.420 --> 00:08:27.399 who she was married to at the time, back in 2010. 00:08:27.959 --> 00:08:30.220 And the first short film just blew up online, 00:08:30.420 --> 00:08:33.159 didn't it? People loved the charm, the vulnerability. 00:08:33.919 --> 00:08:35.840 It wasn't planned as this big thing. It just 00:08:35.840 --> 00:08:39.269 grew. That first short led to sequels in 2011, 00:08:39.450 --> 00:08:42.110 2014 and children's books, too. There was just 00:08:42.110 --> 00:08:44.049 something about that tiny voice making these 00:08:44.049 --> 00:08:46.549 profound little observations. And it's kind of 00:08:46.549 --> 00:08:48.929 amazing that this small, vulnerable idea eventually 00:08:48.929 --> 00:08:51.470 became this major critical success story for 00:08:51.470 --> 00:08:55.769 her. The 2021 feature film adaptation. That was 00:08:55.769 --> 00:08:58.480 the culmination. And it kept that intimate feel 00:08:58.480 --> 00:09:00.179 of the shorts. And this is where you really see 00:09:00.179 --> 00:09:01.879 her taking the reins creatively. She didn't just 00:09:01.879 --> 00:09:04.299 voice Marcel. She was a writer and a producer 00:09:04.299 --> 00:09:07.019 on the film. It was her baby. Yeah, her vision. 00:09:07.120 --> 00:09:09.480 And the industry really recognized that. Winning 00:09:09.480 --> 00:09:11.519 the Annie Award for Outstanding Voice Acting 00:09:11.519 --> 00:09:14.720 in 2022, that's huge. For people who don't follow 00:09:14.720 --> 00:09:17.679 animation awards closely, the Annies are basically 00:09:17.679 --> 00:09:20.960 the Oscars for animation. To win that for an 00:09:20.960 --> 00:09:23.539 independent, stop -motion, mockumentary -style 00:09:23.539 --> 00:09:26.539 film against, you know, the big Disney -Pixar 00:09:26.539 --> 00:09:29.259 - releases. That tells you how special that project 00:09:29.259 --> 00:09:31.960 was. It really stir out. It absolutely did. And 00:09:31.960 --> 00:09:33.960 you can tell how personally connected she still 00:09:33.960 --> 00:09:35.919 is to it. There's that great little anecdote 00:09:35.919 --> 00:09:39.259 from just recently, June 2025. Oh, yeah. About 00:09:39.259 --> 00:09:41.460 her daughter. Right. She shared that her daughter, 00:09:41.620 --> 00:09:45.159 Ida, doesn't really get that Marcel is like a 00:09:45.159 --> 00:09:47.720 professional creation. She thinks Marcel is just 00:09:47.720 --> 00:09:50.799 a game for her daughter's enjoyment. Not, as 00:09:50.799 --> 00:09:52.879 Slate put it, an Oscar -nominated film that I 00:09:52.879 --> 00:09:55.080 worked really hard on. Apparently, her daughter 00:09:55.080 --> 00:09:57.519 asks her to do the Marcel voice for specific 00:09:57.519 --> 00:09:59.700 phrases during playtime. It just brings this 00:09:59.700 --> 00:10:01.179 award -winning thing right back down to earth, 00:10:01.220 --> 00:10:03.279 doesn't it? Pure mom -daughter connection. Totally. 00:10:03.440 --> 00:10:05.460 So while Marcel was building this reputation 00:10:05.460 --> 00:10:07.899 for her as a creator, she also landed what became 00:10:07.899 --> 00:10:11.379 her defining live -action role in 2014, Obvious 00:10:11.379 --> 00:10:14.059 Child. Similar vulnerability, but in a much more 00:10:14.059 --> 00:10:16.720 raw human context. Yeah, this was the big one 00:10:16.720 --> 00:10:19.379 for her in film. Playing Donna Stern, a stand 00:10:19.379 --> 00:10:21.279 -up comic dealing with an unplanned pregnancy 00:10:21.279 --> 00:10:23.840 and deciding to have an abortion. That role needed 00:10:23.840 --> 00:10:26.279 everything. The sharp humor, the vulnerability, 00:10:26.679 --> 00:10:30.419 serious emotional weight. A world away from Mona 00:10:30.419 --> 00:10:33.100 Lisa Saperstein. The tonal range is just incredible. 00:10:33.259 --> 00:10:35.139 How do you go from that kind of broad comedy 00:10:35.139 --> 00:10:38.100 to carrying a film about such a sensitive topic? 00:10:39.019 --> 00:10:41.480 But Obvious Child worked precisely because she 00:10:41.480 --> 00:10:44.139 brought that authentic, messy, observational 00:10:44.139 --> 00:10:46.720 quality to it. And again, she was involved beyond 00:10:46.720 --> 00:10:48.940 just acting. She was an executive producer, too. 00:10:49.120 --> 00:10:52.240 And the critics absolutely loved it. They recognized 00:10:52.240 --> 00:10:54.799 how bravely and honestly and humorously she handled 00:10:54.799 --> 00:10:57.860 really tough material. The award she got for 00:10:57.860 --> 00:11:00.960 that one role alone. are really impressive. Yeah, 00:11:01.080 --> 00:11:03.340 the list is long. Critics' Choice Award for Best 00:11:03.340 --> 00:11:05.240 Actress in a Comedy, that's a tough category. 00:11:05.539 --> 00:11:08.259 Plus the Virtuosos Award at Santa Barbara, Best 00:11:08.259 --> 00:11:10.419 Comedic Actress from the Women Film Critics Circle. 00:11:10.620 --> 00:11:12.759 It just proves she could carry a serious indie 00:11:12.759 --> 00:11:15.299 film and use her comedy skills in a totally different 00:11:15.299 --> 00:11:17.440 way. Right, it showed she could use that specific 00:11:17.440 --> 00:11:20.019 personal vulnerability to connect with audiences 00:11:20.019 --> 00:11:23.090 on a deeper level. And that success, both with 00:11:23.090 --> 00:11:26.289 Marcel and Obvious Child, seemed to really solidify 00:11:26.289 --> 00:11:28.070 her place in the voice acting world too. It became 00:11:28.070 --> 00:11:31.370 this huge, consistent part of her career. Definitely. 00:11:31.450 --> 00:11:34.110 That blend of unique writing sensibility and 00:11:34.110 --> 00:11:36.850 a voice you instantly recognize made her a go 00:11:36.850 --> 00:11:39.320 -to for animation. Her voice acting portfolio 00:11:39.320 --> 00:11:42.159 is massive. You really can't avoid her in modern 00:11:42.159 --> 00:11:44.440 animation, and the range is pretty wild. I mean, 00:11:44.440 --> 00:11:47.000 think about it. She's Dawn Bellwether, the seemingly 00:11:47.000 --> 00:11:49.779 sweet sheep who's secretly the villain in Disney's 00:11:49.779 --> 00:11:53.000 Zootopia. That won her a BTVA People's Choice 00:11:53.000 --> 00:11:55.539 Voice Acting Award. And she can shift that voice 00:11:55.539 --> 00:11:58.190 without losing its core quality. She's Gidget, 00:11:58.230 --> 00:12:00.289 that energetic little dog in the Secret Life 00:12:00.289 --> 00:12:02.710 of Pets movies. Then she's Harley Quinn in the 00:12:02.710 --> 00:12:05.049 Lego Batman movie, Valerie Da Vinci in Despicable 00:12:05.049 --> 00:12:08.210 Me 3. These are all huge studio hits. And she 00:12:08.210 --> 00:12:10.750 commits to long -term TV voice roles too. Tammy 00:12:10.750 --> 00:12:12.710 Larson on Bob's Burgers, she's been doing that 00:12:12.710 --> 00:12:15.950 since 2012. Over 50 episodes defining that perfectly 00:12:15.950 --> 00:12:19.750 deadpan, kind of rude teenager. That takes real 00:12:19.750 --> 00:12:22.360 dedication. Plus Miss Nanny and Muppet Babies 00:12:22.360 --> 00:12:25.120 for nearly 70 episodes. And she's a regular as 00:12:25.120 --> 00:12:27.320 Judy Tobin on The Great North. Now that enthusiastic, 00:12:27.580 --> 00:12:31.059 awkward kid. If you listen to Tammy and then 00:12:31.059 --> 00:12:34.340 Judy or Gidget and Marcel, the technical skill 00:12:34.340 --> 00:12:36.620 in adapting her voice is really clear. But this 00:12:36.620 --> 00:12:39.000 huge voice career also led to a really significant 00:12:39.000 --> 00:12:42.559 moment, ethically speaking. Her decision to leave 00:12:42.559 --> 00:12:45.500 Big Mouth in 2020. She'd been voicing Missy Foreman 00:12:45.500 --> 00:12:48.289 Greenwald since 2017. Right. And what stands 00:12:48.289 --> 00:12:50.649 out is that she made the move herself. It wasn't 00:12:50.649 --> 00:12:52.309 like she was pushed out by controversy. She got 00:12:52.309 --> 00:12:54.809 ahead of it. She put out a very thoughtful statement 00:12:54.809 --> 00:12:58.409 on Instagram in June 2020 explaining why she 00:12:58.409 --> 00:13:00.409 was stepping down. She talked about how Missy 00:13:00.409 --> 00:13:02.870 is a biracial character. And while Slate initially 00:13:02.870 --> 00:13:05.350 felt it was OK because Missy's mom is white and 00:13:05.350 --> 00:13:08.090 Jewish like her, she came to feel that fundamentally 00:13:08.090 --> 00:13:10.649 black characters on an animated show should be 00:13:10.649 --> 00:13:13.809 played by black people. And that decision landed 00:13:13.809 --> 00:13:16.929 right in the middle. of this broader industry 00:13:16.929 --> 00:13:19.429 conversation about representation in animation. 00:13:20.000 --> 00:13:22.679 For someone with her profile, balancing studio 00:13:22.679 --> 00:13:25.919 films and this popular streaming show, to voluntarily 00:13:25.919 --> 00:13:28.440 step away like that, citing authentic representation, 00:13:28.860 --> 00:13:31.059 it sent a really strong message. Yeah, it showed 00:13:31.059 --> 00:13:33.600 she was willing to prioritize what she felt was 00:13:33.600 --> 00:13:36.799 right over a steady, successful gig. It really 00:13:36.799 --> 00:13:38.720 speaks to her integrity, I think. Absolutely. 00:13:38.860 --> 00:13:40.820 It raises big questions about casting and animation. 00:13:41.159 --> 00:13:43.080 Speaking of big projects, we should also touch 00:13:43.080 --> 00:13:45.700 on her role in Everything Everywhere All at Once 00:13:45.700 --> 00:13:48.779 in 2022. That film was massive. Yeah, she had 00:13:48.779 --> 00:13:51.059 a really memorable... supporting part in that 00:13:51.059 --> 00:13:54.120 whirlwind of a movie and interestingly that production 00:13:54.120 --> 00:13:56.740 also showed some ethical awareness itself her 00:13:56.740 --> 00:13:58.879 character was originally named big nose right 00:13:58.879 --> 00:14:01.320 but they changed it to Debbie the dog mom for 00:14:01.320 --> 00:14:03.820 the digital release and the reason given was 00:14:03.820 --> 00:14:06.659 sensitivity around potential negative Jewish 00:14:06.659 --> 00:14:09.360 stereotypes associated with the original name 00:14:09.360 --> 00:14:11.759 so you have her making this big decision about 00:14:11.759 --> 00:14:14.879 big mouth and then this production also making 00:14:14.879 --> 00:14:17.580 a conscious adjustment it shows how tuned in 00:14:17.580 --> 00:14:20.409 she and her collaborators seem to be to these 00:14:20.409 --> 00:14:23.769 issues. Definitely. And of course, Everything 00:14:23.769 --> 00:14:26.529 Everywhere was hugely successful. The whole cast 00:14:26.529 --> 00:14:29.350 won the Screen Actors Guild Award for Outstanding 00:14:29.350 --> 00:14:32.049 Performance by a cast. So she's part of this 00:14:32.049 --> 00:14:35.090 massive ensemble win, alongside getting recognition 00:14:35.090 --> 00:14:38.190 for her own ethical choices elsewhere. So we've 00:14:38.190 --> 00:14:41.629 hit acting, voice work, producing, writing for 00:14:41.629 --> 00:14:44.149 the screen. But let's talk about her work specifically 00:14:44.149 --> 00:14:45.870 as an author. That feels like another distinct 00:14:45.870 --> 00:14:48.350 track for her. Yeah, it often seems to feed into 00:14:48.350 --> 00:14:50.470 her comedy, but it's its own thing, too. It often 00:14:50.470 --> 00:14:52.870 starts collaboratively, like we saw with Gabe 00:14:52.870 --> 00:14:56.129 Liedman or Dean Fleischerkamp. In 2016, she wrote 00:14:56.129 --> 00:14:58.350 a book called About the House with Her Dad, Ron 00:14:58.350 --> 00:15:00.590 Slate. Oh, interesting. Yeah, very personal. 00:15:00.669 --> 00:15:02.509 About living in her childhood home in Milton 00:15:02.509 --> 00:15:05.190 again. That theme of returning to those specific 00:15:05.190 --> 00:15:07.250 New England roots keeps popping up. And then 00:15:07.250 --> 00:15:09.870 she moved into essays with Little Weirds in 2019. 00:15:10.009 --> 00:15:13.620 That book felt... Very her. Very Jenny Slate. 00:15:13.740 --> 00:15:16.220 Totally. It wasn't a straight memoir. More like 00:15:16.220 --> 00:15:18.519 these fragmented, surreal thoughts, observations, 00:15:19.019 --> 00:15:21.600 struggles about life, relationships. It reads 00:15:21.600 --> 00:15:23.899 a lot like her stand -up voice, just on the page. 00:15:23.940 --> 00:15:26.519 That mix of vulnerability and quirky imagination. 00:15:26.899 --> 00:15:29.120 It got great reviews. And the sources say she 00:15:29.120 --> 00:15:31.620 has another book coming out in 2024, Life Form. 00:15:31.960 --> 00:15:34.039 So the writing career is definitely ongoing. 00:15:34.379 --> 00:15:36.340 And you can really see how that literary side 00:15:36.340 --> 00:15:38.820 informs her stand -up specials, too. Like Stage 00:15:38.820 --> 00:15:41.299 Right from 2019 and Seasoned Professional. more 00:15:41.299 --> 00:15:44.860 recently in 2024. They feel less like just set 00:15:44.860 --> 00:15:47.379 up punchline and more like philosophical wanderings, 00:15:47.379 --> 00:15:49.299 personal stories. Yeah. Stage fright especially 00:15:49.299 --> 00:15:51.440 felt very connected to the themes and little 00:15:51.440 --> 00:15:54.159 weirds dealing with anxiety in her personal life 00:15:54.159 --> 00:15:56.139 pretty openly. It shows how all these different 00:15:56.139 --> 00:15:58.879 parts of her creative output, the writing, the 00:15:58.879 --> 00:16:01.039 performing, the personal stuff are all kind of 00:16:01.039 --> 00:16:03.879 interwoven. Right. And speaking of personal life, 00:16:03.940 --> 00:16:05.360 we should probably touch on the key milestones 00:16:05.360 --> 00:16:08.299 there as they often mark these creative shifts. 00:16:09.120 --> 00:16:11.799 She was married to Dean Fleischerkamp, her Marcel 00:16:11.799 --> 00:16:15.120 collaborator, from 2012 to 2016. Right, during 00:16:15.120 --> 00:16:17.720 that initial Marcel boom. After they divorced, 00:16:17.960 --> 00:16:20.379 she had that very public relationship with Chris 00:16:20.379 --> 00:16:22.360 Evans for a while. Yeah, that definitely put 00:16:22.360 --> 00:16:24.000 her in a different kind of spotlight for a bit, 00:16:24.039 --> 00:16:28.039 outside the usual comedy, CD, film world. But 00:16:28.039 --> 00:16:31.700 her current situation seems much more... grounded 00:16:31.700 --> 00:16:34.480 and creatively focused. She got engaged to Ben 00:16:34.480 --> 00:16:36.740 Shattuck, who's an art curator and author, in 00:16:36.740 --> 00:16:39.240 September 2019. And they had that whole pandemic 00:16:39.240 --> 00:16:41.539 wedding saga, right? Like so many couples. Yeah. 00:16:41.580 --> 00:16:43.220 The sources mentioned they tried to get married 00:16:43.220 --> 00:16:45.759 three times, but COVID kept canceling their plans. 00:16:45.960 --> 00:16:48.559 Wow. So eventually they just did it quietly in 00:16:48.559 --> 00:16:51.259 their living room on New Year's Eve 2021. Kind 00:16:51.259 --> 00:16:54.179 of fitting, maybe. Very intimate, contrasting 00:16:54.179 --> 00:16:56.519 with her public persona. And they had their daughter, 00:16:56.700 --> 00:16:59.720 Ida Lupine, in late 2020. And they've been living 00:16:59.720 --> 00:17:02.340 down in Dartmouth, Massachusetts. Right. In Shaddock's 00:17:02.340 --> 00:17:04.119 childhood home, apparently. His parents live 00:17:04.119 --> 00:17:06.740 nearby. Seems like a deliberate step back into 00:17:06.740 --> 00:17:10.259 a quieter, family -focused New England life for 00:17:10.259 --> 00:17:13.000 a while. But that's temporary, you said. Yeah. 00:17:13.059 --> 00:17:15.640 The plan, according to the sources, is to move 00:17:15.640 --> 00:17:18.519 back to Brooklyn Cobble Hill, specifically in 00:17:18.519 --> 00:17:22.349 the fall of 2025. So back to the city where her 00:17:22.349 --> 00:17:24.609 comedy career really started. It's a nice image, 00:17:24.730 --> 00:17:26.630 isn't it? This creative force taking this quiet 00:17:26.630 --> 00:17:29.609 interlude, focusing on family and writing, before 00:17:29.609 --> 00:17:32.589 deering up to return to the city buzz for whatever 00:17:32.589 --> 00:17:34.869 comes next. So if we try to tie all these threads 00:17:34.869 --> 00:17:38.150 together, Jenny Slate's career really seems defined 00:17:38.150 --> 00:17:40.349 by how she navigates creative tension, right? 00:17:40.849 --> 00:17:43.769 She manages to bridge the gap between these incredibly 00:17:43.769 --> 00:17:46.450 specific, vulnerable, personal projects. Like 00:17:46.450 --> 00:17:49.519 Marcel or Obvious Child. Exactly. And the demands 00:17:49.519 --> 00:17:52.839 of huge commercial studio work. She exists successfully 00:17:52.839 --> 00:17:55.619 in both spaces. And she does it with real technical 00:17:55.619 --> 00:17:58.579 skill and increasingly clear creative control. 00:17:58.819 --> 00:18:00.980 So I guess the key takeaway for you listening 00:18:00.980 --> 00:18:03.859 is maybe threefold. First, her commitment to 00:18:03.859 --> 00:18:06.480 authentic personal writing that shows up everywhere 00:18:06.480 --> 00:18:09.700 from books to films. Second, that incredibly 00:18:09.700 --> 00:18:12.640 versatile and recognizable voice that makes her 00:18:12.640 --> 00:18:15.690 so valuable in animation. And third, maybe most 00:18:15.690 --> 00:18:18.309 distinctively, her willingness to put her ethical 00:18:18.309 --> 00:18:20.809 beliefs ahead of a major career opportunity. 00:18:21.170 --> 00:18:23.369 Yeah. She clearly understands the power of her 00:18:23.369 --> 00:18:26.809 voice, both the literal one she uses for characters 00:18:26.809 --> 00:18:29.730 and the metaphorical one she uses to speak out. 00:18:29.809 --> 00:18:32.329 She helps make these big commercial movies successful. 00:18:32.589 --> 00:18:35.349 Zootopia, Secret Life of Pets. Right. But she 00:18:35.349 --> 00:18:37.490 also showed real integrity walking away from 00:18:37.490 --> 00:18:40.170 Big Mouth because of representation issues. So 00:18:40.170 --> 00:18:43.230 we've followed this path. valedictorian, comedian, 00:18:43.670 --> 00:18:47.069 SNL, flash in the pan maybe, then obvious child 00:18:47.069 --> 00:18:50.430 star, Marcel creator, any award winner. What 00:18:50.430 --> 00:18:52.789 does it all tell us about being a creative person 00:18:52.789 --> 00:18:55.670 right now? Well, maybe the final thought to leave 00:18:55.670 --> 00:18:58.160 you with is this. In a time when a celebrity's 00:18:58.160 --> 00:19:00.220 voice can literally be worth millions to huge 00:19:00.220 --> 00:19:02.559 companies, what does it mean when an artist like 00:19:02.559 --> 00:19:05.000 Slate deliberately chooses not to use that voice 00:19:05.000 --> 00:19:08.640 in a certain context? She's shown that real creative 00:19:08.640 --> 00:19:11.019 power isn't just about the projects you say yes 00:19:11.019 --> 00:19:14.759 to. It's also about the ones you publicly, thoughtfully, 00:19:14.859 --> 00:19:17.960 and ethically say no to. That's a different kind 00:19:17.960 --> 00:19:20.339 of control. That's a really powerful note to 00:19:20.339 --> 00:19:22.259 end on. Thanks for diving deep with us on Jenny 00:19:22.259 --> 00:19:22.720 Slate today.