Welcome back to the Deep Dive. Today we are really
getting into someone whose face, whose voice...
Well, you probably recognize them instantly.
Absolutely. But maybe you don't know the full
story, the kind of strategic thinking behind
the career. Exactly. We're pulling back the curtain
on Robert Scott Adsit. Yeah, Scott Adsit. And
this is perfect for you, our deep dive learners,
because his career, it's like a masterclass in
versatility. Just think about the range. It's
huge. From that, you know, perfectly stressed
out producer Pete Hornberger on 30 Rock. Right.
To maybe the most compassionate robot ever. Baymax
and Big Hero 6. So our mission today is really
to understand how he built that. How do you connect,
say, biting Chicago satire with, well, huggable
Disney robots? What were the pivots, the choices?
And we've got a great source biography to work
from here. It covers his start, those really
key roles, the collaborations. It's all in there.
Okay, so let's start at the beginning. He was
born Robert Scott Adsit, November 26, 1965, Northbrook,
Illinois. Pretty standard middle American start,
you could say. His parents were Genevieve or
Jenny and Andrew Scott Adsit, who was a real
estate attorney. So a solid background, but not
necessarily one that screams future voice of
global therapeutic care. No, not exactly. But
that contrast, that interesting journey, it kind
of starts early on. OK. Like a lot of comedians,
he was apparently the class clown back at Glenbrook
North High School. Makes sense. But the thing
that really launched him professionally, it seems,
was a bit of restlessness. He went off to DePauw
University in Indiana. Right. Stayed for like
one semester. That's it. Wow. Okay. So quick
realization that wasn't the path. Yeah, pretty
much. And that led him to Columbia College, Chicago.
And that, well, that decision seems to have changed
everything. Right. Let's unpack that Chicago
move because Columbia College, Chicago, that
puts him right in the orbit of some pretty legendary
figures. Yeah, exactly. Specifically, an acting
teacher named Sheldon Patinkin. You hear his
name mentioned a lot as someone who just cultivated
generations of Chicago talent. And Patinkin saw
something and adds it. Apparently so. Not just,
you know, raw, funny talent, but maybe that discipline
needed for really high -level improv, that structure
beneath the chaos. Okay. So Patinkin basically
told him, you need to join the Second City, gave
him his marching orders. And he listened. He
did. Joined Second City in 87. But the real step
up, the big leagues within Second City, was getting
on to the main stage cast in 1994. And that's
not just like getting a part in a play, being
on the Second City main stage. That's different.
Oh, totally. It's like entering the absolute
crucible where modern American sketch comedy
was and still is forged. It's legendary. And
he wasn't just there. He succeeded. Pretty quickly,
too. Yeah. Immediate impact. He was part of these
Joseph Jefferson award winning reviews. You know,
Jeff Awards are Chicago's big theater awards.
He was in Pinata Full of Bees and then the really
celebrated one, Paradigm Lost. And for Paradigm
Lost, he actually won the Jeff Award for best
actor in a comedy. OK, so for listeners, maybe
not steeped in Chicago theater history. Yeah.
How significant is winning a Jeff for a Second
City show? It's huge. It's kind of like. Winning
a major award for something everyone knows is
brilliant but also collaborative, it means you
stood out. You weren't just funny. You were a
key part of this acclaimed, really tightly constructed
thing. Especially considering who he was working
with. Exactly. Think about the names on that
stage with him. Tina Fey, Kevin Dorff, Rachel
Dratch, Adam McKay. I mean, these are people
who basically went on to build the next couple
of decades of TV comedy. Right. Future SNL head
writers, stars. So winning best actor in that
company. That just shows incredible mastery of
the form. You're holding your own with giants.
And there's a specific sketch from that. time
that gets mentioned a lot right gump yes gump
he did that with adam mckay and it was apparently
so good so iconic for them that second city actually
included it in their official best of compilation
wow so even back then that collaborative spark
particularly with mckay was obvious absolutely
and we actually have like visual proof of this
whole era there was a pbs documentary in 1997
called second to none Oh, cool. Yeah, it followed
the creation of Paradigm Lost, the whole intense,
probably grueling process. And you see Adzit
right there working alongside Faye, Dratch, Dorf.
So it really cements him. He wasn't just around.
He was a core figure in that specific, incredibly
fertile generation of Second City talent. Totally.
But here's where it gets really interesting for
understanding his range. Even while he's doing
this top tier satire, he's also doing other work
to, you know, pay the bills. Right. The actor's
life. And the range is kind of staggering. Stuff
that's wildly different. And one project. That
was, well, deeply serious. Okay, let's start
there. The serious one sounds like a real contrast.
It really is. In 1996, he did this short film.
It was for the Hazelden Substance Abuse Clinic.
It's called Reflections from the Heart of a Child.
And he wasn't doing comedy in it. No, not at
all. He played an alcoholic and drug -addicted
father, a serious, dramatic role. And this wasn't
just some obscure PSA, was it? No, apparently
not. Our sources say this short film actually
became required viewing. Like part of the curriculum
in most DWI repeat offender classes across the
U .S. and in substance abuse rehab clinics, too.
Whoa. OK, stop and think about that for a second.
Here's Scott Adsit. One night you're on stage
at Second City getting huge laughs, satirizing.
I don't know. politics or whatever right and
the next day you're embodying this tragic figure
this addict father for a film that's going to
be shown to thousands of people in recovery or
facing judges the mental leap required there
is just incredible it demands this immediate
grounding in like real human empathy serious
drama it proves his toolkit was way bigger than
just sketch comedy Even back then? Absolutely.
That improv training, which is all about immediate
behavioral understanding, emotional commitment,
it clearly translated directly to serious drama.
It wasn't just a side gig. It had real social
impact. Okay, so from required viewing for addiction
recovery, where does the pendulum swing next?
To maybe the most wonderfully absurd place possible,
pinball machines. Ah, yes, the pinball wizard
credit. I saw that. 1997. He did voices for the
Williams pinball machine Medieval Madness, which,
by the way, is still considered like an all time
classic by pinball fanatics. And what roles did
he voice? It wasn't just one, was it? No, he
was several characters. The King of Pain, Sir
Psycho, the Duke of Bourbon and Merlin. I just
love picturing the Jeff Award winning actor fresh
off playing a tragic addict in a booth somewhere
yelling, I am the King of Pain. Right. But here's
the kicker. The really cool Second City connection.
He didn't just voice it. He actually co -wrote
the dialogue, the lines for the game. No way.
Yeah. With Kevin Dorff, another Second City guy
who was also in Paradigm Lost. So they were bringing
that specific Chicago comedy writing sensibility
to a pinball game. Exactly. It just shows that
whole ecosystem. These performers, they weren't
just actors waiting for scripts. They were writers,
creators, directors applying their skills to
everything. Award winning reviews, serious PSAs.
And yeah, coin -op entertainment. Constant hustle,
constant creation, using every medium they could
find. Pretty much. That seems to be the Chicago
way. Okay, so all that success, that recognition
in Chicago, naturally the next step is off in
Hollywood, right? Yeah, seems like it. He moved
out to Los Angeles in 1998. And the initial reason,
the hook, was actually another old connection.
What was that? His college friend... Dino Stamatopoulos,
remember him? They worked together later on Moral
Oral. Right, right. Dino invited him out to L
.A. to work on a sketch comedy pilot he was doing.
Ah, okay. A familiar world. Yeah. Now, the pilot
itself apparently never actually materialized,
didn't get picked up. Happens all the time. But
the move stuck. Adsit stayed in L .A. and he
started getting work pretty much straight away.
Commercials, bit parts, you know, the drill.
But he found his footing pretty quickly in that
sort of old comedy scene that was bubbling up
then. Totally. He landed some roles that gave
him serious cred almost immediately. Like he
was in six episodes of Mr. Show with Bob and
David. Which was huge. groundbreaking stuff,
playing various roles. Yeah, different characters,
showed he could slot right into that really specific,
high -concept, absurd style they had. And he
seemed to have this knack for playing the straight
man against the chaos. Definitely. You see that
really clearly in his recurring gig on the Tenacious
D HBO show. Oh, yeah. He was their neighbor,
right? He was their neighbor, who also happened
to be often a demon. Huh. Perfect. That's such
a great encapsulation. The mundane, slightly
put upon neighbor who's also a literal demon.
It's that grounding reality mixed with total
absurdity. He nails that. He's the perfect foil.
He keeps the scene somehow anchored while accepting
the absolute madness around him. And that pattern
kind of continued with other guest spots, right?
Recognizable ones. Yeah, he popped up in Friends
in 2002. Remember Ross and Monica's cousin, Cassie?
He was in that episode. Vaguely, yeah. And he
had a really memorable bit as a photographer
in the Office episode, Conflict Resolution, the
one where Michael posts everyone's complaints,
as it's the slightly harassed photographer trying
to get a group shot. Right. He's the guy who
comes in, does his job perfectly, makes the main
character seem even funnier or weirder by comparison,
and then leaves. Solid character work. Exactly.
He was building this really solid foundation,
respected guy, does good work, but maybe still
waiting for that one defining, long -running
role. Which brings us to 2005. And this this
is the moment, the pivotal choice that you mentioned
earlier. This really shaped the next decade of
TV comedy, didn't it? It absolutely did. And
it all comes down to loyalty and maybe trusting
your gut, trusting your history with someone.
OK, set the scene. How did it unfold? So he gets
a phone call. It's from Tina Fey, his old Second
City castmate. Right. And she says basically,
hey, I'm writing this new show about a sketch
comedy program and I'm writing a part specifically
for you. Wow. OK, that's the dream call. Totally.
But. At the exact same time, he'd auditioned
for another show, Aaron Sorkin's highly, highly
anticipated new series, also about the drama
behind a TV variety show. Studio 60 on the Sunset
Strip. Yeah. Remember the buzz around that? Sorkin
was coming off the West Wing. He was, like, untouchable.
Exactly. Prestige TV personified the golden boy,
as Adsit himself apparently put it. So Adsit's
manager calls him up. And... basically lays it
out, high stakes time, says something like, look,
you're probably going to get offered both of
these. You need to tell me right now, which one
do you want? Oh, man. Talk about pressure. Because
the industry wisdom, everyone, would have said
Sorkin, right? Overwhelmingly, that was the safe
bet. The guaranteed prestige project from the
guy who just finished one of the most acclaimed
dramas ever. And Tina Fey, at that point, she
was known for SNL, especially Weekend Update,
but may be seen as... I don't know, edgier? Riskier
as a showrunner for a primetime sitcom? That
seems to be how Adsit saw the comparison. He
described Faye as the lady from Weekend Update
that riles a lot of people. So Sorkin, the golden
boy, versus Faye, the known quantity, the respected
collaborator, but maybe the less obvious career
move at that exact moment. So what did you do?
The choice. He chose Faye. His reasoning was
apparently pretty simple and direct. I had to
go with somebody I know and respect. I went with
Tina. Wow, that speaks volumes, doesn't it? Trusting
the relationship that creative chemistry forged
back in Chicago over the perceived sure thing.
It's an incredible lesson in navigating a career.
And, I mean, look how it played out. 30 Rock
became this massive, critical, and cult hit,
ran for seven seasons, redefined comedy. And
Studio 60. Canceled after one season, didn't
really land. So by prioritizing that friendship,
that known creative partnership, Adsit... basically
secured his place in TV history. You could definitely
argue that. It was a huge bet on a person and
it paid off spectacularly. OK, so that decision
lands in the role of Pete Hornberger on 30 Rock.
We'll definitely get more into Pete in a bit.
But here's another layer of complexity to his
career at this time. Right. Because while he's
doing 30 Rock, this relatively mainstream Emmy
winning network sitcom. He's simultaneously deep
into something completely different, like wildly
different. in the world of stop -motion animation.
Yeah, thanks again to that connection with Dino
Stamatopoulos. This is where you really see the
depth of Adsit's contribution beyond just acting.
Their first big collaboration after the L .A.
move was Moral Oral, right? On Adult Swim. That's
the one. Ran from 2005 to 2008. And Adsit wasn't
just, like, a voice on the show. He was core
creative. He co -directed, co -wrote, and co
-produced the entire thing with Stamatopoulos
and Jay Johnston. And Moral Oral? i mean if you've
seen it you know yeah it looks kind of like those
old innocent claymation shows like davey and
goliath yeah that's the surface look but underneath
oh man it is brutal brutal is the right word
it's this incredibly dark cutting satire about
religious hypocrisy, suburban dysfunction, broken
families, all hiding behind this kids' show veneer.
It's genuinely unsettling stuff, really pushing
the boundaries of satire, especially for animation
back then. And adds its main voice role in this
incredibly dark show was Clay Puvington. What
was that? Well, Clay Puppington. And his performance
as Clay is just masterful in its unpleasantness.
He got nominated for an Annie Award for it, which
is animation's big award. What's the voice like?
How does he capture that character? It's all
about suppressed rage and disappointment, I think.
Clay's voice is kind of nasal, very stiff. He's
always drunk, deeply unhappy, emotionally abusive.
AdSense gives him this cadence, this vocal texture
that just perfectly embodies toxic masculinity,
masking complete brokenness. Constipation, maybe.
Right. That tightly wound, almost whining quality
sometimes. It's so specific and so different
from, say, Pete Hornberger's kind of weary anxiety.
Worlds apart. And think about the workload on
that show for him. He's writing, directing, producing,
and voicing the main antagonist, basically. But
not just Clay. He did other voices, too. Oh,
yeah. A whole bunch of them. The list is kind
of staggering. Doe, Link McMissons, the school
counselor, Art Pozabule, Dr. Potter's Wheel,
Billy F - A load of secondary characters. So
in a single episode, he might be voicing, what,
10 different characters? Oh. While also having
directed and written it. Pretty much. It requires
this incredible vocal agility. You have to switch
between these distinct voices, often really quietly.
Which sounds like, well, it sounds like Second
City improv training again, doesn't it? Creating
distinct characters on the fly. Exactly. It's
that same muscle. generating a new character,
voice, emotional center, boom, instantly. He
just applied that engine to the very demanding,
meticulous world of stop motion animation. And
that collaboration with Stamatopoulos, that dark
stop motion engine, it didn't stop with Moral
Oral, did it? Nope. After Moral Oral finished
its run, they teamed up again pretty quickly
for Mary Shelley's Frankenholz. Right. Another
Adult Swim stop motion show. Yeah. Ran tw - 2010
to 2012, I think. Yeah, two seasons, 20 episodes.
And again, just bizarre, macabre, funny. It mashed
up historical figures and monsters in this weird
laboratory setting. Yeah, and Ed's role was similar.
Behind the scenes and voicing. Yep, same deal.
Directing, writing, producing, and voicing key
characters again. Professor Polidori, the creature,
Dr. Moreau. Okay, classic horror figures. But
also Thomas Jefferson. And maybe most provocatively...
Adolf Hitler. Wow. Okay. Voicing Hitler in a
comedy show. That's definitely leaning into the
grotesque. It is. And it really shows, I think,
his willingness to go to uncomfortable places
for satire. He's not afraid of controversy or
darkness if it serves the comedic point, however
strange or disturbing that point might be. So
this whole Adult Swim phase running alongside
30 Rock. It just paints a picture of someone
who's actively seeking out stuff that's creatively
challenging, maybe a bit weird, definitely demanding.
Yeah, not just taking the easy path. He's juggling
network sitcom stardom with auteur -driven, boundary
-pushing, cult animation. It's quite the balancing
act. Okay, so let's pivot back now to the roles
that probably brought Adsit his widest recognition.
Yeah. The two roles that, as you said earlier,
kind of represent these two fascinating poles
of his career. Exactly. The jaded but relatable
realist and the the pure embodiment of compassion.
First up, the cornerstone of his live action
success. Pete Hornberger on 30 Rock ran from
2006 to 2013. Pete, you gotta love Pete. He wasn't
just the producer of TGS, the show within the
show. He was really the the long suffering conscience
of the whole operation, wasn't he? Yeah, totally.
Liz Lemon's oldest friend there, often the voice
of reason. Or maybe more often, just the embodiment
of sheer panic and exhaustion in the face of
all the network craziness. He was so essential
because he wasn't absurd like Jack Donahue or
Tracy Jordan or Jenna Maroney. He was the normal
guy, the everyman, just constantly on the verge
of... Well, something collapsing. He perfected
playing that terrified but trying his best vibe,
that well -meaning competence constantly undermined
by the chaos around him. And that relatability,
that grounding he provided was crucial. It allowed
the show's other characters to be even more surreal
and out there. Pete was the anchor. And the show
itself was just a massive success. Critically
adored. Tons of awards. Seven seasons, yeah.
I think it got something like 103 Emmy nominations
over its run. Just huge. So Ed sits shared in
that success, obviously, part of that legendary
ensemble. Absolutely. He won a Screen Actors
Guild Award SAG Award for Outstanding Performance
by an Ensemble in a Comedy Series back in 2008,
along with the whole cast. Which really speaks
to how vital he was to that mix. It wasn't just
the stars. It was the whole comedic machine working
together. Definitely. He was indispensable to
30 Rock's dynamic. Okay, now. Fast forward just
a year after 30 Rock ends, 2014. Yeah. And we
get. maybe the most dramatic shift in his entire
career. Yeah, the leap to Disney animation, voicing
Baymax in Big Hero 6. It's almost hard to reconcile,
isn't it? Going from the tightly wound, nervous
energy of Pete Hornberger. Or the abrasive, nasal
anger of Clay Puppington in Moral Oral. Right,
to the voice of Baymax. This incredibly gentle,
clinical, yet profoundly compassionate, inflatable
robot. The character itself is built on limitations,
right? Baymax is a healthcare companion. He's
programmed for... specific tasks, specific phrases.
His voice has to be kind of neutral, low inflection
almost, robotic. But that's the magic of Atsit's
performance. Within those constraints, he manages
to convey such genuine warmth, such gentle empathy.
It's extraordinary. And the filmmakers knew it.
The producer, Roy Conley, talked about this specifically.
He praised Atsit, saying he was hilarious, but
also had this unique ability to... How do you
put it? Shape the language in a way that makes
you feel Baymax's emotion and sense of humor.
Even though he's playing a robot with very limited
vocal expression. Exactly. That's the skill.
Conveying deep humanity through deliberate vocal
restraint. Just compare the actual sound. Yeah.
Baymax's voice is smooth, deep, measured, almost
musical in its calm monotone sometimes. And then
think of Clay Puppington's voice. Harsh. nasal,
full of tension and bitterness. It's like two
completely different instruments. The vocal dexterity
required to do both so convincingly. Yeah. It's
just incredible. It really is. It's not just
doing voices. It's modulating everything. Pitch,
tone, rhythm, emotional underpinning to create
these radically different beings. That's real
mastery. And obviously Baymax was a huge hit.
The character became instantly iconic. Totally.
And that performance has given Adsit this incredible
longevity with the character. It wasn't just
the movie. No, he's re - prized the role so many
times. There was Big Hero 6. The series on Disney
Channel ran for several years. Right. 2017 to
2021. Then the Baymax miniseries on Disney Plus
in 2022. He was Baymax again in that recent short
film Once Upon a Studio celebrating Disney's
100th. And the video games too. Disney Infinity.
Kingdom Hearts III. He is the voice of Baymax,
period. Indispensable. But even while he's becoming
the voice of Disney Compassion, he didn't completely
abandon the world of more biting adult satire,
did he? No, not at all. He popped up in HBO's
Veep, another critically acclaimed sharp satire.
Who was he in Veep? He played Greg Hart, who
was a news anchor, I believe. Kind of embodied
that slick... slightly vacuous media personality.
He was in eight episodes between 2015 and 2019.
So that's tapping back into that more anxious
corporate, maybe slightly smarmy side we saw
hints of in Pete, but tailored for that brutal
political environment of Veep. Exactly. And then
swinging back again to the truly bizarre, he
showed up in an Adult Swim live action show called
The Heart She Holler. Oh, wow. That show was
something else. Very weird. Southern gothic parody.
Yeah, super strange. starred Patton Oswalt, Kristen
Schoole. Amy Sedaris was in it, too. And Adsit
played the corrupt town sheriff. And apparently
he had great chemistry with Amy Sedaris. This
is the critics noted, yeah. Which, again, shows
his adaptability. He can go from the high -status,
rapid -fire dialogue of Veep to the weird, often
improvised, backwoods absurdity of something
like The Heart, She Holler, and Fit Right In.
It all comes back to that improv grounding, doesn't
it? Being able to react and play truthfully in
any situation, no matter how strange. Seems like
it's the core skill underpinning everything else.
So if we kind of zoom out now and look at the
whole picture, all these different threads, what
pattern emerges? Well, one thing that stands
out is he's not always chasing the lead role.
You know, he seems very strategic about taking
these memorable supporting parts, often in really
high profile projects. The perfect straight man,
the character foil. Exactly. The guy who makes
the scene work makes the stars shine brighter.
And that keeps him consistently visible across
all sorts of genres. You see that in his film
work, too, right? Even the smaller roles. Definitely.
Like, he popped up in The Italian Job back in
2003 and The Terminal with Tom Hanks in 2004.
Often just playing these functional characters,
a cab driver, I think. Someone who has a brief,
memorable interaction. He was the rival coach,
Stu. And Will Ferrell's kicking and screaming.
That was a fun one. Yeah. And Doctor and We're
the Millers? Little parts, but they add up. They
show his reliability, his ability to make a small
moment land. Okay, and then there's something
for the real pop culture nerds listening. The
ultimate meta reference. Ah, yes, the Deadpool
connection. This is brilliant. Since 2012, apparently,
there's been a recurring character in Marvel's
Deadpool comics named Agent Scott Adsit. A S
-H -I -E -L -D agent, no less, who looks like
him. That's just perfect, isn't it? It's this
amazing metanod from the comic world acknowledging
his place in comedy, linking him to the character
who's all about breaking the fourth wall. It
just fits. Totally. It's like the universe acknowledging
his specific brand of comedic presence. But just
when you think he's settled into comedy and voice
work. He throws another curveball. He keeps those
dramatic muscles working, too. Right. Like, in
2020, taking on a recurring role in The Walking
Dead, world beyond. Okay, that's a serious pivot.
From 30 Rock and Baymax to the grim, post -apocalyptic
world of The Walking Dead. Plays a character
named Tony Del Mato. It's a deliberate move back
into serious, character -driven drama. Again,
proving you just can't pigeonhole him, he refuses
to be put in one box. And another thread that
seems really consistent is his connection to
the audio world, to podcasting. Yeah, he seems
really comfortable in that space, especially
within that sort of Max Funn, John Hodgman extended
universe. He's been the guest bailiff on Hodgman's
podcast, Judge John Hodgman, multiple times,
right? Yeah, three episodes mentioned in our
sources. And he was also in Hodgman's Netflix
special, Ragnarok, playing himself. It shows
he's still very much part of that collaborative
modern comedy scene, working with friends. Which
ties into maybe the... most telling thing about
his commitment to the craft. His live improv
work. Exactly. Despite all the success, TV, movies,
major animation, he still performs live improv
regularly. Yeah. He has these ongoing doer shows,
John and Scott with John Lutz, who was also on
30 Rock. Lutz, right. And Adsit and Eveleth with
Jet Eveleth, another amazing improviser. And
he teaches, too, right, at places like Iowa West
and UCB, Upright Citizens Brigade. Mm -hmm. And
that's key because teaching and performing live
improv, it's not just like a hobby or nostalgia.
It's actively keeping those core skills sharp.
The instantaneous creativity, the listening,
the collaboration. All the stuff that made him
so good in those fast -paced writer's rooms or
recording booths for 30 Rock or Moral Oral. He's
constantly honing the instrument. And he's still
working constantly. The output hasn't really
slowed down. No kidding. Recently, he voiced
peer pressure in the new Megamind animated series
and the movie Megamind vs. the Doom Syndicate.
Still doing voice work for shows like Teenage
Euthanasia. And there's a movie listed as currently
filming called What the Fike is My Password.
Huh. Okay. Sounds intriguing. But yeah, he just
seems to operate at this incredible pace, suggesting
he just genuinely loves the work, loves the process,
whatever the medium is. A true working actor.
In the best sense. Hashtag tag outro. So when
you pull it all together, all these pieces we've
talked about, what's the big takeaway from this
deep dive into Scott Adsit's career? For me,
it really comes down to a couple of things. Loyalty
is huge. Yeah, that Faye decision looms large.
Definitely. Choosing that known relationship,
that trusted collaborator over the maybe more
obvious prestige choice, that defines so much.
He valued the connection. And the other thing
is that incredible ability to bring... humanity,
real feeling to characters who are often defined
by constraints. Right. Whether it's the absurdity
surrounding Pete Hornberger or the literal programming
of Baymax or even the grotesque limitations of
Clay Puppington. He finds the human core in there.
Or, in Baymax's case, creates a believable simulation
of it that feels just as real. He injects that
spectrum of emotion, weary resignation, pure
compassion, bitter anger into these really specific
frameworks. He perfected that performance duality.
Absolutely. Thriving in the darkest corners of
Adult Swim satire, writing, directing, voicing
clay, even Hitler. While simultaneously becoming
the voice of maybe the kindest, most purely empathetic
character in Marvel. modern Disney animation.
Successfully navigating those two extremes, often
within the same few years. That's the signature
of his whole career, isn't it? It really is.
And maybe that's the final thought to leave you
all with. Just consider the kind of, I don't
know, mental and artistic flexibility that it
requires. Yeah. To operate at both those poles,
from satire so dark it's used in rehab programs,
to the most gentle, soothing voice imaginable,
designed purely to heal. Scott Adsit mastered
that incredible range. A true architect of both
comedy and, surprisingly, A fascinating career,
a really phenomenal deep dive. Thanks for joining
us to explore the sources on Sky Adsit. Yeah.
Thanks, everyone. We'll catch you on the next
deep dive.