WEBVTT 00:00:00.000 --> 00:00:01.899 Welcome back. We've got a really fascinating 00:00:01.899 --> 00:00:04.519 career to unpack today, looking at someone who's 00:00:04.519 --> 00:00:08.820 truly navigated the whole landscape of modern 00:00:08.820 --> 00:00:11.179 American comedy. Yeah, we're diving into Matthew 00:00:11.179 --> 00:00:13.880 Brownger, Matt Brownger, born back in August 00:00:13.880 --> 00:00:17.199 74. And professionally active since, what, 1997? 00:00:17.780 --> 00:00:20.679 That's quite a run already. It really is. And 00:00:20.679 --> 00:00:22.620 what the sources make clear is it's not just 00:00:22.620 --> 00:00:24.920 about sticking around. It's about adapting. You 00:00:24.920 --> 00:00:26.800 know, he's kept the stand up going strong, which 00:00:26.800 --> 00:00:28.980 is incredibly hard work on its own. Right. But 00:00:28.980 --> 00:00:32.039 then he's also managed to build real footholds 00:00:32.039 --> 00:00:38.460 in film, TV, sketch, voiceover, even early podcasting. 00:00:38.460 --> 00:00:40.909 It's pretty remarkable. So our mission for you 00:00:40.909 --> 00:00:43.750 today is to really pull apart how he did that. 00:00:43.810 --> 00:00:46.630 How do you build a career that's so, well, durable 00:00:46.630 --> 00:00:48.649 across all these different platforms? Exactly. 00:00:48.649 --> 00:00:50.210 We want to look at that stand -up foundation, 00:00:50.390 --> 00:00:52.210 the specials, the albums. That's definitely the 00:00:52.210 --> 00:00:54.289 core. But then connect it, right? Connect it 00:00:54.289 --> 00:00:57.049 to how he used sketch comedy skills, how that 00:00:57.049 --> 00:00:59.649 maybe opened doors for acting roles, and how 00:00:59.649 --> 00:01:01.609 voice work and podcasting fit into the whole 00:01:01.609 --> 00:01:04.450 picture. It really is like a case study in managing 00:01:04.450 --> 00:01:07.739 a creative career long term. And his commitment 00:01:07.739 --> 00:01:10.079 to stand -up, that's never wavered. His 2019 00:01:10.079 --> 00:01:12.379 special, finally live in Portland. Right, on 00:01:12.379 --> 00:01:15.140 Amazon Prime from Comedy Dynamics. That shows, 00:01:15.280 --> 00:01:16.700 you know, even with all the other stuff going 00:01:16.700 --> 00:01:19.400 on, the cycle of writing, touring, recording 00:01:19.400 --> 00:01:22.019 stand -up, that's constant for him. But then, 00:01:22.040 --> 00:01:23.840 yeah, you glance at the acting credits and it's 00:01:23.840 --> 00:01:27.099 just, whoa, the range is huge. Totally. Being 00:01:27.099 --> 00:01:30.079 a cast member on MADTV, even for the final season, 00:01:30.180 --> 00:01:32.439 that's a major credential in Sketch. Definitely 00:01:32.439 --> 00:01:33.920 a proving ground. And then look at the roles 00:01:33.920 --> 00:01:37.290 after that. network sitcom, like NBC's Up All 00:01:37.290 --> 00:01:39.230 Night. Yeah, he was in that quite a bit. Then 00:01:39.230 --> 00:01:41.069 something totally different, like Marvel's Agent 00:01:41.069 --> 00:01:44.269 Carter, kind of that period sci -fi blend. Such 00:01:44.269 --> 00:01:47.629 a tonal shift. And even like the specific ensemble 00:01:47.629 --> 00:01:51.090 vibe of Disjointed on Netflix, he pops up everywhere. 00:01:51.530 --> 00:01:53.150 And the voice work, you mentioned that too. That 00:01:53.150 --> 00:01:55.290 seems to be a really consistent thread. Oh, absolutely. 00:01:55.510 --> 00:01:57.390 Our sources show that's often a key part of the 00:01:57.390 --> 00:01:59.590 puzzle for versatile performers. It's steady 00:01:59.590 --> 00:02:01.969 work, often less demanding schedule -wise than 00:02:01.969 --> 00:02:05.040 on -camera stuff. Like the new VIPs on Amazon. 00:02:05.219 --> 00:02:07.299 Right, and BoJack Horseman. Being on BoJack, 00:02:07.439 --> 00:02:10.000 that's significant. That show is huge, critically 00:02:10.000 --> 00:02:13.120 acclaimed. It just shows he's hitting every possible 00:02:13.120 --> 00:02:15.800 avenue, keeping himself visible, keeping different 00:02:15.800 --> 00:02:18.460 income streams flowing. Okay, it's a massive 00:02:18.460 --> 00:02:21.719 resume. Let's dig into how this journey started 00:02:21.719 --> 00:02:23.960 because, like you said, this doesn't just happen. 00:02:24.060 --> 00:02:26.000 There must have been some key decisions early 00:02:26.000 --> 00:02:29.240 on. Absolutely. And his early geography is actually 00:02:29.240 --> 00:02:31.300 pretty interesting. How so? Well, he was born 00:02:31.300 --> 00:02:33.319 in Chicago, you know, a city with this incredibly 00:02:33.319 --> 00:02:36.099 rich history in improv and sketch. Back in the 00:02:36.099 --> 00:02:38.520 city, all that. Exactly. But he moved to Portland, 00:02:38.639 --> 00:02:40.960 Oregon pretty early on, graduated from Grant 00:02:40.960 --> 00:02:43.199 High School there. So he's got this Pacific Northwest 00:02:43.199 --> 00:02:45.900 grounding, too. That Portland scene definitely 00:02:45.900 --> 00:02:48.460 has its own flavor. Kind of dry observation. 00:02:48.719 --> 00:02:51.659 It does. But here's a key decision point the 00:02:51.659 --> 00:02:54.580 sources highlight. For his formal training, he 00:02:54.580 --> 00:02:56.960 went way outside that region. Where'd he go? 00:02:57.159 --> 00:02:59.599 Headed east, studied theater at Manhattanville 00:02:59.599 --> 00:03:02.240 College, and purchased New York. Got his bachelor's 00:03:02.240 --> 00:03:05.180 degree there. Theater, huh? Not just stand -up 00:03:05.180 --> 00:03:07.780 workshops. Exactly. And I think that's crucial 00:03:07.780 --> 00:03:10.840 and maybe sometimes overlooked. That formal theater 00:03:10.840 --> 00:03:13.139 training, it's not just about writing jokes. 00:03:13.199 --> 00:03:15.639 Right. It's about performance, character. Character 00:03:15.639 --> 00:03:19.319 study, staging, using your voice, really acting. 00:03:19.599 --> 00:03:22.020 Those are skills that become incredibly valuable 00:03:22.020 --> 00:03:24.379 later when he starts taking on these diverse 00:03:24.379 --> 00:03:27.800 TV and film roles. Okay. So he gets the theater 00:03:27.800 --> 00:03:31.319 degree on the East Coast. Then what? Then another 00:03:31.319 --> 00:03:33.539 really strategic move, according to the sources. 00:03:34.379 --> 00:03:36.919 He moves back to Chicago after college. Interesting. 00:03:37.060 --> 00:03:39.639 Not straight to New York or L .A.? Nope. Back 00:03:39.639 --> 00:03:42.460 to Chicago, specifically, the sources say, to 00:03:42.460 --> 00:03:45.479 develop his comedy career. He chose that scene, 00:03:45.560 --> 00:03:48.319 known for its rigor, its focus on structure and 00:03:48.319 --> 00:03:50.500 ensemble work. So it sounds like he was really 00:03:50.500 --> 00:03:53.460 intentional about building his foundation. blending 00:03:53.460 --> 00:03:55.919 the theater training with the Chicago comedy 00:03:55.919 --> 00:03:58.280 discipline. Yeah, I think so. It set him up perfectly 00:03:58.280 --> 00:04:00.360 to make that jump to the national stage, which 00:04:00.360 --> 00:04:02.280 started happening pretty quickly on the festival 00:04:02.280 --> 00:04:04.680 circuit. Right. Around 2007 seems like a key 00:04:04.680 --> 00:04:07.000 year based on the materials. Big festival appearances. 00:04:07.500 --> 00:04:10.180 Huge. Just for laughs in Montreal, that's the 00:04:10.180 --> 00:04:12.259 big one. The pinnacle, yeah. The Las Vegas Comedy 00:04:12.259 --> 00:04:15.000 Festival, too. And he was consistently at South 00:04:15.000 --> 00:04:18.180 by Southwest, SX, SW, which was becoming really 00:04:18.180 --> 00:04:19.959 influential then. And these aren't just gigs, 00:04:20.079 --> 00:04:22.939 right? They're showcases. Industry people are 00:04:22.939 --> 00:04:25.360 watching. Absolutely. Agents, managers, network 00:04:25.360 --> 00:04:28.879 scouts. Getting those slots is critical exposure. 00:04:29.399 --> 00:04:32.600 And it led directly to some recognition. He won 00:04:32.600 --> 00:04:35.360 Best of the Fest at that first rooftop comedy 00:04:35.360 --> 00:04:38.379 festival in Aspen. OK. But maybe the thing that 00:04:38.379 --> 00:04:41.750 speaks most to his. His connection to his roots 00:04:41.750 --> 00:04:44.129 is what he did back in Portland. The Bridgetown 00:04:44.129 --> 00:04:46.290 Comedy Festival. He co -founded that. He did. 00:04:46.509 --> 00:04:47.990 And you have to think about what that means. 00:04:48.589 --> 00:04:52.970 Co -founding a major annual festival? That's 00:04:52.970 --> 00:04:54.769 not just performing. That's building infrastructure. 00:04:55.170 --> 00:04:57.149 Yeah, that's a massive undertaking. Entrepreneurial, 00:04:57.149 --> 00:04:59.110 really. Totally. It takes organizational skills, 00:04:59.310 --> 00:05:01.670 deep connections in the comedy world, a lot of 00:05:01.670 --> 00:05:04.709 trust. By helping build Bridgetown, he wasn't 00:05:04.709 --> 00:05:06.689 just benefiting from the Portland scene. He was 00:05:06.689 --> 00:05:08.810 actively shaping it, making it a destination. 00:05:09.519 --> 00:05:11.879 That's a big deal. And you can see how that combined 00:05:11.879 --> 00:05:14.779 with the festival exposure led to that big industry 00:05:14.779 --> 00:05:18.339 validation in 2009. Yeah, that double hit Variety's 00:05:18.339 --> 00:05:21.399 top 10 comics to watch. And Comedy Central's 00:05:21.399 --> 00:05:25.220 Hot 9 in 09. Yeah. Getting nods from both the 00:05:25.220 --> 00:05:27.660 industry Bible and the main comedy network at 00:05:27.660 --> 00:05:30.389 the time. That's powerful. It really is. And 00:05:30.389 --> 00:05:32.310 that kind of validation is often the springboard 00:05:32.310 --> 00:05:34.589 you need to start translating all that stage 00:05:34.589 --> 00:05:37.290 time into recorded material, into specials and 00:05:37.290 --> 00:05:39.470 albums. Okay, let's spend some real time on that 00:05:39.470 --> 00:05:41.449 stand -up output because the volume, like we 00:05:41.449 --> 00:05:44.750 said, is just, it's impressive. Three -hour specials, 00:05:44.750 --> 00:05:47.870 six comedy albums, all within about 11 years. 00:05:47.990 --> 00:05:50.269 It's a serious work ethic. You don't produce 00:05:50.269 --> 00:05:52.550 that much polished material without relentless 00:05:52.550 --> 00:05:55.029 writing and touring. Where does it start chronologically? 00:05:55.449 --> 00:05:58.410 The first album listed in our sources is Soak 00:05:58.410 --> 00:06:01.350 Up the Night from 2009. Okay, right after those 00:06:01.350 --> 00:06:04.009 hot list mentions. Exactly. Released digitally 00:06:04.009 --> 00:06:06.310 through Comedy Central Records, and it got immediate 00:06:06.310 --> 00:06:08.930 notice. iTunes Rewind put it in their top 20 00:06:08.930 --> 00:06:11.410 albums for 2009, so the material landed right 00:06:11.410 --> 00:06:13.610 away. And releasing digitally via Comedy Central 00:06:13.610 --> 00:06:15.569 Records back then, that was pretty smart, right? 00:06:15.689 --> 00:06:18.829 Using the network brand, but hitting that growing 00:06:18.829 --> 00:06:22.420 digital audience. Very savvy. It gave him legitimacy 00:06:22.420 --> 00:06:26.319 and reach simultaneously. And that success basically 00:06:26.319 --> 00:06:29.459 paved the way for his first full hour special. 00:06:29.740 --> 00:06:31.540 Which was Shovel Fighter. Shovel Fighter. Yeah. 00:06:31.579 --> 00:06:34.199 2012. That was a big step up. It aired on Comedy 00:06:34.199 --> 00:06:36.720 Central and they released the album at the same 00:06:36.720 --> 00:06:39.939 time. So cementing him as a true headliner, someone 00:06:39.939 --> 00:06:42.639 who can carry an hour. Absolutely. And Shovel 00:06:42.639 --> 00:06:45.139 Fighter, if you listen to it, really showcases 00:06:45.139 --> 00:06:48.319 his knack for longer stories, detailed observational 00:06:48.319 --> 00:06:50.759 bits. You can kind of hear that Chicago influence 00:06:50.759 --> 00:06:53.519 maybe in the structure. Then fast forward a few 00:06:53.519 --> 00:06:58.139 years to 2015 and Big Dumb Animal. That one felt 00:06:58.139 --> 00:07:01.019 like another shift. It was huge because the distribution 00:07:01.019 --> 00:07:03.480 changed. Comedy Dynamics handled it, but it landed 00:07:03.480 --> 00:07:05.839 on both Comedy Central and Netflix. And Netflix 00:07:05.839 --> 00:07:08.860 in 2015. That was rocket fuel for comedians, 00:07:08.879 --> 00:07:11.100 wasn't it? Oh, absolutely transformative. Suddenly, 00:07:11.319 --> 00:07:13.519 your special isn't just reaching comedy fans 00:07:13.519 --> 00:07:15.779 who watch Comedy Central. It's potentially in 00:07:15.779 --> 00:07:17.639 front of millions globally. People who might 00:07:17.639 --> 00:07:20.220 never go to a comedy club. Right. Massive exposure. 00:07:20.579 --> 00:07:23.360 And the title, Big Dumb Animal, maybe hints at 00:07:23.360 --> 00:07:25.740 a slightly, I don't know, more self -aware, maybe 00:07:25.740 --> 00:07:29.120 a bit wilder style. It connected. And again, 00:07:29.279 --> 00:07:32.240 releasing the album at the same time just maximizes 00:07:32.240 --> 00:07:34.279 the impact of that material. Okay, so that's 00:07:34.279 --> 00:07:36.779 two specials down. The third hour comes four 00:07:36.779 --> 00:07:40.319 years later, 2019, finally live in Portland. 00:07:40.500 --> 00:07:42.899 Yeah, streamed on Amazon Prime, which is fitting. 00:07:42.920 --> 00:07:44.620 Like you said, filming it back in his high school 00:07:44.620 --> 00:07:46.779 town. Brings it full circle almost. It does. 00:07:46.980 --> 00:07:49.720 But notice the distributor shift again. Comedy 00:07:49.720 --> 00:07:52.100 Central, then Comedy Central Netflix, now Amazon 00:07:52.100 --> 00:07:55.160 Prime. He's consistently placing his work on 00:07:55.160 --> 00:07:57.399 the biggest platforms of the moment. He's following 00:07:57.399 --> 00:07:59.699 the audience and the budgets. Smart business 00:07:59.699 --> 00:08:02.129 sense. But the recording didn't stop there. He 00:08:02.129 --> 00:08:04.189 put out two more albums really quickly after 00:08:04.189 --> 00:08:07.089 that special. Right, going way back also in 2019 00:08:07.089 --> 00:08:10.029 and then Please Hold Me in 2020. And both of 00:08:10.029 --> 00:08:12.170 those came out on 800 -pound Gorilla records. 00:08:12.370 --> 00:08:13.910 Okay, that's another interesting label shift. 00:08:14.129 --> 00:08:16.990 What does moving to 800 -pound Gorilla signify, 00:08:17.029 --> 00:08:19.689 typically? That's a really significant move in 00:08:19.689 --> 00:08:22.610 the modern comedy landscape. 800 -pound Gorilla 00:08:22.610 --> 00:08:25.410 Records is known for being much more artist -focused, 00:08:25.810 --> 00:08:28.430 often offering better ownership deals, better 00:08:28.430 --> 00:08:31.069 royalty splits, really specializing in getting 00:08:31.069 --> 00:08:34.149 comedy albums out directly to fans. So it suggests 00:08:34.149 --> 00:08:37.009 a move towards more independence, leveraging 00:08:37.009 --> 00:08:39.370 the audience he's already built. Exactly. He's 00:08:39.370 --> 00:08:41.210 established enough by this point that he can 00:08:41.210 --> 00:08:43.570 partner with a label like that, maintain more 00:08:43.570 --> 00:08:45.850 control over his work, and connect directly with 00:08:45.850 --> 00:08:49.080 his listeners. savvy play in today's market so 00:08:49.080 --> 00:08:53.100 across all this six albums three specials it's 00:08:53.100 --> 00:08:56.039 just this incredibly consistent library and that 00:08:56.039 --> 00:08:58.840 success must have directly fueled his visibility 00:08:58.840 --> 00:09:01.759 on network tv especially late night oh for sure 00:09:01.759 --> 00:09:04.059 he became a regular face on the late night circuit 00:09:04.059 --> 00:09:06.759 the sources list appearances on letterman a huge 00:09:06.759 --> 00:09:09.129 deal The Tonight Show with Conan O 'Brien, then 00:09:09.129 --> 00:09:12.110 Conan on TBS Later, The Late Night Show. Getting 00:09:12.110 --> 00:09:14.389 those spots repeatedly means the bookers trust 00:09:14.389 --> 00:09:16.370 you, your material works for that broad audience, 00:09:16.470 --> 00:09:19.009 you can hit your marks. Absolutely. It confirms 00:09:19.009 --> 00:09:20.909 your status. And he wasn't just doing the main 00:09:20.909 --> 00:09:23.669 talk shows. He was also on those curated stand 00:09:23.669 --> 00:09:25.970 -up showcases. Like John Oliver's New York stand 00:09:25.970 --> 00:09:28.169 -up show. Right. And Live at Gotham on Comedy 00:09:28.169 --> 00:09:31.230 Central. Those shows signal credibility within 00:09:31.230 --> 00:09:33.549 the comedy community itself, not just with the 00:09:33.549 --> 00:09:35.629 general public. Okay. So his stand -up profile 00:09:35.629 --> 00:09:38.490 is really high at this point. Let's pivot now. 00:09:38.860 --> 00:09:41.059 like you suggested, from stand -up where he's 00:09:41.059 --> 00:09:44.720 in total control to the more collaborative, sometimes 00:09:44.720 --> 00:09:47.559 chaotic, world of sketch and scripted acting, 00:09:47.759 --> 00:09:51.000 starting with MADTV. Right. He joins in 2008. 00:09:51.220 --> 00:09:53.960 He's listed as a feature performer, not a full 00:09:53.960 --> 00:09:56.529 repertory cast member. And crucially... It's 00:09:56.529 --> 00:09:59.190 for the show's final season, season 14, which 00:09:59.190 --> 00:10:02.190 wrapped in 2009. Exactly. And the sources note 00:10:02.190 --> 00:10:04.710 he only has about 12 appearances credited. So 00:10:04.710 --> 00:10:06.389 you've got two things working against making 00:10:06.389 --> 00:10:09.730 a huge immediate splash. Being a feature player 00:10:09.730 --> 00:10:12.350 means fighting for screen time. And joining a 00:10:12.350 --> 00:10:14.570 show in its last, probably already kind of struggling 00:10:14.570 --> 00:10:17.370 season, makes it even harder to establish iconic 00:10:17.370 --> 00:10:20.490 characters or impressions. Yeah, that's a tough 00:10:20.490 --> 00:10:23.129 situation to walk into. But he did manage to 00:10:23.129 --> 00:10:26.169 carve out some space. He did. He had that recurring 00:10:26.169 --> 00:10:28.610 original character, Kerko, one of Coach Hein's 00:10:28.610 --> 00:10:30.090 six students. Well, it gives him something consistent 00:10:30.090 --> 00:10:33.169 to do. But where you really see, perhaps, that 00:10:33.169 --> 00:10:35.769 theater training come into play is with the impressions. 00:10:36.509 --> 00:10:38.970 That's the classic calling card for sketch performers. 00:10:39.309 --> 00:10:41.250 And he had some range there, didn't he? He really 00:10:41.250 --> 00:10:43.509 did. He did contemporary people like Nick Jonas 00:10:43.509 --> 00:10:45.710 actually working with Eric Price and Johnny A. 00:10:45.730 --> 00:10:47.490 Sanchez as the other brothers, which is fun. 00:10:47.649 --> 00:10:51.919 Ah, yeah. Charlie Sheen. Jimmy Kimmel, William 00:10:51.919 --> 00:10:54.820 Shatner. Those are pretty standard targets, but 00:10:54.820 --> 00:10:57.519 require nailing the voice and mannerisms. But 00:10:57.519 --> 00:11:00.279 he also did some more unexpected ones, pulling 00:11:00.279 --> 00:11:02.399 from different eras. Exactly. And that's where 00:11:02.399 --> 00:11:04.299 it gets interesting. He did media figures like 00:11:04.299 --> 00:11:07.559 J .D. Power, too. Wow. OK. Specific. Al Michaels, 00:11:07.860 --> 00:11:11.080 Tom Bergeron, requires a good ear. But then the 00:11:11.080 --> 00:11:15.200 really deep cuts show his skill. William Frawley 00:11:15.200 --> 00:11:18.779 as Fred Mertz from I Love Lucy. Fred Mertz. That's 00:11:18.779 --> 00:11:21.159 not just mimicking a voice. That's embodying 00:11:21.159 --> 00:11:25.179 a whole 1950s sitcom character archetype. Precisely. 00:11:25.259 --> 00:11:28.840 And Andy Griffith as Andy Taylor. Doing those 00:11:28.840 --> 00:11:31.320 successfully suggests a real understanding of 00:11:31.320 --> 00:11:34.000 performance history, of comedic timing from a 00:11:34.000 --> 00:11:36.899 different era. It's more than just mimicry. Connects 00:11:36.899 --> 00:11:38.480 right back to that theater degree you mentioned. 00:11:38.940 --> 00:11:41.820 character study. I think so. It showed he wasn't 00:11:41.820 --> 00:11:44.059 just a stand -up trying sketch. He was an actor 00:11:44.059 --> 00:11:46.519 who could do impressions as part of a broader 00:11:46.519 --> 00:11:49.940 skill set. And that versatility, even in a short 00:11:49.940 --> 00:11:52.820 MADTV run, definitely helped pave the way for 00:11:52.820 --> 00:11:54.940 what came next in scripted television. Okay, 00:11:54.980 --> 00:11:57.500 let's break down that TV acting filmography because 00:11:57.500 --> 00:11:59.940 it is extensive and it really jumps around genres. 00:12:00.179 --> 00:12:02.240 Yeah, he moves pretty seamlessly into recurring 00:12:02.240 --> 00:12:04.799 roles, which are gold for an actor's career stability. 00:12:05.200 --> 00:12:07.220 The biggest early one seems to be up all night 00:12:07.220 --> 00:12:10.320 on NBC. Right. He played Gene Martin for 19 episodes 00:12:10.320 --> 00:12:13.419 around 2011, 2012. That's significant network 00:12:13.419 --> 00:12:16.340 exposure, working within a strong ensemble cast. 00:12:16.820 --> 00:12:19.159 Christina Applegate, Will Arnett, Maya Rudolph. 00:12:19.500 --> 00:12:22.139 It shows he can handle scripted comedy, hit his 00:12:22.139 --> 00:12:24.500 marks, be reliable. And then, like you mentioned 00:12:24.500 --> 00:12:26.960 earlier, a total 180 with Marvel's Agent Carter. 00:12:27.309 --> 00:12:31.450 Five episodes as Aloysius Samberly in 2016. Think 00:12:31.450 --> 00:12:33.909 about that shift from a contemporary network 00:12:33.909 --> 00:12:38.789 sitcom to a stylized 1940s set action drama with 00:12:38.789 --> 00:12:40.870 sci -fi elements. Totally different demands as 00:12:40.870 --> 00:12:43.620 an actor. Completely. Period costumes, specific 00:12:43.620 --> 00:12:46.320 character nuances fitting into that serialized 00:12:46.320 --> 00:12:49.440 plot. It shows casting directors saw him as more 00:12:49.440 --> 00:12:51.919 than just the funny guy. They saw a character 00:12:51.919 --> 00:12:53.879 actor. You also had some other recurring gigs, 00:12:54.000 --> 00:12:56.539 smaller but still consistent. Yeah. The sources 00:12:56.539 --> 00:12:59.120 list three episodes as Bob on Take My Wife and 00:12:59.120 --> 00:13:01.340 three as Officer Mitch Maloof on My Dead Ex. 00:13:01.740 --> 00:13:04.059 Even these shorter arcs demonstrate value to 00:13:04.059 --> 00:13:06.139 producers. He can come in, establish a character 00:13:06.139 --> 00:13:08.259 quickly, and serve the story across different 00:13:08.259 --> 00:13:10.600 types of shows, including newer digital series. 00:13:10.830 --> 00:13:12.850 And then there's the guest star work, which is 00:13:12.850 --> 00:13:15.470 just, it's all over the place. In a good way. 00:13:15.629 --> 00:13:17.450 It really is. We mentioned the voice work, the 00:13:17.450 --> 00:13:20.610 new VIP is BoJack Horseman. That requires pure 00:13:20.610 --> 00:13:22.889 vocal performance, creating character just with 00:13:22.889 --> 00:13:25.029 sound. Which again, probably draws on that theater 00:13:25.029 --> 00:13:27.289 training. Very likely. And then the on -camera 00:13:27.289 --> 00:13:29.330 guest spots just show his incredible utility. 00:13:29.629 --> 00:13:32.250 He pops up on Happy Endings as Kevin. Which had 00:13:32.250 --> 00:13:35.210 that super fast, witty dialogue style. Exactly. 00:13:35.830 --> 00:13:38.330 Then he's Daryl on Blue Mountain State, which 00:13:38.330 --> 00:13:41.679 is a broader college comedy. Then Reggie on Man 00:13:41.679 --> 00:13:44.980 With a Plan, Ralph on Fuller House. So he can 00:13:44.980 --> 00:13:48.139 handle the sharper single -cam banter and the 00:13:48.139 --> 00:13:50.620 more traditional multi -cam rhythms. Precisely. 00:13:50.620 --> 00:13:52.879 He's like a valuable utility player in baseball. 00:13:52.980 --> 00:13:55.669 You can put him almost anywhere. Terry on Superstore. 00:13:55.830 --> 00:13:58.750 Brad on Upload. Superstore's got that specific 00:13:58.750 --> 00:14:01.470 workplace satire vibe. Upload is dark comedy 00:14:01.470 --> 00:14:03.830 sci -fi. Right. He can step into these established 00:14:03.830 --> 00:14:06.370 shows with very different tones and comedic engines, 00:14:06.529 --> 00:14:08.590 deliver what's needed for the scene, and make 00:14:08.590 --> 00:14:11.149 it work. He just fits. And we should also throw 00:14:11.149 --> 00:14:13.230 in his regular appearances on the Chelsea Lately 00:14:13.230 --> 00:14:15.110 Roundtable. Oh yeah, that required a totally 00:14:15.110 --> 00:14:18.169 different skill set. Two quick, topical, unscripted 00:14:18.169 --> 00:14:20.730 jokes. Shows that adaptability again. Stand -up, 00:14:20.750 --> 00:14:23.250 sketch, scripted acting, voiceover, roundtable 00:14:23.250 --> 00:14:26.549 wit. He can pivot. And that ability to pivot, 00:14:26.649 --> 00:14:29.429 to have multiple skills and income streams, seems 00:14:29.429 --> 00:14:31.730 absolutely vital to the kind of longevity he's 00:14:31.730 --> 00:14:33.970 achieved. He's never just relying on one thing. 00:14:34.370 --> 00:14:37.049 Exactly. Which speaks to another side of his 00:14:37.049 --> 00:14:39.049 career, the self -produced content, especially 00:14:39.049 --> 00:14:41.990 podcasting. He got into that pretty early. Right. 00:14:42.049 --> 00:14:45.070 The sources mention METT's Radio, a weekly comedy 00:14:45.070 --> 00:14:47.570 podcast he co -hosted with Matt Dwyer. And they 00:14:47.570 --> 00:14:50.610 wrapped that up way back in September 2010. Think 00:14:50.610 --> 00:14:53.389 about that time frame. 2010 is still the relatively 00:14:53.389 --> 00:14:56.230 early days of the big comedy podcasting boom. 00:14:56.389 --> 00:14:58.889 Definitely ahead of the curve. Being active then 00:14:58.889 --> 00:15:01.090 shows he was already thinking about direct audience 00:15:01.090 --> 00:15:03.750 connection, experimenting outside the traditional 00:15:03.750 --> 00:15:06.309 gatekeepers. Those early podcasts were often 00:15:06.309 --> 00:15:09.210 pretty raw, just comics riffing, building an 00:15:09.210 --> 00:15:11.470 audience from scratch. And he built on that experience, 00:15:11.629 --> 00:15:14.110 moving into the more structured podcast network 00:15:14.110 --> 00:15:18.490 world later on. Yeah, from 2013 to 2018, he hosted 00:15:18.490 --> 00:15:20.769 Ding Donger with Matt Branger on the Nerdist 00:15:20.769 --> 00:15:23.269 podcast network. Being part of Nerdist back then, 00:15:23.289 --> 00:15:25.990 that was huge. Massive built -in audience, cross 00:15:25.990 --> 00:15:28.529 -promotion. A really big platform during that 00:15:28.529 --> 00:15:31.330 peak podcasting explosion. But what's interesting 00:15:31.330 --> 00:15:33.289 is the evolution after that. What's he doing 00:15:33.289 --> 00:15:35.629 now? Now he's running Advice from a Dipshit with 00:15:35.629 --> 00:15:37.730 Matt Branger, and it's independently produced 00:15:37.730 --> 00:15:40.629 with Amanda Rosenberg. Ah, so you went from early 00:15:40.629 --> 00:15:43.250 indie to major network and now back to indie, 00:15:43.370 --> 00:15:46.269 but presumably with a much larger established 00:15:46.269 --> 00:15:48.950 audience. Exactly. It's kind of the full circle. 00:15:49.070 --> 00:15:52.029 The network phase likely helped grow his listener 00:15:52.029 --> 00:15:55.370 base significantly. Now, being independent gives 00:15:55.370 --> 00:15:57.970 him total creative control, ownership of the 00:15:57.970 --> 00:16:01.110 show, and probably better ways to monetize directly 00:16:01.110 --> 00:16:04.570 through things like Patreon or merch if he chooses. 00:16:04.669 --> 00:16:07.389 It's the modern playbook for established creators. 00:16:08.279 --> 00:16:10.559 That drive to create his own thing wasn't just 00:16:10.559 --> 00:16:12.679 in audio, though. He took a shot at creating 00:16:12.679 --> 00:16:15.259 his own TV show, too, right? He did. Back in 00:16:15.259 --> 00:16:18.620 2012, he created and starred in a pilot for Comedy 00:16:18.620 --> 00:16:21.559 Central, simply titled Branger. And he had a 00:16:21.559 --> 00:16:23.259 serious writing partner on that one. Yeah, he 00:16:23.259 --> 00:16:25.259 co -wrote it with Brent Forrester, you know, 00:16:25.299 --> 00:16:27.559 The Office, King of the Hill, The Simpsons, a 00:16:27.559 --> 00:16:30.200 major respected TV comedy writer. Okay, so you've 00:16:30.200 --> 00:16:32.840 got a proven stand -up star, a pilot on the biggest 00:16:32.840 --> 00:16:35.799 comedy network, and an A -list writer. Sounds 00:16:35.799 --> 00:16:37.879 like a slam dunk. You'd think so. But here's 00:16:37.879 --> 00:16:40.639 the crucial detail the sources emphasize. The 00:16:40.639 --> 00:16:43.500 pilot was not picked up to Ceres. And that's 00:16:43.500 --> 00:16:45.899 a really important data point. It tells you just 00:16:45.899 --> 00:16:48.039 how incredible. I think it reinforces that he's 00:16:48.039 --> 00:16:51.559 game for anything funny. You know, he's not precious 00:16:51.559 --> 00:16:54.259 about sticking to one type of comedy or platform. 00:16:54.399 --> 00:16:57.299 He's willing to jump into these niche, high energy 00:16:57.299 --> 00:17:00.399 projects, cross media boundaries and connect 00:17:00.399 --> 00:17:03.179 with different subcultures. It shows he's an 00:17:03.179 --> 00:17:05.619 actor using comedy and not just a stand up who 00:17:05.619 --> 00:17:08.460 acts sometimes. Which brings us maybe to the 00:17:08.460 --> 00:17:10.180 ultimate testament of his place in the comedy 00:17:10.180 --> 00:17:13.819 world. Yeah. His status as seemingly everyone's 00:17:13.819 --> 00:17:16.579 favorite podcast guest. Oh, absolutely. The list 00:17:16.579 --> 00:17:19.200 of podcasts he's appeared on is just staggering. 00:17:19.319 --> 00:17:21.759 It's like a roadmap of the entire comedy podcast 00:17:21.759 --> 00:17:24.119 universe over the last 15 years. You look at 00:17:24.119 --> 00:17:26.420 the shows listed. Never Not Funny with Jimmy 00:17:26.420 --> 00:17:29.980 Pardo. Comedy, bang, bang. Those are benchmarks 00:17:29.980 --> 00:17:32.279 for improv skills and quick wit. Right. Then 00:17:32.279 --> 00:17:34.539 you've got the absolute behemoths, shows with 00:17:34.539 --> 00:17:37.119 massive diverse audiences like the Joe Rogan 00:17:37.119 --> 00:17:39.299 experience. And he's also a regular on the ones 00:17:39.299 --> 00:17:41.039 that get more personal, more into the craft, 00:17:41.200 --> 00:17:43.599 like the Nerdist podcast back in the day. Or 00:17:43.599 --> 00:17:45.720 you made it weird with Pete Holmes. Yeah, those 00:17:45.720 --> 00:17:47.599 require a certain honesty and vulnerability. 00:17:48.349 --> 00:17:50.589 Plus, he stays current, appearing on the big 00:17:50.589 --> 00:17:53.230 shows of the current era. The Burt cast with 00:17:53.230 --> 00:17:55.990 Burt Kreischer, all fantasy everything, which 00:17:55.990 --> 00:17:59.309 is all about quick comedic arguments. Your Mom's 00:17:59.309 --> 00:18:01.509 House with Tom Segura and Christina Pazitsky. 00:18:01.589 --> 00:18:03.950 Bullseye with Jesse Thorne, Ryan Sickler's The 00:18:03.950 --> 00:18:06.789 Honeydew. Being invited onto that sheer variety 00:18:06.789 --> 00:18:09.089 of shows tells you something. What does it tell 00:18:09.089 --> 00:18:11.289 you? It tells you that other comedians respect 00:18:11.289 --> 00:18:13.869 him. They find him genuinely funny and interesting 00:18:13.869 --> 00:18:16.630 to talk to and that he can adapt his conversational 00:18:16.630 --> 00:18:19.450 style to fit basically any format, whether it's 00:18:19.450 --> 00:18:22.529 rapid fire jokes or long form reflective conversation. 00:18:22.890 --> 00:18:25.049 He's just a great hang, professionally speaking. 00:18:25.349 --> 00:18:27.289 He really does seem like a comedy chameleon. 00:18:27.309 --> 00:18:29.069 OK, so let's try and pull all these threads together 00:18:29.069 --> 00:18:31.930 now. Looking back over this, you know, 25 plus 00:18:31.930 --> 00:18:35.089 year career, what's the main narrative that emerges 00:18:35.089 --> 00:18:37.630 from synthesizing all these sources? I think 00:18:37.630 --> 00:18:40.640 the core takeaway is. this blend of dedicated 00:18:40.640 --> 00:18:44.420 consistency and really smart adaptation. He is, 00:18:44.579 --> 00:18:46.700 first and foremost, a working stand -up comedian. 00:18:46.960 --> 00:18:49.700 That output, the specials, the albums, that's 00:18:49.700 --> 00:18:52.160 the constant engine driving everything. Right, 00:18:52.240 --> 00:18:54.299 the foundation. But the key to the breadth of 00:18:54.299 --> 00:18:56.940 his career seems to be how effectively he leveraged 00:18:56.940 --> 00:18:59.720 his other skills. That theater training, the 00:18:59.720 --> 00:19:04.019 intense sketch experience on MADTV. He used those 00:19:04.019 --> 00:19:06.119 to build credibility as an actor. Which then 00:19:06.119 --> 00:19:09.079 opened doors to that incredible range of TV roles 00:19:09.079 --> 00:19:11.579 we talked about. Network sitcoms like Up All 00:19:11.579 --> 00:19:14.859 Night, prestige cable like Agent Carter, essential 00:19:14.859 --> 00:19:17.259 streaming voice work like BoJack. He covered 00:19:17.259 --> 00:19:19.940 all the bases. And underpinning it all, arguably, 00:19:20.119 --> 00:19:22.779 is that early decision to get formal theater 00:19:22.779 --> 00:19:25.799 training at Manhattanville. It gave him a performance 00:19:25.799 --> 00:19:28.339 toolkit that went way beyond just stand -up chops. 00:19:28.619 --> 00:19:30.380 He could do character work. He could handle different 00:19:30.380 --> 00:19:33.059 genres. He could fit into ensembles. So he really 00:19:33.059 --> 00:19:35.039 provides a kind of blueprint for how to build 00:19:35.039 --> 00:19:37.319 a lasting career in modern comedy, doesn't he? 00:19:37.359 --> 00:19:39.299 I think so. It shows you need that continuous 00:19:39.299 --> 00:19:41.420 self -production, keep putting out specials, 00:19:41.420 --> 00:19:43.599 keep putting out albums, maybe adapt with things 00:19:43.599 --> 00:19:45.960 like independent podcasting. But you also have 00:19:45.960 --> 00:19:48.940 to be proactively seeking out diverse roles, 00:19:49.200 --> 00:19:52.099 adapting to how the TV and film landscape keeps 00:19:52.099 --> 00:19:55.400 changing, moving between network, cable, streaming. 00:19:55.950 --> 00:19:58.170 and being willing to adapt the business model 00:19:58.170 --> 00:20:01.390 to like shifting distributors for specials or 00:20:01.390 --> 00:20:03.990 moving to independent podcasting. That constant 00:20:03.990 --> 00:20:06.230 adjustment seems crucial to staying relevant 00:20:06.230 --> 00:20:09.480 since 97. OK, so this brings us to a final thought, 00:20:09.640 --> 00:20:12.000 something for you, the listener, to maybe chew 00:20:12.000 --> 00:20:14.099 on after hearing all this. Yeah, we've talked 00:20:14.099 --> 00:20:16.700 a lot about his journey, Chicago, New York for 00:20:16.700 --> 00:20:19.299 college, building his career nationally. But 00:20:19.299 --> 00:20:21.880 we also highlighted that deep, ongoing connection 00:20:21.880 --> 00:20:24.839 to Portland, Oregon. Right, where he went to 00:20:24.839 --> 00:20:26.940 high school, where he came back and co -founded 00:20:26.940 --> 00:20:29.400 the Bridgetown Comedy Festival, really invested 00:20:29.400 --> 00:20:31.920 in that scene. So here's the question to consider. 00:20:32.220 --> 00:20:35.799 How much has that sustained connection to and 00:20:35.799 --> 00:20:38.329 influence within this? specific Portland comedy 00:20:38.329 --> 00:20:41.029 scene actually shaped the flavor of his own stand 00:20:41.029 --> 00:20:43.349 -up. When you listen to his specials, especially 00:20:43.349 --> 00:20:45.950 one literally titled Finally Live in Portland, 00:20:46.130 --> 00:20:48.650 can you detect a particular tone, a certain kind 00:20:48.650 --> 00:20:50.950 of observational detail, maybe that dry Pacific 00:20:50.950 --> 00:20:53.809 Northwest edge that reflects his deep roots and 00:20:53.809 --> 00:20:56.250 role in that specific regional comedy culture? 00:20:56.490 --> 00:20:59.349 Is his comedy distinctly Portland in some way? 00:20:59.680 --> 00:21:02.779 even as he achieved national success? Does being 00:21:02.779 --> 00:21:05.299 an institution builder there bleed into the material 00:21:05.299 --> 00:21:07.859 itself? It's an interesting angle, right? That 00:21:07.859 --> 00:21:10.900 interplay between national visibility and deep 00:21:10.900 --> 00:21:13.359 regional identity. Something to definitely think 00:21:13.359 --> 00:21:16.000 about as you check out his work. A great final 00:21:16.000 --> 00:21:18.799 thought. Well, that wraps up our deep dive into 00:21:18.799 --> 00:21:23.859 the sources surrounding the really rich and multifaceted 00:21:23.859 --> 00:21:27.039 career of Matt Brainder. Yeah, fascinating stuff. 00:21:27.119 --> 00:21:29.059 Thanks for joining us as we went through it all. 00:21:29.140 --> 00:21:30.940 We hope it gave you a real sense of the strategic 00:21:30.940 --> 00:21:34.779 thinking and sheer hard work that goes into building 00:21:34.779 --> 00:21:37.160 a career like his. Definitely. And if you want 00:21:37.160 --> 00:21:39.579 to explore further, we absolutely recommend checking 00:21:39.579 --> 00:21:41.680 out those key specials and albums we discussed. 00:21:42.279 --> 00:21:44.720 Shovel Fighter, Big Dumb Animal, finally live 00:21:44.720 --> 00:21:46.980 in Portland. Listen for those different threads 00:21:46.980 --> 00:21:49.190 we talked about. Pay attention to the writing, 00:21:49.250 --> 00:21:51.430 the performance style, how it evolves. Or, yeah, 00:21:51.509 --> 00:21:53.750 check out his current podcast, Advice from a 00:21:53.750 --> 00:21:55.589 Dipshit with Matt Branner, to hear where his 00:21:55.589 --> 00:21:58.109 comedic voice is right now. Lots to dig into. 00:21:58.509 --> 00:22:00.250 We'll catch you next time for another deep dive.