Why Wars Happened Interview History Podcast
Time Travel, Buddy Comedy & The American Revolution with Sarah Peters
[sound effect] Hey guys, welcome back to the Why Wars Happen History Podcast, where you learn about the causes of wars and things like "Why did it happen?" Was it inevitable? Who was involved? Sometimes I go back hundreds of years just so we can understand what that happened. And if you want to talk more about war, we also have authors, historians, war generals, royalty, actors, filmmakers, a whole bunch of people come on as guests and we talk about everything about war before, during, and after war. So let's go. Welcome to the Why Wars Happen History Podcast, where we tell the story of the politics and events that happen behind history's biggest wars. And we also chat with filmmakers, authors, and historians about war, or about comedy about war, which is what we're doing today. So today we're sitting down with producer, writer, showrunner, all around, hilarious creators, Sarah Peters. Sarah, thanks for joining us today. Thank you so much. I'm excited to be here. Yes, I'm very excited to have you. I watch the whole thing, probably in like one day. I was like literally crying, laughing about this. So we're talking about making history. It's a TV series that is a time traveling from the 21st century to the 18th century, right before the American Revolution. And it's a comedy. It's a time travel story. It's kind of a love story, kind of a buddy story. Can you tell us just a little bit about it? Got them all. It has something for everyone. Yeah. I mean, yeah, you described it perfectly. It was like one of those shows that, you know, has a high concept to it being time travel, but is also just very silly in a way that, to me, makes it more grounded. You know, because you have the kind of like silliness of real life and of real modern attitudes juxtaposed with, of course, the American Revolution. So yes. And remember to like and subscribe or the allies get it. Yes. Oh, without getting too much away. It basically, there's a guy who doesn't know that much about history that time travels to right before Paul Revere's ride. And he does something that makes it not happen. And so now he has to bring his professor buddy from the present into the past to try to fix it. And it's just hilarious all the way around. Thank you. Oh my God. And I love how you guys just launched right into there without the whole, like, how did he, how does this time machine work? How did he like you don't need any of that for the story? And it just works. I love how you launch right into it. Yeah. Can I ask is beautiful location? Where was that filmed? It was, well, I wasn't a part of shooting the pilot, the creator, Julia Sharp, made the pilot and produced that and that all happened before the writing staff joined. That was filmed like in the Boston area, I believe. God, it's beautiful. Yeah, it's like in the woods and yeah, super, super cool. Okay. Okay. I have to ask. What's with the ham? Where did that come from? You know, it's just one of those things. It's like, there's so many things that happen in a writer's room that just make each other laugh or just things from lights that are just so silly and you get addicted to bringing them up over and over again. And then it just makes it sway all the way in and it's just so funny. I think it's just something like that. It was just kind of like, wouldn't it be funny if we actually did that on some. That's really funny. At first you're like, what? And then you're like, oh yeah, I can roll with this. I'm rocking this idea. Yeah, but like off what you were saying, I think like, you know, time travel in science fiction can be so tricky and I think we did have a physicist come and talk to us and explain things a little bit. Not it was like, at the end of the day, it's more like the rules can be whatever as long as you follow them. You know, like you can make your own like time travel can look different ways, I think, and none of us was a major nerd in terms of that and we tried to educate ourselves and then it was like, well, I don't know. Honestly, if you watch, you know, The Flash, which I love, but like, it eventually gets to the point where like, you know, I'm just gonna have to take it all on faith and like that this is part of what's going on, like, even if it's not super scientific. Yes, because it doesn't really exist. Yeah. Yeah, yeah, yeah. You just go with it. Or maybe this show, it's funny because I was trying to talk to my husband about it. I was like, you have to watch it with me. He's like, okay, the trailer is really funny, but kind of, is it going to hold up throughout the whole thing? And I was really surprised it did the whole thing felt like, you know, when you're watching family guy and you're like, how do we not get not funny? And I keep being funny throughout the whole thing all the time, and that's what this show does it. And I have to ask, the Celine Dion thing was that. Oh my God. Oh, you mean share. Or if there's the need for and then it, yeah, and then the show me the money, like all of these things using things from the present to impress people from the past. How did that come about? I guess it's like, again, it's like one of those just silly things that is ultimately very grounded when you think about what a person like Dan would do in that situation, someone who feels like, you know, things aren't going his way. He's a little bit an outsider, but it's a little bit his own problem. So it's like, instead of actually fixing what he might need to emotionally, he'll just take a shortcut and get a little attention with the limited resources he has so we've all like, kind of sized about if we go into the, into the past, I would totally, you know, write Green Day songs or Beatles songs are like everything kind of thinks that at some point. So we're like, yeah, exactly. We felt seen during that, like that's me. Yeah, I love that about the show that he has this kind of innocent, this losery dorky in a sense that is so silly, but ultimately so relatable. Yeah. Totally, totally. He pulled that off very well. In the writers room, you guys just like throwing stuff out there like, this is really funny and this is really funny. Yeah, I mean, we did initially, and again, this is like to Julia Sharp, who's the creator and also was a family guy writer. So maybe that's something to do with your theory. But, you know, he assembled a really dynamic group of writers and we really gelled and I think it felt like a safe place to bring up kind of wacky ideas and things and just sort of see what sticks. We did just talk about a lot of historical events that would be funny to include in the show at first. Just as a jumping off point and then, you know, we decided to make things really serialized and always be like character driven, of course, with the twists and turns along the way, but we did have more episodes planned. But a little bit became, I think we initially planned for 12 episodes and then it got shortened to nine, which I didn't know could happen, but I guess anything could happen. So it was like, you know, the second half of the season we did have to make kind of like more adjustments on the fly in terms of, you know, kind of wrapping things up more. And that eliminated a lot of the kind of like more fun one off things and kept it to be more about like the American Revolution figures like the, you know, Hancock and Adams coming back and forth and. And again, I mean, that was like a testament to the cast as well that it was just so amazing and you have people like, hey, he's funny storyline, you know, shifted to that I was not expecting the story to go that way, and I was just there for it. I was like, we weren't either. I mean, they were just so funny like everything they did was so funny and, you know, it was one of those situations to where like the cast and the writers like all really got along and it really felt like teamwork and then we had this director, Jared Hess, who did a few of the episodes, who is just so amazing and collaborative as well that, you know, it was a really nice and very rare experience with that dynamic yeah. Yeah, they they pulled it off very, yeah, don't be nasty Chris. Don't be nasty. Yeah, you have somebody. Oh my god. That is, I'm like literally like tearing up crying a little bit. Remember how funny that was. Like, it was was the filming delayed a little bit by everybody just breaking down laughing all the time, or yeah, we had a good time. I think like it was pretty, you know, people know how to lock in you've got pros there like, you know, Adam Palley and Leighton Meester who are just so, so good and so professional and able to kind of like block in, but yeah, I left so much at that job but every sub of the process. Just, I can imagine. Yeah, it was. Did what was the most ridiculous thing that kind of got thrown out there that maybe didn't make it into the show. Man, that is so it's a fucking new number. I mean, one of the things that that I can't believe actually did go in that we were just laughing about so much as like, or wait, did it go in the Hancock and Adams on the hoverboards that happened right. Yes, yes. Okay, that was ridiculous. That was and it did me. So, I think that was probably one of the craziest things. And it was just like, well, I don't know costumes are so funny, like, when you just have those guys just doing their thing and I don't know I'm dumb. Like, just the contrast of a hoverboard and a, you know, revolutionary full outfit on. So, and the, the, the homeless bit like begging for money because you can't really make it in the 21st century. Oh, yeah. That was, that was very ridiculous and funny. I can't get that image out of my head. I know. Oh my God. I should have re watched these before this. I'm like, I'm like, oh yeah, this show was amazing. It was so funny. I was dying. I, my husband didn't end up watching the whole thing with me, but there was a lot of times where I was like, I have to show you this really, this really funny part. And I'd like, pull a mess. I'd be like, look, you have to watch this. And like, it's just like, I loved it. Was it like ad-libbing or like, was it pretty? Yeah, there's always ad-libbing when, you know, you have a lot of the cast was really good improvisers. But, you know, we also, as on a lot of shows, you have writers on set who help kind of throw ideas in and things like that. So it always shapes up a little differently when you're filming. Yeah, and that's so great when actors can bring that to the table as well. And we definitely have. Great, great cast. How did you, I have to ask, like, this is just such a concept with the American Revolution and it's hilarious, but it's really serious. And how did you guys manage to decide, like, okay, we're going to emphasize this part or we're going to exaggerate this part in a comedy? Like, was that really hard? No, it was super easy. I, you know, it's like, we had a really, you know, Julia Sharp, he goes by Goldie. He was the showrunner and creator and he just had such a clear vision and the script for the pilot was just such a, he just really hit this tone so well. And that everyone was able to lock into that, I think, is really a testament, not just to his writing, but his leadership as well, that he was able to, you know, have a group of people all interact with, like, this really specific tone. It messed really well. Yeah, it did. Yeah, so can I, I don't know if you know about the, like, the back end part of it a little bit, but I have my own experience. I'm, I do producing and screenwriting also. And so I have to ask. Period pieces are so notoriously difficult to get funding for, to get greenlit and everyone's like, I'm not touching this, even if you have, like, incredible cast attached to it. How was this really hard to get greenlit because of the period piece aspect of it? Gosh, I don't know. I remember because I wasn't involved at that point, like, they had already had the pilot and greenlit and everything, but it was like the hot pilot that year, like for network shows like it was like, ooh, making history. You getting a meeting for that or, you know, like it was already, it had some cred behind it because, like, the pilot itself just turned out so good. Yeah, like it just all came together in the pilot, which they feel before greenlighting it, I guess. And it was like, so different. Yeah, it's not just like another series about Samuel Adams or something like it's so different. So, okay, okay. If you're pitching this, what would you say it's what meets what it's hard to describe. It's like, I mean, family guy is a little bit. The style of the humor, right? But it does also have this kind of like 90s nostalgic thing, like with the credits and the, you know, like the style of the trailer and things like that had a little bit. And for those of you out there that like 90s nostalgia, there is a 90s nostalgia episode. Oh, yeah, there is that too. But I think like there was a reference of, I forget what kind of, there was like some car commercial from the 90s, like some silly commercial that was used as a reference. When they were making the title sequences. And I think it like had it like a little bit captured the spirit of the show is one of those like minivan commercials that's. Okay, I feel in it. I mean, you're talking about it was, but I think it has the innocence of kind of like almost a pre digital age that feels kind of 90s. Yeah, it is cozy. Yeah, it is cozy. It's a great time of year to watch the show again. Yes, it is, it is. I don't know what Thanksgiving and fall like that whole era is like American Revolution. Yeah, you want like a period of ease. Yeah, yeah, yeah, totally totally. Did you guys like bring in a historian, or were you just like, yeah, we're gonna. You know, it's me give me bangs. Good. Good. Good. Yeah. Okay. Did you have people like history buffs were kind of like this is cool or were people kind of disgruntled like this is. Oh, gosh, we're making history. Who funny. Yeah, yeah, like, don't do that. Not about how funny it was not. They didn't come to me. If they were. I don't know, you know, get docs or anything for. Not that I know. Yeah, well, for that for those of you again listening. Our first seat or season one of the narrative side of our podcast is all about the American Revolution and we love the American Revolution and our founding fathers and so that said, you'll love this show. It's really funny and it's not offensive. So I don't think so. I mean, there's like two jokes. I don't know. It's like very like, it's like between PG and PG 13 event. Mm hmm. Yeah. Yeah. It's like just at that age where my 12 year old might like it. Yeah. Yeah. Yeah. Yeah. Yeah. I feel some versa. I'm in a little dangerous, but yeah, there's not going to be any like job jokes or anything. No, no. So you, you yourself have a background in comedy. Yes. Right. And you worked on ghosted master of none and you're also doing Harley Quinn. You're the show. Yeah. Yeah. Okay. So what, how did you do all this comedy? So how did you get into that? How did I get into it? Just by being such a bitch, like just being so annoying and ambitious and just crying new way up the pile of men to, you know, the position I'm in now. But no, I mean, I started out as like a PA on American dad, I would like deliver the scripts and get lunch and stuff like that. And, you know, I'm not really a performer, even being on a podcast like makes me nervous because I'm just, that's not, no, it's good. It's good for me. I need to like push those like edges or whatever. But I, yeah. So I, you know, studied screenwriting in college and just came out like a total psycho to LA. And just believed I was better than everyone else. And just kept on people until they gave me opportunities. And then when I got those opportunities, I took advantage. So, yeah, just by being like truly annoying. That is fantastic. Yeah. I mean, I don't know. It's the truth. Like, it's just one of those things where you're like, there's no path. I was, you know, I guess you could say I went like the assistant route or whatever, but I don't know if that even exists anymore. Since COVID and the strike and all that. I don't know what my path would be now. And now that everything's virtual. It's kind of like, you're at home. You have your own lunch and you have your own coffee. Yeah. You're like, you're not like walking to the car with someone that you don't know that well and breaking the ice. It's like, yeah. There aren't those little like downbeat moments that really help a group gel. Yeah. Well, not the same time. Now you don't have to be in LA to be a writer. So that's pretty cool. I think. Yes. Because LA has gotten crazy over the last 10 years. And so that's really nice for people. I think. Yeah. That's true. Yes. You're lining for sure. And so I wanted to ask is this different now that you're doing show running is was. And it's a little bit more of a not so wackadoo kind of comedy that you're working on right now. And so how different of an experience is that going from one to the other. Gosh, I mean, you've mentioned, you know, several shows I've written on. And I think I've written on something like 10 first season shows as well. So I've done comedy. In basically all different sub genres like I've done more romantic comedy like Master of None or, you know, more high concept things like ghosted and. And this and then even yeah, going into Harley, which is, you know, has that's a show with a lot of, you know, fan base that really expects certain things and. You know, being like DC canon and all of that. There are different expectations and more kind of like. External perspectives to include, but for me, like, I'm not even a comic book nerd at all, you know, so I know I'm sorry. Sorry, everybody. But we had that point of view represented by many other people involved so, you know, I'm just honest about what I bring to the table and it's, and it wasn't that although Batman returns is my favorite movie. Speaking of this time of year it's amazing Christmas movie. I recommend for everyone. But yeah, I think I always come to any project from a character perspective and just locking into the voice and the point of view of, you know, the creator of the show runner and the characters and there's always something that I can lock into and bring myself to. And it always starts there for me. So, you know, a show like Harley, for example, like, I just got inside, you know, Harley and poison ivy's mindset and what is funny and ironic about the situations they put themselves into and it ended up being probably the most personal writing I've ever done on that show. Oh, just by the nature of it having to female leads, I think, which I haven't done much of before. Yeah, they're just kind of rare. Yeah, and I've seen your name a lot on Reddit. And I saw that you did an AMA for Harley Quinn and everybody loves what you're doing with the show so thank you pressure just feel a little relieved by that. Thank you so much. I'm not actually involved in season five, which is good, but yeah, but I ran season four and I was on season two and three as well so yes it's a big part of my career and I love being a part of that show but I was ready to move on after season four. And you did an AMA on Reddit. Yes. And that is more terrifying to me than anything. I know I was scared, but people are so nice. Well, really, the fans that we have on the show are just like, are amazing, are just like so amazing and the questions were really thoughtful and yeah, I loved it actually interacting with them there. Yeah, it was scary though, because I had to like create a Reddit account, you know, I'm just like, I don't know. It's just all sort of important to me, but it was really cool and it's really cool to see a positive response to something that all, you know, like I said, personal and then also at the same time, like, we did the writers room all on zoom, like it all aired so I didn't get to do any press and all the writers, you know, from season four didn't really have that experience of like being out there and getting kind of like the attention and the acclaim and interacting so I was really excited about any opportunity to talk about it about the work of, I mean, that was an amazing group of writers season four partly. Yeah, it's pretty popular. And again, you're very brave for going on to write. Before we go, I wanted to ask you, what can we expect from you in the future? Are you working on anything now? Oh, yeah, baby. I am, you know, yeah, I'm like, I'm developing a few things. I'm actually adapting the graphic novels tank girl. Yeah, I'm working. I started on it this week. So I've just started thinking about, like, the pilot and I'm really excited about that. And I'm taking it to be a big spring. It's animated and it's going to concept is like kind of out there so I'm excited to see how it's received by everyone, but it's so excited. Yeah, it's a challenge of taking that kind of character that's so emblematic of the time period where it was created and like bringing like how do you, you know, that punk attitude and everything like a plot to what's going on today, but also futuristic Yeah, it's, there's a lot of layers there. Yeah, you're going into the past as well. Yeah. So that is fantastic. Yeah, I know. Maybe a year from now, we might hear something about that. I don't know. I don't know how these things work. It's all a black box to me, the business side. And she's like, I'm just I'm Google Docs open and I send emails and I don't know. Well, all I can say is it can only go up from here. It's a little dismal right now, but I think it is. We need tank girl to save us. But tank girls. Awesome. Who doesn't love tank girls. So I think he got something going for you there. Yeah, totally. And then I, you know, I have other projects as well. But that's the one that's kind of at the top of the list right now. And very cool. Yeah. Cool. Okay. Well, again, thank you so much for coming on the show. Thank you. I'm very happy that I got to talk to you about this series and happy holidays. Thank you. Same to you. This was great. Yeah. Bye. Yeah. Yeah. [BLANK_AUDIO]