Thrilling Adventure Hour & Night Vale Cross Over Marquee at SDCC. Photos by Bigwhitebazooka courtesy of Ladykiller
Thrilling Adventure Hour & Night Vale Cross Over Marquee at SDCC.
Photos by Bigwhitebazooka courtesy of Ladykiller

Thrilling Adventure Hour returned to Comic Con last month in a cross over show with Welcome to Night Vale, an event of such magnitude that they last time they tried it (in Seattle, in March), the recording equipment literally could. not. even.

Performing to a packed house at the Spreckles Theatre in San Diego, the show followed Sparks Nevada, Marshal of Mars (Marc Even Jackson), Crouch (Mark Gagliardi) and the usual Sparks Nevada: Marshall of Mars crew as they travel through space and time to save the moon–allowing for the “Marshal of Mars” and the Night Vale worlds to collide.

Done in three acts (with an intermission!) the first act opens with Wil Wheaton–as the omniscient narrator/god-like being–and quickly segues into “Marshal on Mars”, with Sparks Nevada (Marc Evan Jackson) and Croach (Mark Gagliardi) dealing with the subversively silly criminal element (this time it’s James Urbaniak as a good-guy shoe salesman turned bad and his two robot outlaws). Things go from bad to worse when Pemily Stallwark (Molly Quinn), now Marshal of the Moon, shows up needing help to save Earth’s lunar satellite. An introduction of a timey-wimey-super-duper-don’t-think-about-it-too-hard device allows people to travel across space, time, and apparently dimensions, and Croach is zapped to Night Vale.

Thrilling Adventure Hour and Night vale cast and guest stars at SDCC 2014. Photos by Bigwhitebazooka courtesy of Ladykiller
Thrilling Adventure Hour and Night Vale cast and guest stars at SDCC 2014. Photos by Bigwhitebazooka courtesy of Ladykiller

Act II begins like a typical Night Vale episode. Cecil (Cecil Baldwin) begins with the news that there is a new Destroy-the-Moon initiative. The citizens of Night Vale, Cecil tells us, have tried throwing objects at the Moon and will shortly escalate to yelling insults at it. Also, a strange, overly literal being has been going around town demanding that people cease their plans to destroy the moon. Cecil, the Mayor Dana Cardinal (Jasika Nicole), Carlos the Scientist (Dylan Marron) and Steve Carlsberg (Hal Lublin) end up getting zapped back to Mars with Croach. And thus ends Act II.

Act III (after a fairly interminable intermission) has the combined casts banding together to save the moon with some (extremely convenient) time-zapping, a few deaths (!!!), a few more resurrections, and heartfelt professions of love, friendships and respect between various pairs. There’s also some discussion about paradoxes and the general head-ache-inducing vagaries of time (and dimension!) travel.

Night Vale
Cecil (Cecil Baldwin), Mayor Dana Cardinal (Jasika Nicole), and Carlos the Scientist (Dylan Marron) at the SDCC cross-over Thrilling Adventure Hour/Welcome to Night Vale performance.
Photos by Bigwhitebazooka courtesy of Ladykiller

While maybe not the most coherently plotted Sparks Nevada episode (Night Vale tends to eschew plots completely, so it wins by comparison), the combined cast elevated the show; and the audience, eager and ecstatic at the combining of the two fan-favorite shows, did not let a joke slip by them. The verbal sparring between Baldwin, Sparks and Gagliardi is quite possibly some of the best comedic repartee we’ve heard in awhile, and the 30-second half written/half-improv’d competing cries-of-alarm between Carlsberg and Felton (Craig Cackowski) brought the house down.

All in all, the cross over was extremely successful in bringing together the two worlds; it was funny, irreverent, touching and, well, everything we’ve come to expect from both shows.

The episode won’t be aired for awhile, but you can catch up on all the most recent episodes of Thrilling Adventure Hour here and Night Vale here while you wait!

Fan favorite writer and producer Jane Espenson (Buffy the Vampire Slayer, Torchwood, Once Upon A Time) took some time out of her hectic Comic Con schedule to sit down and chat with Geekscape about her show, Husbands.

husbands 2
(l-r) Brad Bell and Sean Hemeon as Cheeks and Brady in “Husbands.”

Espenson co-created Husbands with Brad Bell  in 2011, solely for distribution on digital platforms such as Blip, YouTube and Roku. Husbands follows Cheeks (Bell) and Brady Kelly (Sean Hemeon) as a gay couple who drunkenly tie the knot in Vegas to celebrate the federal amendment for marriage equality, and stay married for fear that a divorce would devastate both the same-sex marriage cause and their careers.

The show quickly built up a large fan base, and for their second season, Epsenson and Bell ran a successful Kickstarter campaign, reaching 120% of their goal. The third season, and the upcoming fourth season, were  produced in partnership with CW Seed.

Husbands is known for its send-up of sitcom tropes, its brilliant humor (which often is layered over biting social commentary), and its intelligent and sharp comedic style. Guest stars on the show are another draw; Joss Whedon appears in every episode in season two as Wes; other guest stars include Jon Cryer, Mekhi Phifer, Felicia Day, Amber Benson, Emma Caulfield, Dichon Lachman, Nathan Fillion, Amy Acker, Seth Green and Michael Hogan and Beth Grant as Brady’s parents.

So we were very excited to sit down and talk about the show, how it started, and where it’s going with Jane Espenson herself.

Jane Espenson
Jane Espenson

 

Q: So, did you work with Brad prior to Husbands? How did the show come to be?

A: This is the first thing we’ve done together, other than a little stage play we worked on together. He had developed the character of Cheeks online, on YouTube, and had a number of videos up there that I found and fell in love with, and I finally reached out to him over Twitter, and we became lunch friends. We started talking about what we could do together.

He had the idea of doing an online comedy, and he had an idea of him and Alessandra [Torresani]  as young actors in LA, and I was like, ‘What’s more current events-y? What’s more, going on in LA? What’s a show you can only do now?’ and he said, “what if it’s a show about newlyweds?’ and I  said ‘Yes, that show will exist in five years, and it will be on NBC, and it will be called Husbands.”  And we were like, ‘Let’s just make it oursleves!’

Right away it was clear that this was something we were going to make ourselves, we weren’t going to go out and pitch it, we had a very clear vision for it. And that night, he did the first pass on the script that become our first story. And we filmed that, and we put it out there, and it got so much positive reception and made it so clear that there was an audience. So, we used that as part of a Kickstarter campaign for season two, and then the third and fourth stories were all through the CW Seed. And they’ve been amazing. It’s really the best way, I think, if you want creative control. We also realized how valuable it is to have good input from someone who has objectivity on the series, so we have readings and producers read the scripts, for the feedback.

Q. So the first episodes were really short, only two or three minutes each. Why did you decide to go with that format?

A. It was one sitcom length story, we just released it a scene at a time. In later seasons we released it an act at a time. But it’s the same number of scenes, and they add up to standard sitcom length.

Q. Did you know beforehand that you were going to release just short scenes? 

A. We knew beforehand, because at the time no one would click on anything that was longer than three minutes. It was just how people used YouTube then. So we were like, let’s just make sure no scene is longer than two-and-a-half pages. And we were very strict about that. We’ve loosened up on that a little because we are releasing things of a longer length, but it’s still a standard sitcom length story.

Q. Did keeping the scenes so short affect the way you approached the writing?

A. A little bit, just because you had to be very draconian with yourself. You couldn’t indulge in a three page run of puns, it was like, no, this scene has to end now. So in that sense it tightened our writing up. But we both have very good instincts, about when a scene is over. If you look at our scripts now, it’s rare that a scene goes over three pages. We had a big exception, with the first scene of “I Dream of Cleaning” episode, was a really long scene, but it was really broken up into what we call French Scenes, where somebody exits and a new scene starts. So if you look at it that way, we still kept ourselves very strict. The scenes were still quite short.

Q. So the Kickstarter was very successful. What was it like using Crowd sourcing for your funding?

A. We knew it was going to be a certain amount of work. Tania del Rio, who’s an artist who works with us, she designs our T-shirts and our poster, and one of the stories in our comic book, she ran the Kickstarter campaign. Like, she ran the shipping, which is one of the bigger jobs. We already had content, since we had season one, so a lot of our work–those two difficult things–what do you present, and how do you get the rewards out–were already done. So we just sat back and watch the numbers roll. It was amazing. We knew, in just a few hours, that we were going to make our goal. I just kept texting Brad in the middle of the night ‘We just got $500 more dollars!”

But then it’s a little nerve wracking, because any one can take their money back. So we had one big donor, and for awhile, if he had backed out, we wouldn’t have made our goal. But once we had the cushion, then we started breathing.

Q. You have quite the list of guest stars in Husbands…

A. Yes. Jon Cryer, we were very happy to work in Jon Cryer. And Joss Whedon coming is as Wes was amazing. And there was Amy Acker, Michael Hogan…

Q. Including quite a few that also are on Thrilling Adventure Hour…

A. (laughs) That’s true. Nathan Fillion, Michael Hogan….I think Michael Hogan did Thrilling Adventure Hour because I recommended him, because I knew what a great sport he’d been on Husbands. I’d worked with him on Battlestar [Galactica], but with Husbands I got to hang out with Michael a lot more. Battlestar was in Vancouver, and I didn’t get up there much, so I never really hung out with Michael. Being here, on our set, what a fun guy Michael Hogan is. I would work with him anytime, any day. He’s a great guy. So different than Colonel Tigh.

I mean, I knew good people that I wanted to reach out to. And then to have all of them respond so positively to the material…and then to meet new people, like John Cryer, who Brad and I didn’t know, or Mikhi Phifer, who is just really, really great. And that was something that we wanted to do, we really wanted to have this be a part of the civil rights movement, and we wanted Brady to have a baseball friend.

Q. One of the things the series has been getting a lot of buzz about is the deftly it handles the social issues while still remaining a sitcom. Do you find that difficult?

A. That is all Brad. He is a very political animal, and a very socio-political animal. And he’s always got stuff, on any topic, and you’ll say ‘what about this? I haven’t really thought about this yet.’ and he’ll say, ‘oh, I have.’ He’s very well reasoned, and he has opinion that are the next opinion. He doesn’t go with the crowd, he’s always the guy going ‘Well, yeah, but…’

So when we all thought it was great that we have these very masculine men being written into these shows on TV,  Brad was going ‘Why is masculine being better? What’s wrong with femininity?’ And just like that, your eyes open. And in example after example after example, your eyes get opened. Like, if you say ‘Isn’t it great that so-and-so came out of the closet? Isn’t it great they’re getting all this recognition?’ And Brad’s saying ‘Not everybody had a choice to come out. Where’s the recognition for the people that were always out? That didn’t have a choice?’ And it’s really made the show something special. And Cheek’s moments, where he talks about that, are the most-watched part of our show.

Watch the Husbands trailer below and let us know what you think! Did we ask Jane all the right questions? What did you want to know?

They’re back!

Everyone’s favorite new-time podcast in the style of old-time radio is joining forces with the eerie alt-world radio dj this year at San Diego Comic-Con. That’s right…it’s the Thrilling Night Vale Hour. No. Wait. The Night Vale Adventure Hour! No, that’s not right either. The Thrilling Nightventure—you know what, we’re gonna stop with that now and get to the details.

The Thrilling Adventure Hour and Welcome to Night Vale are teaming up for a cross over show on Saturday, July 26th at 8 p.m. at the Spreckles Theatre in downtown San Diego. Tickets went on sale today–you can purchase them here–and for a little bit (well, a lot)  more (and legal proof that you’re 21+) you can attend the VIP after-party with the cast of both shows. The best part–you don’t need a Comic Con badge! That’s right, all you need to do to see the show is buy a ticket and then bravely face the hordes of Cosplayers exiting the Convention Center, frantically in search of alcohol (attractiveness +2) and food (stamina +3).

For those of you who haven’t experienced the comic-genius that is Thrilling Adventure Hour or the spooky surrealism of Welcome to Night Vale, we recommend buying a ticket (they’ll be gone soon) and then catching up with the shows on their websites, here and here, or find them on your favorite podcast listening app.

TAHWTNVPressRelease_SDCC062414
Thrilling Adventure Hour live performance with special guests Nathan Fillion, Alan Tudyk & Molly Quinn.

Created by Ben Acker and Ben Blacker, The Thrilling Adventure Hour is a staged show and podcast on the Nerdist network, where actors you know, like Nathan Fillion, Patton Oswalt, Alan Tudyk, Neil Patrick Harris, and  Patrick Warburton  dress nicely and join the WorkJuice Players (including Marc Evan Jackson, Craig Cackowski, Hal Lublin, Marc Gagliardi and Annie Savage Cross) on stage in non-serialized thrilling adventures (of course!) like Sparks Nevada, Marshal of Mars or Beyond Belief.  It’s recorded live, with limited rehearsal time–meaning anything can, and often does, happen.

The Thrilling Adventure Hour is currently launching a brand new web series on the Nerdist Network, and the graphic novel, released last year, was nominated for an Eisner award.

Welcome to Night Vale live performance: Cecil Baldwin
Welcome to Night Vale live performance: Cecil Baldwin

Welcome to Night Vale, created by Joseph Fink and Jeffrey Cranor, and featuring Cecil Baldwin as the voice of Night Vale, the podcast styles itself as a series of community updates for the small desert town of Night Vale–which exists in a Twilight Zone like world, filled with mysterious lights, hooded figures and secret police.

This is the second time Thrilling Adventure Hour and Welcome to Night Vale have joined forces for a live show. Last March they were live at the Moore Theatre in Seattle, to rave reviews.

Tickets are $15 for just the show, and $100 for the show and the VIP (21+ only) after party, and are available here.

For those of you who can’t wait, here’s a behind the scenes look at The Thrilling Adventure Hour:

http://www.youtube.com/watch?v=Of8w7KwdyHc

Let us know how excited you are in the comments!

So about a year ago I got introduced to Thrilling Adventure Hour and I was hooked. It was funny, it was smart, it was a nostalgic homage to the old radio plays that my father used to play on long road trips. It was a old- way of storytelling on a completely new media, and I started thinking about writing a story-telling podcast because I loved the idea, and, to be brutally honest, it seemed like a less-expensive, less time-consuming (HA!) venture than doing a web-series while still being creative and fun.

By Halloween I knew it was going to be about zombies, which may or may not have had something to do with The Walking Dead‘s newest season premiering.

By December Jonathan London had green lit it to go on Geekscape.net. You know, if I ever wrote it, recorded it, edited it, etc. January was spent ‘researching’ if researching were to read ‘me on the internet doing f*ck-all.’ I’ve borrowed a chart of the creative process to illustrate:

Courtesy of toothpastefordinner.com
Courtesy of toothpastefordinner.com

It’s clearly very scientific.

In early February, I got a producer who made things like deadlines and budgets and asked if I had a cast? A website? Artwork? Or a, you know, script?

Being a writer, I immediately started work on the most important part: the website. GoDaddy wanted money for a .com (ha!) so we’re now a proud family of the .net family. (.net is the .best!).

The site went live in 4/18 and is just amazing, thanks entirely to my website designer. All I did was send wildly random ideas at 2 a.m. that she managed to distill into coherent design concepts, and even more amazing, managed to make them look good.

Next, clearly, was the artwork. Four hours in photoshop convinced me that I needed to find someone with actual, you  know, design sense, and that’s where my phenomenal poster and logo designer came in. I mean, have you seen these posters?

Artwork done by the amazingly talented Tiffany Shin. Want one? Pledge to our Kickstarter!
Artwork done by the amazingly talented Tiffany Shin. Want one? Pledge to our Kickstarter!

So now February is half gone and after some gentle urging from my producer, episode one got written. Bam! Well, more like, bam-stare-at-the-computer-while-half-watching-The-Good-Wife. But characters started to happen, and stories started to come clear and, I realized, each episode would have music (which resulted in another eight hours of not having to write because I was researching music. For the show. Couldn’t write until I knew the song! It would define the whole episode!).

I always knew there’d be a Survivor. Long conversations with the significant other and my producer convinced me that the Survivor was a woman, that is was five years after the Fall, and that while zombie-like things existed, the show wasn’t about the sad, slow, suffering of the people who were still alive (because so many other shows are doing that so well) but rather the frustrating, funny, fatuous (because alliteration) ways people would still be people, even after the end of the world.

A Survivor who finds an abandoned compound with a still-broadcasting radio tower, and the myriad personalities that she ends up interacting with. Overshadowed by the mysterious cult that abandoned the compound–why? Wow. That actually sounds like it was written by someone who knows what they’re doing.

So, episode one got written (I’d like to say that I never, ever procrastinated that much again, but episode two got written a day before we recorded it and I am currently writing this instead of episode four–what? I’m letting my mind rest!) and then we started casting. 162 open-call auditions later, we cast Mouzam Makkar as the Survivor (and, if you haven’t listened to her yet, she has got the most amazing voice) and Craig Anton as Right Reverend Timmons (who’s just amazing all around). Ironically, neither Mouzam nor Craig were part of the 162 auditions–both were friends I had worked with before, who were kind and gracious enough to offer their phenomenal talent.

So, episodes written. Artwork done. Website done. Found a sound designer (who’s also amazing, again, if you haven’t listened to episode one, I’m just going to keep shamelessly plugging it until you do), and had about a dozen people over for a day-long recording session. In my garage.

 

That'd be my garage.
That’d be my garage.

Which was all very exciting, great-things-start-in-garages except I live under a small plane flight path. Stay tuned for that blooper reel, it’s hi-larious.

So remember, way back in the beginning of this article, where I said podcasts would be easier than a web series? Yeah. To quote a friend “If you don’t show it, you gotta hella tell it.” The whole world is sound. Layered, realistic-sounding world building. Footsteps, door creaks, room tone. I got a whole new vocabulary.

Five days in the editing suite (also my garage), we had a rough cut of episode 1…

Editing suite. AKA, my garage. Pictured: Jessica Westerfield, sound designer extraordinaire.
Editing suite. AKA, my garage. Pictured: Jessica Westerfield, sound designer extraordinaire.

Now part of that was my own learning curve (does that sound like a button push? does that? does that? does that, if we drop the pitch and EQ it? What’s reverb? Oh, god, turn off the reverb…) and part of that was the whole recording in a garage thing, and part of that is just the nature of the beast (to be fair, episode two, which is actually slightly longer, only took a day and half, so we’re either getting better or getting too tired to care).

So, episode one and two written, recorded and editing, website up, posters done…now we needed some funding. Not a huge amount, but some. Do you have any idea how much food a group of actors can consume? Craft services is expensive! So, time for Kickstarter. Easy, right? Just copy and paste from my treatment, throw up a picture, do some rewards, and send it out to friends and family for the clearly glowing feedback I was going to get.

The first response, from my graphic designer sister-in-law, boiled down to ‘tl;dr’ and then she gave me advice. Awesome advice. Great advice. Totally took the Kickstarter to a whole new level advice. Took a month to implement whilst considerably adding to my stress level advice. But–I got rid of the paragraphs of world building and had a graphic novelist friend to panels instead.

Panel One, by Shauna Bauer. Like? Also available on our Kickstarter!
Panel One, by Shauna Bauer. Like? Also available on our Kickstarter!

And I decided to shoot a series of small vignettes, showing the Fall and short little stories about people trying to survive. We just wrapped on those, so stay tuned! We should be releasing them this week.

One of the things you do when in pre-production is storyboard the scripts, so that each shot is clear. Mark la Cour, who did the storyboards for us, did such a fantastic job that I had to share them.

Storyboard for vignette 4, by Mark la Cour. Also, just saying, available as  reward on Kickstarter!
Storyboard for vignette 4, by Mark la Cour. Also, just saying, available as reward on Kickstarter!

Just as we were getting all the final touches done–episode one final cut finished, a Soundcloud RSS feed, published on Stitcher, all our Social Media ducks in a row, etc., Geekscape told us that we would be sharing their booth at WonderCon (which was AMAZING) and San Diego Comic Con (so make sure to find us there!).

So that’s where we are. Episode one is out, epsiode two comes out on May 9th. We’re recording episode three and four later this month–look for a new episode every three weeks–and if the Kickstarter is successful we’ll have a a whole season of Radio Zed to do over the summer, as well as another short (premiering at Geekscape’s ComiCon booth!).

So, take a listen. Leave a comment. What do you think–is the Zombie thing dead? Or will it never die? Have a burning question about Radio Zed? Ask away!