Comet Casino with Scott and Miranda Parkin

Mar 28, 2023

Ever wanted to know what it takes to create a TV pilot? In this special episode, Anne is joined by Scott & Miranda Parkin to discuss Comet Casino. Comet Casino is a story centered around found family. It talks about those relationships & friendships that grow so near and dear that they feel like family. Scott & Miranda voice two of the characters, but were heavily involved in the creation of the show. From planning out the story to animating, Miranda was in charge and excited about this mid-century modern tale. After two year, the pilot episode is ready & shipped out to all the right people. So what’s next for the duo? There may be more planning, creating, and meeting taking in their future…but you have to listen up to hear the whole story. 

 

Transcript

 

It’s time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry’s top talent today. Rock your business like a BOSS, a VO BOSS! Now let’s welcome your host, Anne Ganguzza.

 

Anne: Hey everyone, welcome to the VO BOSS podcast. I'm your host, Anne Ganguzza, and today I am so excited and pumped to have the Comet Casino team here with us, special guests Scott and Miranda Parkin. You guys, welcome to the show. Thank you so much. Yay!

 

Scott: Thank you so much for having me. You were an early supporter of this. (inaudible) merch on your show, you donated money, and now we're in the pitch phase. So we really owe a great debt of gratitude to the VO BOSS.

 

Miranda: Yeah, seriously. 

 

Anne: Well, thank you. Thank you. I mean, it's not hard to support and love what you guys are doing. So for those BOSSes out there who may not be familiar with the famous Comet Casino team, I thought we would start with a little bit of an introduction of each of you so that the BOSSes can get to know you a little bit better. So let's start with Scott,‘cause he's older. (laughs) So Scott, I mean actor, amazing improv instructor, voice actor, I mean everything. Tell us how you got started in the industry and where it's going (laughs) and your life. 

 

Miranda: And your social security number. 

 

Anne: Yes. 

 

Scott: No, that's horrible. That's horrible advice.  I'm from Sacramento, California, and I started in radio when I was in college. I interned at KCAP, the home of rock. When I was around 20, 18, 19 in that sort of range, I was able to weasel my way onto the air with a guy named Kevin Anderson. He got fired, but he made a tape of the time we were together, sent it to Tulsa, Oklahoma. They had us come out for an audition. They asked me if I'd ever been to Oklahoma. And at the time I said, uh, the furthest east I've been is the Nevada side of Heavenly Valley, dude. And that is literally how we all spoke in Northern California. You were more like this, like, are you gonna put change on your car before you go to Tahoe? 

 

Went out there to Oklahoma and did that. And then I got fired again. Came back to Sacramento, got a gig in Dallas, was there for 11 years, got married, got — moved to Los Angeles in, I wanna say ‘98. Had a kid in 2000, got divorced in 2003, done voiceover and writing for television and acting, and I always say you gotta hit it from every angle possible, so I'll do most of the stuff that they'll pay creative wise. So Miranda's been raised on TV sets and in voiceover lobbies and all that. And she started in the business when she was about five. 

 

Miranda: Pretty crazy. 

 

Anne: So, yeah. So Miranda, let's talk about that because you did grow up in the business. Yeah. I'm so excited again to actually see you and talk with you. And so tell us how you kind of got started, and was this something that, because you were around it for all the time when you were small, is it something that you loved right away, or did you kind of grow into it? 

 

Miranda: Well, I mean, I feel like I loved it first because I was like, oh, I just really love reading. Like I love reading out loud. Like that very much fun. 

 

Scott: Nerd!

 

Miranda: Shut up. 

 

Anne: That was me too. That was me too. 

 

Scott: Yeah. 

 

Miranda: I liked reading out loud. So when they were like, “hey, do you wanna read this thing out loud,” a little five year old? And I was like, yeah, of course I wanna read that thing out loud. So I did. And then I was like, oh, oh, they like it when I do that. That's cool. I like that. You know, I was five, so I didn't really know, but it just made me feel happy, you know? Like I've always loved reading out loud. And then I got paid to talk about SeaWorld, and I'm like, I love animals and I love talking about whales, like of course I, I'm gonna do that. 

 

Anne: Was this when you were five or a little bit later on? 

 

Miranda: A little bit later on because I started when I was five, and then it was kind of went until eight or nine I think. I think nine was when I, I got the -- 

 

Scott: When the hammer got dropped. 

 

Miranda: Yeah. Yeah. I got the job of, uh, Lucy in a direct to DVD Peanuts movie. And my mom was like, no, you can't do that. So I was like, oh, alright. I really like reading out loud. I really like the Peanuts. 

 

Scott: But her dad was a voiceover actor, and anything that had something to do with me was --

 

Anne: Ah.

 

Scott: Yeah.

 

Anne: Okay. So there's the six degrees here I think because you said Lucy, right? You read for the — 

 

Miranda: Right.

 

Anne: Okay. So my maiden name is Lucy. Okay?

 

Scott: Excellent. Is that true? 

 

Anne: Yes, it's very true. It's very, because people called me Miss Lucy when I was a teacher, and then they would sing, Miss Lucy had a steamboat. The steamboat had a bell. Exactly. 

 

Scott: I forgot you were a teacher. My mom was a teacher for 35 years. I have I have so many teachers throughout our family. 

 

Anne: Well, so that's number one. And number two is that when I was young, when I was about six, when I was in kindergarten, I love to read out loud as well. And here's where my claim to fame, my creative claim to fame is that I wrote books. I wrote books about Nibbles the Rabbit. And as a kindergartner, I read them to the first graders. So that's my claim to fame. I mean, I --

 

Miranda: Kind of a power move. 

 

Anne: I mean, so Miranda, if I could only be half as good of, and I illustrated and wrote, and you know what I mean? Which is, that's incredible. 

 

Miranda: That's, that's amazing. 

 

Anne: You do everything. And so I just feel like the apple doesn't far fall from the tree there, I think; the writer, artist, voice actor, actor.

 

Scott: I can't draw a stick figure without uh, without help. So.

 

Miranda: That's true. He can draw a palm tree and a lightning bolt. 

 

Anne: There you go. Very good. 

 

Scott: And I can draw an oak tree too though. 

 

Miranda: And an oak tree. Oak tree. Sorry, forgot about that. One of the three. 

 

Scott: Yeah.

 

Anne: I got good at drawing a rabbit as a kindergarten. But other than that -- 

 

Miranda: Nibbles the rabbit. 

 

Anne: — that's kind of where it stopped. Although I always was in awe of people who could draw. And so I want to actually talk about Comet Casino because that's really why I wanted to bring you here so that we can talk about the whole process. Because BOSSes out there, if you're listening, the whole concept of Comet Casino is BOSS from start to as it evolves. Because you have encompassed all areas of the creative arts, all areas of funding, of marketing, of starting something and seeing it grow and seeing it evolve. So I love the evolution of Comet Casino. So before we do that, let me show the BOSSes a little preview of what we have here. So let's do this first. 

 

Scott: Can we set it up real quick? 

 

Anne: Yeah. Let, we're gonna set it up right now. 

 

Scott: This is not a trailer. There's no voiceover or anything like that. This is the first 90 seconds of the pilot, and the shuttle attendant is the lovely great Delisle Griffin. And we love it. And so you get an idea of where our story takes place, who are the principals, and what's going on in the first 90 seconds. The whole thing, the whole pilot presentation is just over 10 minutes. There you go. 

 

Miranda: Yeah, there we go. 

 

Anne: All right. We're gonna give you guys the first 90 seconds. All right. Here we go. 

 

>> Attention passengers. We will be landing shortly on Luparif Omari, please return to your seats. If you've morphed during the flight, please regenerate and buckle up. Okay? And remember, as long as you look like you're gambling, they gotta keep bringing you drinks. Good luck. 

 

>> Luparif Omari. Everybody knows it as the loop. Number one adult playground in the galaxy and the armpit of the fucking universe. Everyone is thrilled when they get here and broken, disillusioned when they leave. That's just after a weekend. I spent the first 18 years of my life here. On the loop, after high school, you pretty much have three choices: bartending school, dealer school or alcoholic gambler. I wanted something more. So I went to law school on the nearest planet. After graduation I took a really good job as a defense attorney. It's difficult and none of it comes easy, but okay, it's somewhere else, and that's all that matters. 

 

So what am I doing back here? My dad, owner of the formerly luxurious Comet Casino passed away. How? Uh, he just stopped breathing while a guy was choking him to death, which on the loop is considered natural causes. The loop is 100 miles of casinos, clubs, and general debauchery crammed into a thin band of oxygen. Everything else is toxic. My dad used to drop off associates in the desert when it was time for them to die of natural causes. 

 

>> Hurry. Hurry, everyone. 

 

Anne: Haha, awesome. I love it. And can I tell you that honestly, when I first heard it, I love the beginning, right, with the introduction. But Miranda, when you start telling the story, I teach like storytelling to students for years. And you have such a beautiful, wonderful presentation of storytelling in that, like it is so damn impressive. 

 

Miranda: Hey, I used to love reading stories out loud. Now I do it all the time. 

 

Anne: If Scott knows me, I don't say that lightly. I love, love the performance. 

 

Scott: That's not — this whole thing, this has been two years in the making, and we directed all these legends who are friends of ours and have always supported Miranda. And if Miranda wasn't able to hold their own with these legends, it doesn't work. All of what we've done, it just doesn't work. So.

 

Miranda: That was one thing that I got scared about. Like I know literally like after we like got all these people to do it, and they were like, all right, now it's time to record your part. And I'm like, oh, I have to actually, I have to go up against these — oh my God. Not, not go up against, but like work with, like be in the same cartoon as, and I'm like, oh my God, that's like a dream come true regardless of where this thing goes. 

 

Scott: Yes. And frightening as hell. And same for me. ‘Cause Miranda actually does video games and animation. I don't do so much of either of those. So after asking these people and then having to, you know, what was really cool was that we recorded our parts at SoundBox LA with Tim Friedlander. So first Miranda and Tim directed me, and then we switched, and Tim and I directed Miranda. So that was really, it was really cool. And he's been so supportive and known Miranda for a very long time. So it was, it was just really cool to do our parts at Tim's with Tim directing. 

 

Miranda: Yeah. ‘Cause he's such a good friend and such a great dude. And he supported it all the way through. It just seemed like a natural fit. 

 

Anne: So let's talk about, how did it all start? 

 

Miranda: Ooh, ooh, ooh. I've got this one. 

 

Anne: Okay. 

 

Scott: Keep it tight and bright. 

 

Miranda: So essentially it started as an FBI agent gets teleported into space and works off her debt at a space casino. So that was like our initial idea. And I wanted to do something 

 

Scott: That was all Miranda’s --

 

Miranda: Yeah. And then I was like, okay, well the FBI thing is kind of silly, stupid. Let's just go with a mother-daughter story about a girl that actually lives in the casino and went to the casino and like lived at the casino, and her mom was the boss and she had to come back. And then we were just like, okay, let's cut the mom. Because I don't know how to tell a mother daughter story. I know how to tell a father-daughter story. So let's make a father-daughter story about a dysfunctional --

 

Scott: Well Miranda, you have to be honest, Ed Jager, our head writer and 23 year veteran television writer came in and said, I'm killing the mom. There's no story there. It's a father-daughter story. It's all about the daughter. Going away. Wanting to get the hell outta home, and then having to come back and then finding out that, ah, you know what? I hate this place, but I work here. It works. I have a connection here, and I'm really good at all the jobs I'm doing. It's the Joan Didian. You can't go home but you, maybe you can kind of thing. 

Does that make sense? 

 

Miranda: See the thing is like at the beginning of it, it morphed and switched. But I always wanted to make it a space casino. Always, always, always. 

 

Anne: But then, let me backtrack here. So you're telling me the beginnings of the story, but what's the beginnings of the idea, Miranda? Was it something that you said, I wanna create? So not many people in this industry, and I know BOSSes out there, this is the whole enchilada, this is the writing, the artistry, the production, the casting. So did you just one day say, I wanna make a show like (laughs)? 

 

Scott: We pitch ideas back and forth and have written a bunch of stuff, but Miranda always said that whenever they go animated shows, they have an episode at a casino. But I forget how you said it, M, I'm sorry. 

 

Miranda: So like in a lot of sci-fi media, there's always like a one-off episode with a casino. Like in Cowboy Bebop, there's a one-off episode with a space casino. In Star Wars, they go to a space casino in one of the newest Star Wars movies. In like Rick and Morty, they go to a Dave and Busters type thing called Blips and Shits. And I'm just like, why don't you stay there? There's so much potential. You have beings from all over the galaxy. You know, you have people that go to Vegas for conventions. You've got people that go to Vegas in sororities. You have gangsters and mobsters and bachelor parties 

 

Anne: I love it.

 

Scott: Corporate convention. Always bringing different people. And if you put it out in space, 200 years in the future, the hell knows what --

 

Anne: Right. So many stories. I mean, I think so many stories can evolve from that. So yeah, there's longevity there. Yeah. 

 

Scott: The other thing we really liked was the found family because Miranda's been, was at my house from age 16 on solo and moved out two years ago. So big on found family. At my house growing up there was always an extra person. Somebody that just got divorced or some teenager had been kicked out of their house. So we're big on found family. A found family is such a lovely story. You can take in so many different directions, and in Miranda's situation, it's right here, found family.

 

Miranda: But also it's relatable to everyone. Whether you have a good relationship with your parents or not, you always have friends. You know, friends are the family that you choose. I know it's cheesy, but everyone can relate to it. Everyone has a friend that you feel like you're a sibling. 

 

Anne: So then you had this idea that you wanted to do this. The two of you were bouncing ideas and then you said, yes, this sounds amazing. Let's get a writer. Like what happened after that? Just get a writer involved. 

 

Scott: Like I said, we've had multiple ideas, and I think they're very solid ideas, but Miranda is a voracious performer and artist. They like to keep going and going and going. So if we didn't get something with legs on it early, it got set aside and fan art and something else, or voiceover or her life just got in. But this was much more substantial. And it has something that Miranda really likes is retro futurism and 50’s -- 

 

Miranda: Like mid-century modern atomic age type stuff, Jetsons style. 

 

Anne: Yeah, absolutely. 

 

Scott: They really enjoyed drawing. So it was very inspirational. And then I showed it to my buddy Ed. We had made a little video presentation and it's 1000 degrees different than that, than the thing that we first made. But he goes, this is great. We showed it to Swampy Marsh, the creator of Phineas and Ferb, who's sort of Miranda's mentor and my good friend. And then we all got together with a couple of the writers from Gary Unmarried, that show my buddy Ed wrote about my life that was on CBS, and other writers that I'd worked with on their pilots. And we all got a room and sort of hammered out a thing. 

 

And then the found family thing, or how each of the casino employees used to work at the casino as a crooner or a fighter or something like that. And now the old man me has hired him to work on the, on the thing because they're no longer viable as performers. So we had that, and then Ed just took it off and built this great daughter goes away and comes back to save the found family sort of thing. 

 

Miranda: And it was so well done and well-written. And we pitched on jokes, and I would be like, oh, this character probably wouldn't say that, or this and that. But most of it was Ed really. He just brought this huge heart to it. 

 

Scott: Ed started on Roseanne and worked on Darma and Greg and so many great shows. And I was a joke guy, so you know, we were able to make the jokes crackle, and then you just crank it, crank it down, crank it down until it's tight. And then we hired Swampy Marsh and Bernie Patterson at Surfer Jack to do the staging animatics. So each time they go through, it's single line, really rudimentary, but it gives you a good idea of where everyone's going and what it will look like. I think they did four passes there. They hired Miranda to work on small projects. So Miranda got to work on her own pilot there. 

 

And then I think after we had our thank you party last summer at Tim's, Miranda said, I want it all to be -- I have so many ideas. I want more characters, I want some different backgrounds. This would be funnier if a chop from above. And so Miranda said, I wanna do all of this. So she redid everything. And so every frame you see in the thing is her character's shirt background, a couple backgrounds. We hired her roommate Lauren to do, really wonderful stuff. But almost all of it is Miranda's vision. So there you go. And then laid in all the sound. Tim West at Rebel Alliances donated hours and hours and hours of time. So the sound design is really good. Adam Gutman, Miranda, you can talk about. 

 

Miranda: Yeah. He's like a, he's a Disney composer. He does like all the music for these Star Wars land rides, and Amphibia, and he's worked on Greatest Showman and all these things. And I did a lot of work with him during the lockdown, and he had this like musical project, and I was able to do some animatics for him. And then after that, you know, we kept in contact and then he was like, if you don't let me do the music for Comet Casino, I will be very sad if you don't let me just do it. You know. And I was like --

 

Scott: Of course, of course.

 

Miranda: He had all these like great kind of almost hotel lobby tracks from like a Star Wars thing that he worked on. And he's just like, I can tweak this and do this. I'm like, that is so cool. It was crazy. 

 

Anne: So a few things that I wanna point out to the BOSSes out there, because again, I think a lot of people that listen to the VO BOSS podcast they’re thinking very much in just voiceover. And again, the scope of this project is so amazing, and I'm hearing a couple of things that just keep coming back to me. Number one is having a great network, right? And having a wonderful team to help put this together. And so I think that networking is such an important thing to have a successful --

 

Scott: Without, without it, this wouldn't exist. 

 

Anne: Yeah. 

 

Scott: I called in and asked every favor I had to get us at this point. 

 

Anne: Yeah, absolutely. 

 

Scott: Listen, I don't constantly work for free, but I work with friends and things I like mm-hmm and everyone liked all these people that are in this, Maurice Lamar, Billy West, Tara Strong, Luray, Newman, Mindy Sterling — all of them have known Miranda since about three years old because I was asked to be divorced when Miranda was three. So I had her with me, and they all sort of watched her grow up and watched her. So when I said, hey you guys, this is what we're doing, would you be willing? And they all said the same, some version of yeah, absolutely. Yeah. Tara Strong's like, just tell me where to talk. They didn't owe me anything, but I, we asked favors. 

 

Miranda: And one thing that I was so happy about is they've always been, ‘cause we're, you know, a lot of us are at the same agency. So like from being a kid, like not not a kid, but like, you know, in my 20s, early, early teenage years, they were always like, if you make something, if you make something, you know, put me in it. Please. So, you know, and then we finally followed through with an idea, and now it was like, I can do that. I can ask these people and they'll say yes. And that's just a such a great feeling to have, to have such a great support network of all these incredible talented people. I'm really honored. 

 

Scott: And Miranda designed each of the characters for each of those actors. Aunt Maisie was designed for Tara Strong. Gary Anthony Williams is Hendrix. So that's kind of a cool thing too. But you definitely have to be willing to work with -- I mean I've worked on so many pilots that got shot and didn't get to air. I don't get any money from that. I just get the experience providing and supporting. So when I have something, I call those guys and they're like, yeah, let's get together and write this. 

 

Anne: So then yet another thing that I wanna talk about that I think is so important in the development of this is you're still pursuing this, you're still getting funding for this. And so --

 

Scott: We've just started this phase. 

 

Anne: Right.

 

Scott: We, it's taken two years to get up to that.

 

Anne: Yeah. And I think that there's something to be said for the level of commitment obviously, that you have to have for this. I mean in my brain, there's no way that it can't not be successful for you guys. I mean that's the way I feel. I don't know. 

 

Miranda: I honestly think it's successful already. I am just, I am happy to be involved with these incredible people. I'm happy to have this part of my portfolio, and I'm ready to get this, this art in front of people who work in amazing studios. Like all these studio people are going to be seeing my art. So that was like the goal from early on was to get my art in front of studios, and whether it gets made or not, it's just a step in the right direction regardless. 

 

Anne: I love that. 

 

Scott: The beginning premise was to get experience at storyboarding character design and backgrounds. So when we hired Surfer Jack, the idea was that Miranda would sit on Bernie’s shoulder and watch him staging storyboard. But then Swampy screwed that up by hiring Miranda before they even started on the pilot to be head of small projects there. So the idea was to get all of her stuff in front of as many people as possible. And because of Ed -- his theatrical representation is APA — they saw that 90-second trailer and called us in for a strategy meeting. So now we're actually represented by APA. 

 

Anne: Love it. That’s huge.

 

Scott: They’re not only showbiz adjacent, but they represent people like 50 Cent, Mark Ruffalo, you know, that kinda people. So now, next week the pilot goes out to every animation studio and every streaming service, full support of the head of animation at APA. And they'll bug them to watch it and then hopefully take a meeting. So we already won because all of that stuff is in front of them. And Miranda -- by the way, she's like, in my early twenties — these are your early 20’s; you’re 28 (?) until next week, you know.

 

Anne: That's phenomenal. Miranda, I love that you said that it's already a success because it truly is in my eyes, and that's why I feel like it can't be anything but a success already. I've seen it evolve, I've seen it progress, and to me I'm in awe. I think it's amazing. I love the evolution, I love the whole creative process. And I think that it would help BOSSes to maybe wrap their heads around the whole production process of a creative project because I think it will help us to become better actors, become better business people, understanding the networking that you guys are going through and the process to get this produced and and get this out and see if — it's like a big huge audition. Right? 

 

Scott: It is. The other thing is, I told you I don't book animation. So what we did was build a pilot and write ourselves into the pilot. So if I book animation, it'd likely be something that we wrote then Miranda drew. So I think that's a really important thing for anybody getting into it. Don't wait to be asked to the dance. Get out there and start dancing. 

 

Miranda: I also think like the thing about networking that you said like Swampy, a friend of ours, you never know who you are going to meet or who's gonna hire you or who's gonna be your friend and let you work on their project or whatever. ‘Cause like, you know, I hired my roommate to work on some of the backgrounds for Comet. And the networking is so important in this industry, especially with animation, the way that it is right now. ‘Cause animation is very weird and not an incredible industry to get into right now. ‘Cause everything is very up in the air. 

 

Scott: What do you mean, not a great industry? Do you mean it's uncertain? 

 

Miranda: Yeah, it's very uncertain and there's lots of things. 

 

Scott: Voiceover and acting --

 

Miranda: No, no, but like animation in particular, a lot of animated projects are getting canned. Like they took so much off of HBO Max and Netflix. Like all these animated projects on Netflix.

 

Scott: That happens in every facet of the entertainment --

 

Miranda: Right. That's true.

 

Anne: Ebb and flow. 

 

Scott: It's building your house on mud and hoping for the best. 

 

Miranda: Yeah. 

 

Anne: Yeah. 

 

Miranda: But you know, like you just never know who is gonna hire you. You never know who's gonna be part of your story next. So.

 

Scott: It's also a good reason to be nice to everybody. 

 

Miranda: Exactly. It costs some money. 

 

Scott: ‘Cause you never know. And that's why I always say, hey people, I know we have, we're represented by an agency, but please if I sent you the pilot and said, hey, send it to creators that you know, it's always great when something comes to the same point from different connections. 

 

Anne: Sure. Absolutely. 

 

Scott: Oh, this is the pilot. Oh this is the guy that Apple, the Apple guy sent me this. So I believe you gotta get as many lines in the water as you can. 

 

Anne: Absolutely. And that networking completely helps that. And I think that it's just something that's so important for us to know as we progress in this industry because this industry's uncertain, voice acting. Oh, oh my gosh. You know?

 

Scott: Also the other thing is Miranda's not stopping. She's doing Comet art for the pitch deck. Should we get the meeting, I feel confident people are gonna say, hey come in. We like it. We’d like to chat, doing that. But she's also prepping a bunch of stuff to submit for Smiling Friends. She just had a meeting with the storyboard director from Mitchells and the Machines. So you know, you can't just go, well, we've got our pilot. Let's just sit back and let the money roll in.

 

Miranda: Not over until it's over. 

 

Anne: That's not over. 

 

Miranda: It doesn't start till it starts. 

 

Scott: Ah, I like that one. 

 

Anne: Yeah. Now lemme ask you, Comet Casino, what's next? What's the next step? 

 

Scott: Next week. Well, Miranda's doing art for the pitch deck. Hopefully it goes out to all the stupid buddies, the the titmouses, the --

 

Miranda: Bento boxes, the tornates, the 20th Century Fox. 

 

Scott: It's gonna go out to every relevant animation company and every streamer, Amazon, Apple, all of those. And then we clear our schedule because we'll be just meeting so many people and having a bidding war on the Comet scene. 

 

Anne: There you go. 

 

Miranda: One would hope. One would hope. 

 

Scott: We still, did you get one of these, Anne? 

 

Anne: I did not get a bag. 

 

Scott: We wanna send you a bag as a gift from the Comet Casino. 

 

Anne: Oh, I love it. 

 

Scott: And we'll put one of the lucky chips in there too. 

 

Anne: Oh, I love that. 

 

Scott: I always keep 'em in my pocket when I audition and I booked three commercials with one ofthese in my pocket. 

 

Anne: Well, thank you. So let me ask you guys, before we go, first of all, how can somebody buy Comic Casino merch? Where do they go? 

 

Miranda: They go to the Comet Casino gift shop, and it's the first thing that comes up on Google. I'll also send you the link so you can put it in the description of whatever podcast. 

 

Anne: The Comet Casino gift shop. And guys, I have a few things. I have a few things from the Comet Casino, but I do not have a bag, so I would love that. 

 

Scott: We'll send you the retro airline bag. 

 

Anne: Thank you. 

 

Scott: Cool thing where you put the cardboard on the bottom, and they put hard glasses in the bottom. 

 

Anne: I love it. 

 

Scott: And then we still have a bunch of shirts. We don't have a lot of stuff. We got hit pretty hard. Oh, we do have some of these handmade pendants that are really, really cool. We only have a -- I think there's only five of those left. They're really, really, really stunning. 

 

Anne: That's very cool. 

 

Scott: Our friend Lori Magna is this artisan in Boston, and she made, she does all the little -- I mean --

 

Anne: Oh, I love it. 

 

Miranda: Aren't they so cool?

 

Anne: I love it. So Comet Casino gift shop. 

 

Miranda: Yes, indeed. 

 

Anne: And how can someone follow you, Miranda? 

 

Miranda: Oh, well my Instagram is Parkinart, Parkinart. No spaces, no caps, no nothing. No, no underscores or dots or dits or numbers. 

 

Anne: Perfect. 

 

Scott: You can see me on a Tide commercial 

 

Anne: Ah yes. 

 

Miranda: And his Instagram. His Instagram --

 

Scott: Hang on, I forgot to say we just got these, the premade --

 

Miranda: The booklets.

 

Scott: Big comic books with all the concept art. They're 22 pages, and we just got these. There was a misprint. We got to help with the pitch and they did a misprint --

 

Anne: Will you be signing? 

 

Scott: We're signing. Miranda will sign. I'll sign it. It doesn't really matter if I sign it, but Miranda's gonna sign it, and then if you get other cast members to sign it, you got something there. 

 

Anne: Very nice. 

 

Scott: That'll be up on here very quickly as well. 

 

Anne: Very nice. 

 

Scott: Anne, thank you so much. So sweet of you to have us on. 

 

Anne: Thank you, guys. It was amazing. So much fun. And I'm looking forward to interviewing you again after it gets picked up and you guys --

 

Scott: Absolutely. And remember, we're voice first, and we have a very long memory and we remember everybody that was so supportive and helpful. And believe me, we’ll be working hard. We don't know who's gonna buy it or what the situation will be. They may buy it outright, tell us to go away, you know what I mean? So we have no idea what that looks like. But if we have any say in it, we're gonna bring people to audition. Everybody gets up to bat, we're gonna write your names as a character, spread the wealth. 

 

Anne: Love it. And your cat wants to say hello. I love it. You know, I have three cats, so I'm all about that. Well fantastic, guys. Thank you so much again. It was amazing. So much fun. Love, love, love what you're doing. 

 

Miranda: Thank you so much for having us on. 

 

Anne: Absolutely. 

 

Scott: You’ve been so supportive, Anne. You jumped on the bandwagon and gave away merch very early on. This was an expensive proposal, right? Hiring an animation company to do four passes, and then I was sending random money to not take any other work while they worked on this thing. So it's really, really helpful to have such support. The main thing is, it's just really fun to see the cool logo and all the great art on it. It's very nice. 

 

Anne: Absolutely. All right, well BOSSes, here's your chance to use your voice to make an immediate difference in our world and give back to the communities that give to you. Besides giving to Comet Casino, you can go to 100Voiceswhocare.org to find out more and commit. And also big shout out to our sponsor, ipDTL. You too can network communicate like BOSS. Find out more at ipdtl.com. You guys, have an amazing week and we will see you next week. Bye!

 

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