Nick Kroll Convinced Netflix to Air Animated Animal Sex | 2 Bears, 1 Cave

Animation Development Involves Multiple Refinement Stages Unlike Live-Action Comedy

Nick Kroll explains that animation requires a unique and rigorous process compared to live-action comedy. The development starts with a "radio play," where only the dialogue is recorded, similar to a scripted podcast. At this stage, writers can listen to the entire episode, identify ineffective jokes or problematic storylines, and revise as needed. This step ensures that the foundation—the audio and script—works on its own before visuals are produced.

Following the radio play, the process advances to the animatic phase, a black and white rough draft version of the episode. The team screens this animatic to further evaluate pacing, humor, and story coherence, allowing for additional tightening of jokes and narrative elements before investing in full animation.

The next critical stage is the color screening. Here, the creators review the nearly finished animation with full color to assess the visuals and how they amplify or detract from the comedy. This is a final checkpoint where writers and animators can rewrite or adjust sections, ensuring the episode is as polished and optimized for laughs as possible before release. Kroll notes that this extensive, iterative process is why animated movies and shows often become classics that families return to for years—they take years to perfect.

Building Attachment to Animated Characters Needs Sustained Storytelling Across Seasons

Bert Kreischer and Nick Kroll discuss the importance of time and repeated storytelling in creating strong viewer attachments to animated characters. Using the example of "Big Mouth," which ran for eight seasons, Kreischer points out that such long runs are essential for audiences to develop genuine affection for characters like the hormone monster. With enough time, viewers not only become invested in the original cast but also accept and engage with newly introduced characters.

Kroll reveals that "Big Mouth" is deeply personal and connected to his own life, which also helps engender a sincere connection with viewers. He notes that building a devoted audience for an original animated show is much more challenging than for live-action specials where audiences are already familiar with the performers. In today's content landscape, there is significant pressure for immediate success and quick viewer engagement, leaving less time and financial room for animated shows to "become themselves" and find their audience across seasons. He compares this to established successes like "The Simpsons," where the series evolved and the process of iterative ...

Bert's Abstinence Reshaped His Social Presence and Perception

Bert Kreischer’s sobriety has significantly altered how people perceive and interact with him socially. Since he stopped drinking, multiple friends and acquaintances—Sam Morril, Deon Cole, Theo, and Nick Kroll among them—have asked if he's okay, attributing this concern to a change in his energy and demeanor. Bert often hears variations of "what's wrong with you?" at events, and Nick Kroll remarks that Bert comes across quieter and more reserved, which some interpret as a sign of distress or illness.

Bert acknowledges that his public persona has long been shaped by being "slightly lubricated," which made him louder and more outgoing. Without alcohol, he finds himself putting on a more "regular" or even stern face, possibly as a subconscious cover for any discomfort he feels. He recognizes that people expect the boisterous, buzzing Bert they have always known and are unsettled by the more subdued version.

Sobriety Gave Bert Health Benefits but Unexpected Emotional Challenges

Bert’s commitment to sobriety has delivered impressive health benefits. He’s lost 50 pounds, cut his body fat to 19%, improved his blood work, and feels stronger and better physically than ever before. Bert’s daughter Isla noticed the transformation, commenting on how she could see the bones in his fingers and ankles, a sharp contrast to his previous “fat red sausages.” Family and friends have encouraged him to maintain this sober lifestyle, noting, "I like you like this," and suggesting he listens more.

Yet, sobriety brings emotional turbulence. Bert feels torn between enjoying superior health and missing the experiences alcohol used to provide. He is especially nostalgic for moments alone with music and a bottle, describing those solitary sessions as a form of emotional release. He likens the urge to indulge to a rider wanting to see their horse run hard—craving that immersive, all-encompassing feeling that drinking and music gave him. Though Bert feels creatively sharper and more present in his work, he longs for the therapeutic aspect of drinking alone, even as he values the advantages sobriety has brought.

Sobriety Alters Bert's Professional and Meet-And-greet Experiences

Sobriety also changes the dynamics of Bert’s professional life, especially during shows, events, and meet-and-greets. When sober, Bert notices he feels more like an object being guided by handlers rather tha ...

The world of comedy is shaped not only by on-stage performances but also by the unique dynamics at celebrity-filled gatherings. Comedians Bert Kreischer, Tom Segura, and Nick Kroll recount recent experiences highlighting the intricate hierarchies, vulnerable moments, and foundational influences that define the comedy industry.

Major Gatherings Expose Complex Hierarchies and Dynamics, Creating Vulnerability Among Comedians

High-profile comedy events, such as the Sarandos broadcast, gather virtually every major figure in contemporary comedy. The environment is charged with complex hierarchies, status anxiety, and unseen insecurities, even among successful comedians.

Bert Kreischer reveals that despite his success, he has long wondered whether legendary figures like Jerry Seinfeld even know who he is. He recalls discussing this on a podcast with Tom Segura—questioning whether his career had reached a point where he was recognized by someone of Seinfeld’s stature, or if he still existed in a vacuum, as he did as an open mic comedian. Later, at an event, Seinfeld greets Bert by placing a hand on his shoulder and confirming, “Bert, I know who you are.” Seinfeld explains that someone sent him a podcast clip of Bert questioning whether Seinfeld knew him, saying, “I didn’t know who you are. I watched the clip, I know who you are. That’s really good.”

Awkward encounters are common. Tom Segura recounts a story about meeting Eddie Murphy through Chris Rock. Eager to impress Murphy, Tom launches into a story about Eddie’s brother, but Murphy cuts him off with, “Is that the end of the story?” Tom tries to salvage the moment but realizes he’s lost his composure due to his admiration for Murphy. The exchange becomes uncomfortable, underscoring the vulnerability comedians feel around their idols. Eddie laughs, but largely at Tom’s discomfort, then redirects the conversation. The moment is captured in candid photos by Bert, who tries to document the experience, highlighting the real pressures to perform even off stage.

The group photo tradition at such events exposes further insecurities and the silent navigation of status. Bert Kreischer talks about feeling pressure while entering the group picture, wondering where to stand among so many comedy luminaries and how much attention he should draw. Nick Kroll describes arriving late and finding himself at the back, yet feeling secure thanks to his “place of abundance,” knowing that participation matters more than placement. Both relay the anxiety about inclusion and how external observers invent stories about perceived hierarchies based on proximity in these photos.

With everyone from Adam Sandler to Louis C.K. present, comedians seek familiar faces for comfort, yet remain acutely aware of the power dynamics in the room. Kroll notes how every comedian not at the event immediately notices their absence when the group photo circulates, underscoring the event’s significance. The churn of conversation at the event is governed by the need to manage how long to talk to which icon before finding a non-awkward exit, as Tom observes with both Murphy and Seinfeld present.

Foundational Figures Who Shaped Most Comedians' Careers

Central to these dynamics is the enduring presence and influence of foundational comedians. Figures like Eddie Murphy, David Letterman, J ...

Emotional Authenticity and Humor Create Memorable Comedy

Tom Segura explains that while a funny joke gets a laugh, what truly sticks with an audience is when comedy also has emotional truth. He observes that a joke can be clever and hilarious, but a comedian who shares something real from their life—such as jokes about their own mother or children—creates a deeper connection. Audiences remember these comics because they relate emotionally as well as through laughter.

Nick Kroll emphasizes this point by recalling seeing Tom perform, noting the palpable emotional reality in his bits about family. Kroll observes that when Tom jokes about his mom or kid, the underlying personal truth makes the material more potent and memorable, despite its wild comedic angle. Both agree that impactful comedy often comes when the funny material is grounded in authentic human experience, allowing for both laughter and genuine connection.

Understanding Voice, Speech Patterns, Cadence, and Content Is Required For Impression Work

Impression work in comedy demands more than mimicking a voice. Segura and Kroll both note the importance of understanding a subject's unique vocal qualities, cadence, speech patterns, and personality. They reference Frank Caliendo, whom they consider exceptionally talented due to his deep study of how people talk, what they say, and their unique pacing. Caliendo crafts convincing characters because he captures not just voice, but the persona—"writing their jokes as well," as Kroll puts it.

Bert Kreischer recounts Caliendo’s skill in impersonating him so accurately he could have fooled his own wife. This shows that mastering impressions involves careful observation, scientific listening, and replicating both the tone and rhythm unique to a person.

The group notes that the ability to impersonate can vary based on closeness with the subject. Tom finds it easier to impersonate his own father, as he can replicate his father's cadence and speech, bringing that character to the stage. Conversely, Nick K ...

Bert's Transformation Through Fitness and Sobriety Signifies More Than Weight Loss

Bert Kreischer describes being in the best shape of his life, attributing it to dedicated workouts, a disciplined diet, and four months of sobriety. Bert reports his blood work is "perfect," his body fat is down by 19%, and he has lost 50 pounds. He feels better than ever, noting increased strength relative to his body size. Nick Kroll observes that Bert appears highly engaged and clear-headed, linking this crisp demeanor to his period of not drinking.

The changes are visible and prompt positive reactions from family. Bert recounts his daughter Isla’s astonishment at his physical transformation, remarking how she could see the bones in his fingers and ankles instead of what she jokingly called "fat red sausages." Kroll adds that while Bert looks good in pictures, his in-person appearance is even more impressive.

Despite these gains, Bert expresses ambivalence about long-term sobriety. He jokes about possibly "rolling the dice" to see if he can get fat again, and plans to "relapse" in July. He reflects on wishing he could drink moderately like others, but acknowledges his struggle to redefine his relationship with alcohol.

Adapting Tom's Comedy for Spanish Audiences Required Effort

Tom Segura shares his experiences touring Latin America and performing stand-up in Spanish-speaking countries such as Buenos Aires, Santiago, Lima, and Mexico City. He explains that adapting his material involved much more than a direct translation—he had to work out cultural nuances and practice delivery to ensure jokes landed well in Spanish.

Tom recounts an early set he did in Burbank in Spanish as "rough," stressing that standup requires heightened focus and presence, especially when performing in a non-native language. Gradually, as he refined his approach, he could present a full set to Spanish-speaking audiences. Tom recalls performing first in English and then adding half an hour in Spanish, which always led to an enthusiastic response—"they lost their minds," as both he and Kroll recount.

Spanish audiences, according to Tom and Nick, deeply appreciated the effort to perform comedy in their language. Nick jokes about opening for Tom with a combination of English and Spanish material and discusses using and adapting hi ...