SNL WRITER WINDOWS

I’ve certainly written things with you that no one else was remotely interested in. JT: In a lot of cases it is like that, but it’s always finding ideas that no one else would find feasible or funny. Is the nature of the partnership Jeremy making Julio expand on something? Because we found a new corner of a market, thousands of these boys, that we can make money off of. And the idea that there’s an actual missed market. The seed of it was some stand-up joke that never worked about a kid with a well, and then it’s like, “Oh, it’s funny if it’s a product for sale at Toys ‘R’ Us.” JT: I don’t know how the idea popped into my head, but I know it was there for awhile. Unfortunately this one had to be on SNL, so. JB: We toyed with versions of it that were basically short films. JT: I had never tried a commercial parody before, because if left to my own devices, I would always make little movies that aren’t necessarily parodies of anything. What moved it from a thing in your life to a thing on television? Why Saturday Night Live’s Ratings This Season Are Unprecedented I would gently caress it when I needed it, I guess. JT: There was one small house we had when I was growing up, with this little backyard and an empty pot that collected water. Julio, you also had a makeshift well, if you want to explain what that is. And I loved playing with death as a child.

I don’t know what those have in common exactly. JB: I write a lot of sketches in sterile environments. Jeremy loves writing things that in airplanes, hospitals, and funerals. You like things about pilots, things about doctors. JB: I had like a doctor’s stethoscope and a doctor’s headlamp that I remember really liking. I would put them all in a row and I would play “traffic.” I would move them centimeters or like millimeters at a time and they were stuck in traffic. JT: I didn’t play a lot with cars, but I did have those tiny little cars that you could get at like gas stations for very cheap. I had a little cars and fire truck I really liked.

SNL WRITER WINDOWS

I loved like circular windows and little French doors. Also, my mother’s an architect and we would design houses out of cardboard. I loved how torn it was, and I would put a Barbie with no shoes in it and have her wander about the garden, just thinking about what happened to her and how she got to this point. I had this little Barbie wedding dress that I really liked, and because I used it so much, it was raggedy. JT: Well, it was going to come out at some time. And I would just wait for recess to be over so I could go back to class and sit inside. I don’t think I did anything that warranted discipline. Any footage of me as a little boy at any family gathering, I’m following my uncle with the camera and just shoving myself into every shot of every other family member. That’s the tentpole takeaway from my childhood. Jeremy Beiler: I deeply craved attention.

Tune in to Good One every Monday on Apple Podcasts, or wherever you get your podcasts. Listen to the episode and read an excerpt from the transcript of the discussion below. Torres and Beiler talk about that sketch during this week’s episode Good One, Vulture’s podcast about jokes and the people who tell them. Still, “Wells for Boys,” which he co-wrote with Jeremy Beiler, who has since left SNL, is his high-water mark.

In the year since, that reputation has only grown - thanks to this season’s “Papyrus” - making him one of the few writers in the show’s history that fans can spot on sight. What followed, however, was something incredibly specific: Hilarious, rich, and beautiful, it was instantly recognizable as the work of Julio Torres, a new SNL writer at the time, who had already carved out a niche on the show for tonal, dreamlike comedy. Titled “Wells for Boys,” it started humbly enough, seeming like just another one of the show’s commercial parodies. A year ago today, one of the best SNL sketches in recent memory debuted.

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