Interview with the Creators of Grosse Misconduct – Colby Ryan & Anne Schroeder – Part II

by Kathryn Graham

(Continued from Part IColby Ryan & Anne Schroeder, the actors-writers-producers for workplace comedy Grosse Misconduct, tell us all about how they put together their cast and crew and what you can do to get started!)

 

 

 

 

 

Kate: How did you go about getting financing and the directors and the post production crew?

Colby: We needed was someone on board to guide us because this is the first time we’ve done something like this. It was one thing to work on the script as new writers, but we needed someone to guide us through the process of developing a webseries in terms of crew.

We don’t have a contact list of people that we could look through to populate the crew, so I placed an ad looking for a director/producer, and Mitchell Lazar responded. He’s a fresh new voice. He’s an NYU grad. He has great ideas and a great energy.

Then from there it developed pretty quickly because he’s a writer/director/producer, and he does have a network of contacts so he could reach out. That’s how we got Daniel Sorochkin, who is our producer. He let us know what we needed to do and when we needed to do it.

Mitchell was also in charge of casting. We talked about the lead characters before, that part was easy, but we had to put out a casting call to find the best actors we could to fill out the rest of the project.

They all did an amazing job. Everyone was so professional throughout the whole shoot. It was such a great experience. We were blessed to have them. We needed that guidance.

Kate:  Was this a project where people were paid or was it because they loved and believed in the project?

Anne: Our crew was paid, but they were pretty much across the board fresh out of college. For a lot of them, it was one of their first times being in the position that they are working towards doing full-time. That was exciting.

It was a very diverse crew. We had people from all over the world. From Israel, Turkey, Canada, and Poland. France.

Not that Colby and I are old, but these kids are 21/22, and they were such hard workers and so positive. Sometimes I think the younger generations get a bad rap. They were so professional.

Colby: Anne and I are the executive producers of the project. So in terms of financing, Anne was gracious enough to allow us to use funds from her production company, Not So Artful Productions, in order to finance the vast majority of the project. We literally could not have done it without her.

We had such a tight shooting schedule. We shot four days in an office space in Manhattan called Stratosphere, then we had two other days where we did external stuff.

But it was four twelve-hour days in this office shooting eight+ pages a day. For a new crew to be thrown into this situation, it was shocking we didn’t have any meltdowns. We would happily work with them all again if given the opportunity.

Kate: Do you have any advice for anyone else who’d want to make their own series?

Anne: Just do it.

Colby: We were both thinking the same thing. Just do it.

Anne: You have to do it because no one else is going to do it for you. What works for me might not work for you, but figure out what does and just do it. I have so many actor friends that have these great ideas, but they never take the time to put it down on paper. It’s up to you.

Colby: It’s something that we’ve been hearing so much of in the industry in general. Actors creating their own content. I almost feel like I hear it too much. You can get kind of numb to it after a while. But it’s true.

You really just have to dive in. We didn’t know what was in store when we were doing it. We didn’t know each other. We didn’t know what it was like to work together. It’s like improv: Someone begins, then you just say: ‘Yes, and’ – and continue. Keep on going and see where it leads.

If you feel passionately about completing a project that’s all it takes. You keep moving forward every day. Believe me, we had setbacks. From the beginning to the end of this process was two years.

In the beginning we didn’t know that was going to be the case, but things pop up. Some little things pop up, and some super dramatic things pop up, and you just deal with them, and you move through, and you say: We’re going to get this done no matter what.

We both felt such a great sense of accomplishment once we saw the final product. We looked at it, and we were like: “Wow! We did this!”

I would wish that feeling on any actor because we have so little control over what happens in our careers. We’re always sitting back waiting for the phone to ring, waiting for casting to say “You’re the one.” And usually the answer is “No, you’re not the one.” So take control of that, of your own narrative, and score a win for yourself…

No matter what happens with Grosse Misconduct. Of course, we want the world to see it. We want people to enjoy it and for it to go some major places, but even if it doesn’t, it’s a huge accomplishment for all of us. For Anne and I specifically as the originators of it. We’re very proud of having accomplished it, and I would want everyone to have that feeling.

Check out all six episodes here: Grosse Misconduct

Get in touch with Colby & Anne and tell them what you think here:

Colby’s Website: Colby Ryan. Social: Colbyryanactor@twitter and Instagram.
Anne’s Website: Anne Schroeder. Social: aeschroeder@twitter and Instagram.

Interview with The Creators of Grosse Misconduct – Colby Ryan & Anne Schroeder – Part I

by Kathryn Graham

These two talented hyphenates (actor-writer-producers), Colby Ryan (who plays Mitch) and Anne Schroeder (who plays Sarah), told me all about their new web series: Grosse Misconduct. It’s a dramatic and absurd workplace comedy that focuses on the HR department and features two leading LGBTQ characters! We discussed their writing process and how actors are getting into the writing/producing game (so you non-acting writers have no excuses!)


Kate: Are you both actors first and foremost? Or do you consider yourselves actors and writers in equal measure?

Anne: I’m evolving. I’m learning. I’d like to be more confident in feeling like I’m an actor and writer in equal measure. I would say I’m still an actor, first and foremost, but I’m working on it.

Colby: I will always want to be an actor, but I loved writing Grosse Misconduct, and I’m definitely interested in writing more things in the future. I’m happy to consider myself a hyphenate going forward.

Anne: A hyphenate? (laughs)

Colby: A hyphenate! (laughs)

Kate: How did you come up with the witty title?

Colby: Thank you! We went through a couple of choices, and ultimately, we wanted a title that would reflect HR – Human Resources. I have an alternate career in Human Resources, which is why we ended up with that setting.

‘Gross misconduct’ is a term often used in HR. It’s the most extreme type of situation where someone’s doing something so egregious that they probably have to be fired immediately.

We thought it’d be interesting to make that the name of the department head – Mitch Grosse – using the double meaning of that word to suggest that it’s not just gross misconduct in the office, but specifically, misconduct of the boss.

Kate: What was your process writing this together?

Anne: We would brainstorm ideas first, then go off and work on our own. I need both. I need silence to focus, but in order to get the ball rolling and to get something finished, I need a partner or a group of people to hold me accountable.

Kate: When you were coming up with the characters, especially the ones you played, how did you craft them?

Colby: Obviously, we wanted to have a great time playing these characters and really be able to relate to them. I have played a lot of misunderstood jerks. Characters that are probably not as nice as I am. That seems to work for me, and I love bringing that out in myself. So I knew that was the type of character I wanted Mitch to be.

Sometimes in comedy, especially in sitcoms, you’ll see characters that are two dimensional or stereotypical. So, we tried to make all of the characters as full and complex as possible.

Anne: It’s my first time writing something for myself. I got more invested in some of the other characters than my own character. (laugh)

Once we got to the later drafts, I realized that Sarah was kind of a doormat. I feel like I was making the evolution as an actor from being the ‘nerdy best friend’ to a woman with a little more of a backbone, so in following drafts, she’s still quirky and bubbly, but we wanted to give her a backbone.

Kate: What was the inspiration for the main characters of Brian and Alicia?

Colby: For Brian, Steve Barkman was with us at the casting workshop. He is not like Brian, but he has this kind of twinkle in his eye that can be perceived as a naiveté. We were attracted to that aspect of him since that’s so different from Mitch. The idea of having him be Amish and from the farm background, that was something that Anne developed. I focused more on the Alicia character.

For Alicia, it’s important to me as a gay actor to not just have one LGBT character. I’ve certainly played characters who are not gay, but I wanted Mitch to be gay. I thought that was important.

We tend to have gay characters who are somebody’s best friend or they come on for a quick, comedic moment in a rom-com, but are usually not the central focus. And/or we’ll see a gay character who is focused on a ‘coming out’ story. That’s their reason for existing.

I knew I wanted Mitch to be a gay character who was not going through those things. He’s a lead. The boss of all of these people.

But I also thought there should be a balance in terms of LGBT representation, so we wanted Alicia to be a transgender woman played by a transgender actress.

We found Pooya Mohseni. When we looked up her website and the examples she had online of her work, we completely fell in love. We were like: “This is Alicia”. Then: “Oh, but that doesn’t mean she’s going to agree to do it.” (laughs)

We gave her the whole script, and said: “Just let us know if you’d be interested in doing this. We’d love to have you.”

She was very pleased to see a trans character whose story line was not just about her being trans. That’s not something we hid. It’s mentioned throughout the series when it comes up, but it wasn’t the main focus. She has such a strength and a presence in the series otherwise.

Kate: Is there a season two in the works?

Anne: Yeah! We’re strategizing about season 2. We’re still interested in getting feedback on season one and what people liked and where we could do better. The feedback we have been getting has been very encouraging and people are excited to see what happens after that last episode. It’s encouraging. We’ll see.

Stay tuned for Part II next week!

Check out all six episodes here: Grosse Misconduct

Get in touch with Colby & Anne and tell them what you think here:

Colby’s Website: Colby Ryan. Social: Colbyryanactor@twitter and Instagram.
Anne’s Website: Anne Schroeder. Social: aeschroeder@twitter and Instagram.

Jon Paul Burkhart Talks About Producing Short Films

by Kathryn Graham

I’m back with multi-talented writer, actor, producer, and director  Jon Paul Burkhart. He has a ton of credits to his name in all of these arenas, and he’s played roles on many popular shows like This is Us, Castle, American Horror Story, Parks & Recreation, and most recently GLOW.

His latest role is as one of the villainous leads in Sick For Toys: a psychological thriller that he co-produced with his partner David Gunning.

In Part One, we talked about his new film Sick for Toys and his role in it as both an actor and producer. This time, I talk to Jon Paul about producing short films and how we writers can make our own too!


You write and produce short films. Would you be able to tell me how you do that? How others might do it? What would you do differently?

Jon Paul: I would not use my own money for one. But I did. Well, you know when you want to get something made, and no one wants to pay for it… I never intended to be a filmmaker. I didn’t call myself that until the short right before this movie, because I thought: “Oh, I guess I am.”

I made my first short film with my now partner David Gunning. It’s about a man who tests positive for HIV. It’s his first day with this knowledge. How he interacts with people that don’t know who he sees every day. It’s called Stigma.

I wrote it because I had a friend who tested positive for HIV. I was there when it happened, and as you can imagine, it really affected me. As an artist, I wanted to say something about it. I got pushed by several friends to write it as a short. They were like: “You can write it, sure!”

So my friend, who wanted to remain nameless, he read pages for authenticity, and then we made the film. I never expected to love making something so much.

Then the film did really really well in festivals. People just wanted to see it. We played Side by Side Festival in St. Petersburg, Russia in 2015, where people were getting fines like $15,000 for showing any LGBT film or being gay. It was kind of neat, so it was like: “Yeah, take that!”

That’s what started me making films. My partner, David Gunning, he is half-Asian, and he wrote a piece about racism. So our first two films are very socially conscious. We loved doing that. We have to get back to doing that at some point soon. But right now we’re having fun with the horror genre. We’ve made a few horror short films and made a couple for hire.

For making short films: Plan. Plan plan plan plan. And get favors if you can. Also plan on spending a lot on post production.

What takes up the most money in post?

Jon Paul: I can tell you what should: editing and audio. You could say color work too, but for my money, spend it on audio and a good editor.

In terms of fundraising to create your own content, we have a lot of writers who might want to produce their own content, but they don’t know how to start. Fundraising is a big part of that. What do you do for that?

Jon Paul: We have never utilized any of the crowd-funding. Our first two films we funded ourselves. Actually, that’s not true. The second film, David used Kickstarter. But since then we have not used any crowd-funding, we have just gone to friends we have who have a little more money than us and are willing to give 2-3,000 dollars. When you’re making short films, it’s not as much. You shouldn’t spend a lot on a short film, in my opinion.

As far as features, we went to private investors.  As an actor I hear ‘no’ all the time. It’s all I ever hear. So hearing ‘no’ over money is just more of the same. But you just need a couple ‘yeses’, and you can make a movie. You just have to not be afraid to ask people for money.

A lot of the time people want to know what their money is used for, and you should, as a filmmaker be able to tell them what it’ll be used for. We’re funding another project right now, and we just had a great meeting with a new investor. It helps that we’ve made and sold a feature already. I think we’re well on our way to funding our next film.

What do you do with shorts once they’re complete? There are festivals, but what’s the pinnacle of a short doing well? Getting awards?

Jon Paul: I don’t think we’ve made any money off of them. I know you can sell them online. You can put them on itunes and there’s all these aggregators who can do it now. We more or less were just making short films because we wanted to.

It was a learning experience. We knew we wanted to get into features. We kept pushing to get into features, and when one would fall through, we’d just make another short instead. It was film school for us. I was a theatre major, so I didn’t know anything about it. I learned a lot. David did too.

What would you say to a writer who wants to become a producer? Where would you start? How did you start?

Jon Paul: If you want to become a producer, find someone who’s done it before and pick their brain. Ask them anything you can think of. Just ask them to tell you about producing. I’ve had people do that to me before, and I’m like: “Okay, I’ll just start.”

When people ask me what producing is I tell them: It’s the ability to solve a lot of problems all at once really fast.

Don’t be afraid of work. If you’re a writer and you want to get into producing, have confidence in your work. Have a lot of confidence in your work. (laughs) Even if it’s misplaced.

That goes a long way. If you believe in yourself, then other people will believe in you and want to work with you. They’ll think: “Oh, he’s going to succeed!” And they want to succeed. Because they’re struggling cameramen or gaffers, etc.

Did you mostly find friends or people you knew already or did you hire folks you didn’t know?

Jon Paul: For the short films, we started off hiring people we knew, but then there’s always positions you have to fill with people you don’t know. But most of the people we worked with have become friends and they work with us on multiple projects. I guess that means we do pretty good.

On Sick for Toys, we had our main production crew from Los Angeles. I think there were six or seven of us. Then we hired the rest of the crew from Dallas, Texas and the surrounding areas. They were fantastic. Dallas is a big market for TV and commercials and the random film. Especially commercials. So their crews are fantastic. We lucked out getting a really good crew on Toys.

I love hiring people. It’s always a chance for me to meet new artists. The first AD we just worked with, he was first AD on Sick for Toys, we hired him to work on our next project because he’s great.

You mentioned you’re used to hearing ‘no’ a lot. That’s pretty much how the business is for all of us. How do you deal with it? A lot of writers and other artists can get down on themselves. Sounds like you don’t as much.

Jon Paul: Not as much as I used to. I think that’s just time.

There’s a role I went out for a couple weeks ago. I’m assuming I didn’t get it at this point. I really wanted it. I really did. I thought it was a great role for me. There are still roles that I feel connected to that I don’t get. It upsets me, but I just try to remember that there’s always going to be another great role out there that’s perfect for me. I just have to wait. It does get frustrating. I’m sure you, as a writer, understand. It’s frustrating putting yourself out there so much and most of the time just getting a: “No. No, thank you.”

I guess no matter where you are in your career, you’re still going to hear no, huh?

Jon Paul: I worked on GLOW season two a few months ago, which comes out soon. I got to talk to Alison Brie for a short second. My call time got pushed to the afternoon. I said I was happy that happened because I got to go to an audition, and I didn’t have to put it on tape. She said: “Oh, I love going in. I hate putting things on tape.”

I looked at her and I said: ”Oh, you audition?” Her eyes got really big, and she said: “For everything.”

That made me feel really good! I just assumed she’s Alison Brie. She just gets offers. But no, she reads. It’s a struggle at every level. Maybe easier the higher you get, but still a struggle.

That is comforting. Everybody’s going through the same thing.

Jon Paul: The grass is always greener.

Jon Paul Burkhart Talks About ‘Sick For Toys’ – His Upcoming Psychological Thriller

by Kathryn Graham

Jon Paul Burkhart is a multi-talented writer, actor, producer, and director. He has a ton of credits to his name in all of these arenas, and he’s played roles on many popular shows like This is Us, Castle, American Horror Story, and Parks & Recreation. 

You can look for him on the upcoming season of GLOW coming June 29th, 2018. The important thing for now, though, is that Jon Paul and I had a chat about his latest role as one of the villainous leads in Sick For Toys, a psychological thriller that he co-produced with his partner David Gunning, he said a lot of things well worth listening to.

So, now that the preamble is over:


Sick for Toys comes out in 2018. Can you tell me a little bit more about the film?

Jon Paul: Sick for Toys is a Christmas psychological thriller. It’s also a horror film. It’s about a brother and sister who live together alone and have for years. This year, Emelia invites Roy, who she randomly meets, to have Christmas dinner with her. It turns out that every year what she wants for Christmas is a toy: a man. Her brother goes and gets that man for her. This year she chooses Roy.

It’s a very twisted thriller that flips normal horror and film tropes on their head. We enjoy that about it.

Is it a dark movie or does it have a dark comedic tone? What is the tone?

Jon Paul: It’s funny you ask that. It’s dark. It’s a disturbing, creepy film. Of course, it has moments of air, where you can giggle, but we just see it as a very dark film. However, when we screened it in Dallas and in Los Angeles, we were surprised and unnerved at first how much laughter we were getting at certain points which I never found funny.

Now that we’ve seen it with another audience, I thought: “I guess that is a funny line, huh?”

It helps because it is a dark tale. It helps to have more humor in it. Also, there are moments where you laugh because you don’t know what else to do, I think. (laughs)

Like that nervous laughter?

Jon Paul: Yeah, there were a couple of those where audiences were just like: “Oh god, what am I watching?” There is some gore in the film, but all of the creepiest moments are done without gore. It’s done with music, acting, and building tension in the film-making. Which is neat. I love gore, but…

From what I’ve gathered this film fits into the current zeitgeist of what people are talking about in terms of sexual harassment and the #metoo movement. I was wondering what you’d want people to take away from it.

Jon Paul: We’ve talked a lot about that because we’ve been very curious to see how people are going to respond. There’s rape in the film.  It’s a man who’s being raped. The writer wanted to point out what it’s like when the victim is told: “You’re not the victim here. You were asking for this.” This time it’s about a man being told this, what that feels like, and how horrible that is.

We made an entertaining movie, and we want to entertain people. But if people walk away with a better viewpoint on that subject or a different viewpoint on that subject, that’s good too. But it’s not necessarily a political movie at all.

So what is it like to be an executive producer? What did you do for the film in that capacity?

Jon Paul: For starters, we found the money. Actually, we were funding a different project, a more expensive project, and this script fell in our laps. We read it, and we realized we could do it for the budget we already had. There were roles I could play, as well as my partner, David Gunning. So we decided to make the film.

As far as what goes into it: We are technically the executive producers, but I also worked as the line producer and several other kinds of producers, because we only had four producers on the project. So we did everything from getting the permits to hiring the actors and crew, vetting all the crew, etc. Basically, we put it all together. It was a lot of work, but it was really fun work.

Is there a lot of overlap as a writer and producer? Or do you find that once the writer is done with the script, it’s everyone else’s project after that?

Jon Paul: I can’t speak too much. On TV shows, there’s always a writer hanging around in case they need to rewrite something. On Sick for Toys, we were fortunate to have the writer playing a role in the film. So whenever we needed to add or change dialogue, which we did several times, he was there.

At one point I have to spout out all of these names of drugs. The writer used all of the trademarked names, and I had to learn all of these really long medical names just before we shot (laughs) – wasn’t too happy about that – but it turned out great!

Silly question: What was it like to be the pantomime horse on Parks & Rec?

Jon Paul: (laughs) Really fun. It was a really fun day. Like any job, I didn’t expect to get it. They called me three hours after I auditioned, I wasn’t even home yet, and I booked the role. I was really excited.

It was difficult in the costume. I couldn’t turn. I had to have someone behind me to carry the legs around. It was odd, but it was great working with Amy Poehler. She’s really fun and improvs. She’s sweet. It was a such fun show. Such nice people.

How can we see Sick for Toys? When is it coming out and how can we see it?

Jon Paul: It comes out to buy or to rent in September.

It was going to release in October, but we’ve had such good buzz we’re releasing earlier. It’ll be released oversees October 1st. We sold to Germany and several Asian countries.

Then it’ll be out on all streaming sites (Netflix, Hulu, Amazon) in December. We are excited to have it out.

In the meantime, check out the trailer!

Kathryn Graham Interviews Writer/Producer Bridget McManus Part 2

by Kathryn Graham

LB’S NOTE: More about how Bridget McManus got into the entertainment game and how you can too! Part 1 is HERE

(Yes, this has been a long article, but the time it takes you to read it is a very worthwhile investment in your future.)


Bridget McManus

 

“Don’t worry about making it perfect. Just make your art. After that make better art. And after that make even better art.” — Bridget McManus

Happy Wife, Happy LifeYou can tell it’s shot with three cameras. It’s edited by me. You can tell the graphics are not broadcast television. It’s not a television show. It’s shot in one location. It’s elementary, but it’s doing its job. Of course we could use a big budget and a beautiful set, so how are we doing it? We just make the content good.

Everybody wants to be critical. “This isn’t good. That isn’t good.” Who cares? Anybody who criticizes you isn’t doing their own art. Just do what you want, and the next project will always be better.

How do you monetize your work? It seems like you have the second season on YouTube and that hopefully interests people enough to go to Tello.

Bridget: Tello is like the lesbian Netflix. It’s subscription based. It’s 4.99 a month, and you get access to all the lesbian shows that you want.

I’ve worked at Tello Films since 2009 off and on. I joined them officially as their VP of Development a couple years ago. That’s not a paid role, I don’t get paid. I just care about projects, and I work with other artists to create things.

The great thing that Christin Baker, the president, has put into place is: all lesbians series cannot kill the lesbian main character. And if a woman identifies as a lesbian at the beginning of the series, she cannot end up with a man at the end of the series. If she’s bisexual, she can end up with a man. But if she’s lesbian, she can’t. Those are the rules of Tello.

So anybody who wants to be a distributor on Tello, if you have shot your own project, you can distribute it through them. They work out a deal with you where they give you a back-end. They give you a certain amount of money for whoever’s clicked on the stream.

I don’t get paid. I’m not a staff member. The only person who works at the company is Christin. I have my own subscription. I pay 54 dollars a year because I believe in it, I love that it’s all for lesbians. We’re a team and we have individual collaborators, and I’m always a staple there. Anybody who wants to work on projects can come to us. We do staged readings too.

For myself, I co-produce with Christin, so our deal is different because we split profits. Right now we’re not making an enormous amount of money. We make a little money, but we feed it back into other projects.

There’s a romantic comedy series that I wrote called Alice & Iza. We’re shooting it in July. The little bit of money we’ve made from Tello, I’m putting into that production. It’s going to star Guinevere Turner. I’m very excited about it.

It’s about a one night stand. Because sometimes people can be really open and intimate when they don’t know somebody, but when they get into a relationship, they get closed off.

So it’s going to be about everything that happens in one night, all of the sharing, and what happens when you never see that person again.

Sounds like you can get quickly into the meat of who the characters are.

Bridget: The couple that we have is Guinevere’s character Alice: her character is in her late forties. The other character is Iza, who is mid-twenties, and she’s African American. They have very different lives.

There’s definitely ageism in any relationship, so it’s like: “I’m supposed to be like this because I’m this age.” But, are you? When we’re naked and vulnerable and having a real human connection, who are we really? What’s something you’re willing to share with someone when you don’t have to look them in the eye tomorrow?

But it’s also going to be fun and playful. Sometimes people do weird things, sexually, with someone they’re not going to deal with ever again. It’s like the Prince song: ’26 positions in a one night stand’. You might go there because you don’t have to worry about intimacy or a lasting relationship. You can just walk away from it. But this one night together will change them.

Do you guys take volunteers to work on your projects at Tello? 

Bridget: We absolutely take volunteers. We did a ‘Pitch to Production’ panel at ClexaCon for two days where people pitched us their ideas. We worked on their pitches the first day, then they came back the second day to re-pitch. It was phenomenal to see how much their pitches changed from day one to two.

Then we gave the person whose pitched we liked most 1,500 dollars to make their own project. We’re developing it with them right now. The cool thing about Christin is that, we would grant the winner a production budget, but the people who don’t win still get a distribution deal.

Can you tell me a bit more about the winning pitch?

Bridget: The people who won are Jessie Gender and Ariel Sobel. Jessie’s trans. The series is called Chose.

Logline: Raised in a future ultra-progressive society, Ty’s gender, like everyone else, was not assigned at birth. It will be determined by a virtual reality experience where their masculine and feminine features are extrapolated into two different people and forced to fight to the death. Ty can’t wait to take on the stronger gender, but it all goes wrong when their masculinity and femininity are matched.

The first episode will be what’s going on in their head. The other episodes are what’s going on in the world.

Bridget, thank you so much for your advice and your dedication to helping people create their own art like you have.  It’s truly been a pleasure.


If you have any more questions for Bridget, or you want to check out all of the awesome stuff she’s done over the past ten years, you can find her at Bridget McManus.com!

Happy Wife, Happy Life: Season 3 comes out June 3rd. And the episodes shot at ClexaCon before a live audience will also be out this summer! So subscribe to One More Lesbian on Youtube to watch for free!