John Lennon: Imagine – John Lennon & Yoko Ono

John Lennon & Yoko Ono - John Lennon: Imagine (Remastered  2010-2018)  artwork

John Lennon: Imagine (Remastered 2010-2018)

John Lennon & Yoko Ono

Genre: Concert Films

Price: $ 12.99

Release Date: December 1, 1971


Imagine is a cinema collage of colour, sound, dream and reality. Produced and directed by John and Yoko, who, with numerous guest stars including George Harrison, Fred Astaire, Andy Warhol, Dick Cavett, Jack Palance and Jonas Mekas, create a world of imagination as rich and moving as the music that accompanies it. The Imagine film is widely regarded as one of the first ‘video albums’, featuring as it does a different visual treatment for every song on the album. Following an intensive restoration process, the film has been frame-matched to the original negative – every frame has been hand cleaned and restored – and the soundtrack has been remixed and remastered in glorious 5.1 surround sound by multi-Grammy® Award winner Paul Hicks.

© © 1971 Yoko Ono Lennon, exclusively licensed to Eagle Rock Entertainment Limited.

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John Lennon Man of Peace, Part 4: We All Shine On – Geoffrey Giuliano

Geoffrey Giuliano - John Lennon Man of Peace, Part 4: We All Shine On  artwork

John Lennon Man of Peace, Part 4: We All Shine On

Geoffrey Giuliano

Genre: Arts & Entertainment

Price: $ 6.95

Publish Date: January 17, 2018

© ℗ © 2018 Icon Audio Arts

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Born in a Bad Way – EP – Mallory Lennon and the Sykadelix

Mallory Lennon and the Sykadelix - Born in a Bad Way - EP  artwork

Born in a Bad Way – EP

Mallory Lennon and the Sykadelix

Genre: Jazz

Price: $ 4.95

Release Date: August 20, 2017

© ℗ 2017 Mallory Lennon and the Sykadelix

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Paul McCartney Met John Lennon on This Day 60 Years Ago: Friends Recount the Ordinary Meeting Which Changed History

July 6, 1957 was the day Paul McCartney and John Lennon had their first encounter during a church fete at St. Peter's Church in Liverpool….
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John Lennon Had A ‘Desire’ To Sleep With Men, Says Yoko Ono

Yoko Ono claims that John Lennon had a desire to be in a homosexual relationship, saying in a new interview that the two had discussed the idea of being bisexual. Speaking to the Daily Beast as she’s about to receive an Icon award from Attitude magazine for her longtime championing of LGBT rights, Ono said, “John and I had a big talk about it . . .”
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Human peace sign, a tribute to John Lennon

People attempt to set a record for the largest human peace symbol in NYC to celebrate what would have been John Lennon's 75th birthday. Rough Cut (No reporter narration).
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75 John Lennon quotes for his 75th birthday

John Lennon would have been 75 years old today. In honor of the occasion, we've compiled 75 quotes and lyrics attributed to the late rock icon . Enjoy, and remember. On the Beatles: "We're not Beatles to each other, you know. It's a joke to us. If we're going out the door of the hotel, we say, 'Right! Beatle John! Beatle George now! Come on, let's go!' We don't put on a false front or anything." — Look, 1966 "Paul (McCartney) and I made a deal when we were 15. There was never a legal deal between us, just a deal we made when we decided to write together that we put both our names on it, no matter what." —​ Playboy, published in 1981 "I said we were more popular than Jesus, which is a fact." —​ Look, 1966 "We were really professional by the time we got to the States; we had learned the whole game. When we arrived here we knew how to handle the press; the British press were the toughest in the world and we could handle anything. We were all right." —​ Rolling Stone, 1971 "You see, we're influenced by whatever's going. Even if we're not influenced, we're all going that way at a certain time. If we played a Stones record now —​ and a Beatles record —​ and we've been way apart,​ you'd find a lot of similarities. We're all heavy. Just heavy." —​ Rolling Stone, 1968 "Carrying The Beatles' or the Sixties' dream around all your life is like carrying the Second World War and Glenn Miller around. That's not to say you can't enjoy Glenn Miller or The Beatles, but to live in that dream is the twilight zone. It's not living now. It's an illusion." —​ Playboy, 1981 "They've been trying to knock us down since we began, especially the British press, always saying, 'What are you going to do when the bubble bursts?' That was the in-crowd joke with us. We'd go when we decided, not when some fickle public decided, because we were not a manufactured group. We knew what we were doing. —​ Rolling Stone, 1971, on The Beatles "There is not one thing that's Beatle music. How can they talk about it like that? What is Beatle music? Walrus or Penny Lane? Which? It's too diverse: I Want to Hold Your Hand or Revolution Number Nine? —​ Rolling Stone, 1971 "Why should The Beatles give more? Didn't they give everything on God's earth for ten years? Didn't they give themselves?" —​ Playboy, 1981 "I've got used to the fact —​ just about —​ that whatever I do is going to be compared to the other Beatles. If I took up ballet dancing, my ballet dancing would be compared with Paul (McCartney)'s bowling." —​ Rolling Stone, 1975 "I said to Paul 'I'm leaving.' " —​ Rolling Stone, 1971, on quitting The Beatles "It's like saying, you know, 'Did you remember falling in love?' Not quite. It just sort of happens" —​ The Dick Cavett Show, 1971, on his memories of breaking up with the Beatles On songwriting: "All we are saying is, 'This is what is happening to us.' We are sending postcards. I don't let it become 'I am the awakened; you are sheep that will be shown the way.' That is the danger of saying anything, you know." —​ Playboy, 1981 "I was trying to write about an affair without letting me wife know I was writing about an affair, so it was very gobbledegook. I was sort of writing from my experiences, girls' flats, things like that." —​ Rolling Stone, 1971, on writing Norwegian Wood years before "The first line (of I Am The Walrus) was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend, and it was filled in after I met Yoko." —​ Playboy, 1981 "They can take anything apart. I mean, I hit it on all levels, you know. We write lyrics, and I write lyrics that you don't realize what they mean till after." —​ Rolling Stone,1968, when asked about "philosophical analyses" of Strawberry Fields "In Baby You're A Rich Man the point was, stop moaning, you're a rich man and we're all rich, heh heh, baby!" —​ Rolling Stone, 1968 "I'm always proud and pleased when people do my songs. It gives me pleasure that they even attempt them, because a lot of my songs aren't that doable." —​ Playboy, 1981 "The images (in Lucy in the Sky With Diamonds) were from Alice in Wonderland. It was Alice in the boat. She is buying an egg and it turns into Humpty Dumpty. The woman serving in the shop turns into a sheep and the next minute they are rowing in a rowing boat somewhere and I was visualizing that. There was also the image of the female who would someday come save me … a 'girl with kaleidoscope eyes' who would come out of the sky. It turned out to be Yoko (Ono), though I hadn't met Yoko yet. So maybe it should be Yoko in the Sky With Diamonds." —​ Playboy, 1981 On himself: "I'm cynical about society, politics, newspapers, government. But I'm not cynical about life, love, goodness, death. That's why I really don't want to be labeled a cynic." —​ Look, 1966 "I'm a freakin' artist, man, not a (expletive) race horse." —​ Rolling Stone, 1975 "Yes, if there is such a thing, I am one." —​ Rolling Stone, 1971, when asked if he thought he was a genius "One of my big things is that I wish to be a fisherman. I know it sounds silly —​ and I'd sooner be rich than poor, and all the rest of that … but I wish the pain was ignorance or bliss or something." —​ Rolling Stone, 1971 "I never went to high school reunions. My thing is, out of sight, out of mind. That's my attitude toward life. So I don't have any romanticism about any part of my past." —​ Playboy, 1981 "I'm not telling. Lots more than I ever had before." —​ Rolling Stone, 1971, asked how much money he had "Nobody controls me. I'm uncontrollable. The only one who controls me is me, and that's just barely possible." —​ Playboy, 1981 On marriage to Yoko Ono: "It was very romantic. It's all in the song, The Ballad of John and Yoko. If you want to know how it happened, it's in there. Gibraltar was like a little sunny dream. I couldn't find a white suit —​ I had sort of off-white corduroy trousers and a white jacket. Yoko had all white on." —​ Rolling Stone, 1971 "When we got married, we knew our honeymoon was going to be public, anyway, so we decided to use it to make a statement. We sat in bed and talked to reporters for seven days. It was hilarious. In effect, we were doing a commercial for peace on the front page of the papers instead of a commercial for war." —​ Playboy, 1981, on his and Ono's 1969 "Bed-In" "I was a working-class macho guy who was used to being served and Yoko didn't buy that. From the day I met her, she demanded equal time, equal space, equal rights." —​ Newsweek, 1980 "She inspired all this creation in me. It wasn't that she inspired the songs; she inspired me." —​ Playboy, 1981 "It is a teacher-pupil relationship. That's what people don't understand. She's the teacher and I'm the pupil. I'm the famous one, the one who's supposed to know everything, but she's my teacher." —​ Playboy, 1981 On fatherhood: "If you know your history, it took (Ono and me) a long time to have a live baby. And I wanted to give five solid years to Sean. I hadn't seen Julian, my first son (by ex-wife Cynthia), grow up at all. And now there's a 17-year-old man on the phone talking about motorbikes." —​ Newsweek, 1980 "Yoko became the breadwinner, taking care of the bankers and deals. And I became the housewife. It was like one of those reversal comedies! I'd say (mincingly), 'Well, how was it at the office today, dear? Do you want a cocktail? I didn't get your slippers and your shirts aren't back from the laundry.' To all housewives, I say I now understand what you're screaming about." —​ Newsweek, 1980 On faith: "I believe Jesus was right, Buddha was right, and all of those people like that are right. They're all saying the same thing —​ and I believe it. I believe what Jesus actually said —​ the basic things he laid down about love and goodness —​ and not what people say he said." —​ Look, 1966 "I don't believe in magic … I don't believe in Jesus … I don't believe in Buddha … I don't believe in Elvis … I don't believe in Beatles." —​ God, 1970 "Imagine there's no heaven/ It's easy if you try/ No hell below us/ Above us only sky/ Imagine all the people/ Living for today." —​ Imagine, 1971 On listening to music: "There is nothing conceptually better than rock 'n' roll. No group, be it Beatles, Dylan or Stones, have ever improved on Whole Lot of Shaking for my money. Or maybe I'm like our parents: that's my period and I dig it and I'll never leave it." —​ Rolling Stone, 1971 "All music is rehash. There are only a few notes. Just variations on a theme. Try to tell the kids in the Seventies who were screaming to the Bee Gees that their music was just The Beatles redone. There is nothing wrong with the Bee Gees." —​ Playboy, 1980 "I'm still a record man. There's nobody —​ including meself —​– on earth that I can sit down and listen to a whole album." —​ Rolling Stone, 1975 "I don't purchase records. I do enjoy listening to things like Japanese folk music or Indian music." —​ Playboy, 1981 On other rock stars: "It depends who they are. If it's Mick (Jagger) or the Old Guard as I call them, yeah, they're the Old Guard. Elton (John), David (Bowie) are the newies. I don't feel like an old uncle, dear, 'cause I'm not that much older than half of 'em, hehe." —​ Rolling Stone, 1975 "I didn't come after Elvis and Dylan, I've been around always. But if I see or meet a great artist, I love 'em." —​ Rolling Stone, 1971 "I stopped listening to Dylan with both ears after Highway 64 (sic) and Blonde on Blonde, and even then it was because George (Harrison) would sit me down and make me listen." —​ Playboy, 1981 "Wouldn't it be interesting to take Elvis back to his Sun Records period? I don't know. But I'm content to listen to his Sun Records. I don't want to dig him up out of the grave." —​ Playboy, 1981 On health and mortality: "I don't want to grow up but I'm sick of not growing up —​ that way. I'll find a different way of not growing up. There's a better way of doing it than torturing your body." —​ Rolling Stone, 1975 "We're mostly macrobiotic, but sometimes I take the family out for a pizza." —​ Playboy, 1981 "I could still be forgotten when I'm dead. I don't really care what happens when I'm dead." —​ The Dick Cavett Show, 1971 "Cat has nine lives/ Nine lives to itself/ But you only got one/ And a dog's life ain't fun." —​ Crippled Inside, 1971 "Two branches of one tree/ Face the setting sun/ When the day is done." —​ Grow Old With Me, released in 1984 On drugs: "It was only another mirror. It wasn't a miracle. It was more of a visual thing and a therapy, looking at yourself a bit." —​ Rolling Stone, 1971, on how LSD affected his music after he began experimenting in 1964 "We were smoking marijuana for breakfast. We were well into marijuana and nobody could communicate with us, because we were just all glazed eyes, giggling all the time. In our own world." —​ on The Beatles during their Help! period "(Happiness Is A Warm Gun) not about heroin. A gun magazine was sitting there with a smoking gun on the cover and an article that I never read inside called 'Happiness Is a Warm Gun.' I took it right from there. I took it as the terrible idea of just having shot some animal." —​ Playboy, 1981 "If somebody gives me a joint, I might smoke it, but I don't go after it." —​ Playboy, 1981 On fame: "I don't mind looking to the camera —​ it's people that throw me." —​ Look, 1966 "You don't have to be a star to get a cheese sandwich. You just have to be first." —​ Look, 1966 "I've withdrawn many times. Part of me is a monk, and part a performing flea! The fear in the music business is that you don't exist if you're not at Xenon with Andy Warhol." —​ Newsweek, 1980 "Half the time you don't know what you're talking about when you're talking to reporters." —​ The Dick Cavett Show, 1971 "No longer riding on the merry-go-round/ I just had to let it go." —​ Watching the Wheels, 1980 On the human condition: "You're born in pain. Pain is what we are in most of the time, and I think that the bigger the pain, the more God you look for." —​ Rolling Stone, 1971 "The unknown is what it is. And to be frightened of it is what sends everybody scurrying around chasing dreams, illusions, wars, peace, love, hate, all that … it's all illusion." —​ Playboy, 1981 "Remember though love is strange/ Now and forever love will remain." —​ Bless You, 1974 "Better recognize your brothers/ Everyone you meet." —​ Instant Karma!, 1970 "Every day in every way/ It's getting better and better." — ​Beautiful Boy (Darling Boy), 1980 "After all is said and done/ You can't go pleasing everyone." —​ I'm Stepping Out, released 1984 On politics and revolution: "I don't want to die, and I don't want to be hurt physically, but if they blow the world up … we're all out of our pain then, forget it, no more problems!" —​ Rolling Stone, 1971 "That radicalism (of the '70s) was phony, really, because it was out of guilt. I'd always felt guilty that I made money, so I had to give it away or lose it. I don't mean I was a hypocrite. When I believe, I believe right down to the roots." —​ Newsweek, 1980 "In England, there are only two things to be, basically: You are either for the labor movement or for the capitalist movement. Either you become a right-wing Archie Bunker if you are in the class I am in, or you become an instinctive socialist, which I was." —​ Playboy, 1981 "There is no denying that we are still living in the capitalist world. I think that in order to survive and to change the world, you have to take care of yourself first. You have to survive yourself." —​ Playboy, 1981 "It's quite possible to do anything, but not to put it on the leaders and the parking meters. Don't expect Jimmy Carter or Ronald Reagan or John Lennon or Yoko Ono or Bob Dylan or Jesus Christ to come and do it for you. You have to do it yourself." —​ Playboy, 1981 "All we are saying is give peace a chance." — Give Peace A Chance, 1969 On the future: "The sun will never disappear/ But the world may not have many years." —​ Isolation, 1970 "I couldn't think of the next few years; it's abysmal thinking of how many years there are to go, millions of them. I just play it by the week." —​ Rolling Stone, 1971 "I hope we're a nice old couple living off the coast of Ireland or something like that —​ looking at our scrapbook of madness." —​ Rolling Stone, 1971, imagining himself at 64 with Ono 'It looks like I'm going to be 40 and life begins at 40 —​ so they promise. And I believe it, too." —​ Playboy, 1981 "I hope some day you will join us/ And the world will live as one." —​ Imagine, 1971
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‘Playing House’ Stars Lennon Parham & Jessica St. Clair Interview Each Other

‘Playing House’ stars Lennon Parham & Jessica St. Clair dish about the chaos of having babies on set, their favorite guest stars and much more!


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Imagine – John Lennon Classics – Aura Veris

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Imagine – John Lennon Classics

Aura Veris

Genre: Instrumental

Price: $ 9.99

Release Date: February 6, 2013

© ℗ 2013 DENON

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Bono, Yoko Ono unveil a giant tapestry in honor of John Lennon

Yoko Ono, Bono and The Edge of U2 unveil a giant tapestry, commissioned by Amnesty International, in honor of John Lennon. Rough Cut (no reporter narration).


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Lennon & Maisy Stella Create Children’s Book ‘In The Waves’

Lennon and Maisy Stella discuss their new children’s book, ‘In the Waves.’ Plus, Kathy Bates hosts the American Cancer Society Birthday Ball.


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John (Unabridged) – Cynthia Lennon

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John (Unabridged)

Cynthia Lennon

Genre: Arts & Entertainment

Price: $ 23.95

Publish Date: September 27, 2005

© ℗ © 2005 Books on Tape

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McCartney: Writing with Kanye West was like working with Lennon

Paul McCartney says writing songs with Kanye West reminded him of the way he and John Lennon used to work together. Morgan Manousos (@MorganManousos) explains why.
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In Her Life After John, Cynthia Lennon Didn’t Stop Loving Him

John Lennon’s first wife died Wednesday at 75. In 1985, Cynthia Lennon talked with Fresh Air about her marriage to John, going on tour to America, and meeting Yoko Ono.

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Cynthia Lennon Dead — John’s First Wife Dies from Cancer

John Lennon’s first wife Cynthia Lennon … died at home in Spain after a short battle with cancer. She was 75. Cynthia and John got married in 1962 .. while she was pregnant — and she gave birth to Julian Lennon in 1963. He is her only child, and…

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Paul McCartney, Ringo Starr & Yoko Ono Remember Cynthia Lennon

Cynthia Lennon — ex-wife of late Beatles legend John and mother of Julian — died Wednesday (April 1) after a brief battle with cancer. Cynthia and John were married from 1962 to 1968, at the very start of the Beatles' rise to mega-stardom.
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The Odd Couple’s Thomas Lennon Gets Weird on Playboy’s Lucky 7

He played lieutenant Jim Dangle on Reno 911! and now he’s one of the stars in the CBS comedy show The Odd Couple. Funny guy Thomas Lennon takes on our Lucky 7, and shares what children’s movie scared him as a kid. For more Playboy: http://ply.by/CyOW1O
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Julian Lennon Set to Release First Box Set

Julian Lennon is set to release his first-ever box set with “Everything Changes” (Music from Another Room, Ltd.),” arriving on his mother Cynthia’s…
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Secrets of the ‘Playing House’ Writers’ Room with Jessica St. Clair and Lennon Parham

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Once upon a time, there was a show called BFFs on NBC. It was a cult hit, (even creating a Brony-like subculture of men who were serious fans) but never made it due to low ratings. The Internet was not best pleased. Then, USA Network began talks with Lennon Parham and Jessica St. Clair to create another show that showcased the pair’s uncanny chemistry and their realistic approach to friendship. The result was Playing House, a story of a woman who leaves her husband late in her pregnancy, and her best friend comes home from China to help. The show has received critical praise, and has a rabid fanbase online.

I recently sat down with Lennon and Jessica on the eve of their two episode season finale to discuss what is different about how they write Playing House.

Karen: Looking back on the past season of Playing House, what has the reaction been for you?

Jessica: It has been a dream come true. All of our fans from BFFs were so excited to join us again, and they seem really obsessed with the world we’ve built. We really tried to focus on making a bigger world: a small town filled with these charming freaks from the UCB, and people really responded to that. They want to live in the town, they want to be in on our inside jokes, and nicknames, and they get all the details. The best part for me has been when people tweet the little details of the show, like the fact that we’re wearing Bird Bones’ and Mark’s robes that in this past episode that we stole from them in episode two. It makes us feel so good that they noticed. We’re comedy nerds, so we spend a lot of times planting those things.

Lennon: I don’t know if everybody does it this way, but we’re so grateful that people are connecting to it, and that they’re picking up on our little turns of phrase. When we’re on Twitter, we’re not only live tweeting episodes and talking about behind-the-scenes stuff, we actively try to respond to everybody.

Jessica: It’s nice too, because based on the feedback, I think people were really desperate for a show that accurately portrayed what female relationships are in life. People send us photographs of themselves and their best friends from when they were 9, and then pictures of them as adults. It’s so nice, because we knew it was true for us, but not necessarily true for others. It turns out, they find it relatable!

Karen: Your method of writing is very different than most writers rooms, because you improvise the first draft, and then work on it from there. Do you worry that due to being so experienced at improv together and also being best friends that you might leave other people out?

Jessica: With true best friends, you can have an entire conversation without saying a word. Lennon and I will have a whole conversation at a wedding just by looking at each other. You have a mind meld. Our details might be different, but the way that best friends show up for each other is universal.

Lennon: Because Jess and I came up through the UCB theatre, you learn quickly what works and what bombs. You learn what can become a good joke and can be repeatable. You have a shorthand about how to introduce a joke to someone.

Jessica: Lennon and I have our own language, but the Upright Citizens Brigade has its own language. Because USA gave us free rein to cast whomever we wanted, we cast our best friends. The jokes they bring to the table in their improv with us are jokes we would have 100 percent written had we had the chance to.

Lennon: Yeah, and it comes across like we’ve known each other forever because we have.

Karen: Something unique to your writing style is your ability to make small stories very big on details. There’s a layering effect where a joke starts out small and then gets bigger and bigger as the show or episodes progress.

Lennon: It’s pretty simple to me: we come from a really grounded world where anything you say could be the thing that the scene becomes about. We’re always treating it as if we would treat it in real life. It’s all observation. When you get into a fight with your partner or a friend, you usually have some weird, specific thing that you hold on to, that you fight about that has nothing to do with what’s going on.

That scene with Maggie in the interrogation room where all she wants is a pizza, she doesn’t actually want a piece of pizza, it’s all this other really complicated stuff underneath, but how it’s coming out is just “give me a fucking piece of pizza!”

Jessica: The specifics are what make people connect to it, because it’s like life. At the UCB, we have this thing called the game. It’s hard to explain,and it’s harder to learn. What happens is you start a scene and you improvise, and some kind of a mistake happens. Something odd or weird just naturally within the first almost three lines of a scene.

Lennon: You can choose to make that happen too, but most often, it comes out organically.

Jessica: You learn when that happens, to seize on it and you heighten it. That becomes the thing that makes you unique. When we’re writing, we always ask ourselves, “What’s the game of this scene?” So, the game is that Mark doesn’t want the strip show, but they’re going to keep pushing it. We try to build it so each scene stands alone. There should be a comic game in each scene. When we had non-UCB people in our writer’s room, they said “What the hell is the game? It sounds like The Secret.”

Lennon: A good example of that is the scene with Steve and the car seat. We’re waiting, and unbeknownst to us is a very good looking man is coming out to help us with the car seat. The first thing he says is interpreted as sexual, and so the whole thing is that he’s basically having sex with us through the installation. That’s the game.

Jessica: And Keegan heightened the game by doing that horrible gesture where it looks like he’s pummeling a woman and it only lasts eight seconds.

Lennon: The heightening is that he’s terrible at it, and he says he’s the fastest in the world.

Karen: Playing House is about a baby, but it’s not about a baby in the way that Modern Family is. How do you make your show defy pregnancy and baby tropes?

Jessica: We always write about what we’re experiencing. Both Lennon and I had a baby during the pre-production of this show. When we started in the writers room, Lennon’s baby had just been born and I was pregnant. So, for season one, we were more interested in writing about the high stakes emotions you feel and experience when you’re pregnant. We also wanted to put a focus on what it’s like to reconnect with an old friend. In episodes nine and 10, you’re going to see what it’s like when the baby comes, and you’ll see that their lives aren’t over. They’re still going to be trying to find love, and trying to find themselves career-wise. The baby is along for the ride.

Lennon: It’s kind of like what we say when people ask us, “are Maggie and Emma going to find their true love?” And it’s “yeah, I mean maybe…” The baby’s going to be around, but the primary relationship we’re focused on is the two women. We want to see the adventure they’re going to go on with these other people.

Jessica: If we make it to season two, one of the ideas we’re playing with is maybe Maggie goes back to grad school. So, maybe she doesn’t want to tell all her friends there that she has a new baby, so it’ll just be funny to see her pumping in a bar bathroom, and me ferrying the milk.

Karen: Have you drawn on any real life highs or lows in the writing of the show?

Jessica: When my childhood best friend died, Lennon was my first call. She said “where are you? I am coming to get you.” I realized that not only have we gotten to do our dreams together, but in the process, I’ve found myself in the most healthy friendship I’ve ever had.

Karen: I can’t leave you without asking about Bosephus. When you’re putting Bosephus into an episode, are you hoping that people will “get it?

Lennon: Bosephus has been living inside of me for a while. The actual story about someone putting on a disguise and going to a bar to spy on someone happened to one of our writers.

Jessica: Bosephus came up in the BFF writer’s room.

Lennon: We were going to have him be a tag. It was a whole scene where Jessica and Joe were involved in a high stakes poker game with a diverse group of players, and then at the end, they get home and tell Lennon and act like everything is all right, and hanging on the door is Bosephus’ hat.

Jessica: Bosephus had to see the light of day, because let’s face it: He’s too fucking funny not to, but we needed to ground it. Anything can work if you ground it in reality. I have to be there to say “this is crazy!” And it has to be grounded in emotional reality and for a reason. She’s doing it to protect her brother. Our show has to live in a real place. We also have someone in our room called Anthony King who is the reality police.

Playing House’s two-part season finale airs Tuesday at 10/9 Central on USA Network.

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