Eventually, he got his own sketch series Kroll Show on Comedy Central, which ran for three terrific seasons, each stranger than the last. Kroll moved to Los Angeles and appeared in sitcoms like Cavemen and Worst Week before landing a role in FX’s long-running hit The League he was also one of the early alt-comedy podcast stars, appearing in character as various outsized personalities on shows like Comedy Bang Bang. Kroll and Mulaney have both become huge successes in their own right since cooking up these characters at now-defunct New York City clubs like Rififi. Their sense of humor is as curdled as their political outlook (they think of themselves as “very liberal” while parroting various outdated and racist views), and their accents possess a particular and bizarre sort of gruffness (they pronounce the word “cocaine,” one of their favorites to say, as “cuh-cane”). Gil and George are like two Woody Allen characters who’ve been left in the sun too long, two “eligible bachelors” who went from being a little long in the tooth to miserably co-dependent. They typify a very specific kind of New York personality.” As two of the city’s up-and-coming comics, Mulaney and Kroll honed Gil and George, collectively billed as “Oh, Hello” (for their preferred salutation, always said with a leering drawl), in various alternative comedy rooms as an improvised double-act. “We followed them around for a bit and just fell in love. “We saw these two guys buying individual copies of Never Have Your Dog Stuffed, Alan Alda’s autobiography,” Kroll told The Hollywood Reporter. These elderly cranks are long-running characters portrayed by Nick Kroll (Gil) and John Mulaney (George), who came up with them in 2005 while shopping at New York’s famous Strand Bookstore. They’re two men of indeterminate (but senior) age who live together in a rent-controlled apartment on the Upper West Side in Manhattan-Gil a struggling actor, George a writer with delusions of being the next Philip Roth-who putter around ranting about politics, New York marginalia, and all the imaginary wrongs they’ve suffered in their long careers. When pondering the continued rise of alternative comedy into the mainstream, and the avenues offered by streaming services to grant a wider audience to weirder material, there’s no better example than the strange careers of Gil Faizon and George St.
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