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Still, she has spells of benevolent derangement and jubilant self-assertion. In real life, neither, it seems, is the dominant one. After a year, she joined an improv-practice team outside of class in which there was only one other woman. They made hundreds of hours of videos of themselves doing kooky dances and skits, under the monikers of KRAP-TV and GBS, or Glazer Broadcasting Systems. Meanwhile, to pay the rent, Jacobson and Glazer worked selling vajazzling coupons and cut-rate colonics at Lifebooker, an online booking service for spas and salons—the model for Deals Deals Deals.Jacobson is more confident and shrewder than her character on the show. “This feels like a marriage, in the way that marriage is basically a business decision,” Glazer said the first day I met them. At first, Jacobson thought the woman was Alia Shawkat, from “Arrested Development.” In fact, she was Ilana Glazer. (Recently, they’ve put some of these on You Tube.)She looked up to Eliot and basically did whatever he did. She was president of her class in eleventh and twelfth grades and in an anti-drug group called the Positive Edge. improv-practice team, which they called Secret Promise Circle. “I remember him always complaining about the air-conditioning,” Jacobson said. Jacobson also had a greeting-card company, which she called Imagine That.Glazer says that the characters are fifteen-per-cent exaggerations of themselves.
She has a kind of nineties-trampy wardrobe of crop tops, minis, men’s briefs, and the so-called Ilana Glazer bra, which fans have traced to LF Stores, a clothing chain.Ilana has a semi-regular fuck-buddy arrangement with Lincoln, a responsible dentist played by Hannibal Buress, a Brooklyn standup comic.Lincoln wants more out of the relationship; Ilana does not.She bumbles her way through a crush on a handsome neighbor and endures the offenses of a roommate’s foul, freeloading boyfriend, Bevers, played by John Gemberling, the co-creator of the series “Fat Guy Stuck in Internet.” She puts a Post-it on her vibrator as a reminder to masturbate. ”At first glance, Ilana is the alpha (the banana man) and Abbi the sidekick (the feed), but, in defiance of double-act convention, Jacobson and Glazer frequently subvert these roles, big-sis status shifting between them, or vanishing entirely, in part because, in the context of “Broad City,” neither aspires to it. James, in Suffolk County—“where guidos meet potato farmers’ grandchildren,” as she once put it. Then she realized that her brother, Eliot, and her mother were watching and laughing. “After a while,” Jacobson said, “we thought, Why are we trying to be on something that someone else controls?
She works as a janitor at a fancy gym, unclogging toilets and dealing with the occasional “pube situation,” but aspires to be a trainer. The last episode builds to a Norma Rae moment: in a fancy restaurant to celebrate her twenty-sixth birthday, she mistakenly stabs herself with Ilana’s Epi Pen (Ilana has been stricken by an allergy to shellfish), and, jacked on adrenaline, jumps atop their table, crushes a glass in her hand, and cries out, “Ilana, I got you, girl! The extent to which their characters are established and yet constantly surprising each other gives their interplay a kinetic unpredictability that may or may not owe something to their background in improv, or perhaps to the fact that they really are making it up as they go along. Eliot, who is four years older, was a big-time ham, and she followed his lead. ” Also, they wanted to create something to show their parents, to prove that they weren’t wasting their time. ” Jacobson came up with the name “Broad City,” a sly reclamation of an old-fashioned term (“A broad is a full person,” Glazer says), and they began meeting every day in coffee shops around the city to write. They pulled ideas from their own lives, from their diaries, their phones, and their everyday experiences getting battered around by the city: the indignities of aborted booty calls, crowded office bathrooms, birthday brunches, and laundry-sex breakups.
Abbi and Ilana embody the freedom, debauchery, ineptitude, and fellowship that people, particularly young women, must give up, or at least hide from view, in order to function as adults.