Jeremy Konner: The verbal contract that we have with our storytellers is, in some ways, different from the contract we have with ourselves. If the storyteller gets a date wrong, it’s okay because we can just cut that out and put a date up on the screen. We feel pretty strongly that events and dates and the emotion have to be accurate. We feel pretty good that we’re doing that. But then dialogue, time compression ... there’s a lot of time compression that happens.

AS: There’s something oddly endearing about the anachronisms of the show, especially when it started out. Seeing John Hamilton call his wife, girlfriend, and family using a cellphone in the first episode does bring it back to the root of the show, that you have drunk storytellers leading you on a narrative through a historic event, injecting their own bit of flavor.

JK: [Imitating Mark Gagliardi] He calls his wife and says, “I’m a love you, I’m a miss you.” He calls his girlfriend and says, “I’m a love you, I’m a miss you.” He calls his family and says, “I’m a love you, I’m a miss you.”

AS: That mistress, or rather girlfriend, comment isn’t too far off, though.

JK: Those things are true, but he didn’t call. He really did have a mistress and he was reaching out. A lot of it is true and some things have to be a little fudged for you to understand in a minute what the hell this thing is. History is very complicated. Just describing what I did yesterday is very complicated, let alone someone’s entire life. And what has been documented is not great. There are only a few sources for a lot of our stuff.

AS: That’s the interesting part, is that you’re making history a bit more accessible. Was that the goal when you first started out with Drunk History as simply an Upright Citizens Brigade sketch?