← Baby, this is Keke Palmer
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- [00:01]
A
Hello, my lovelies. This episode is brought to you by Airbnb. Of course. And if you are in need of New Year rejuvenation, remember to check out Guest Favorites, a collection of the most loved homes on Airbnb to find your next winter retreat. Now, let's start the show. Hey, it's your girl, Keke Palmer. Here. There's been a renaissance of black filmmaking over the past decade or so, but some people feel like the focus is always too much on the negative stuff. My guest today has a no black pain rule in choosing the films she does and hopes to spread joy and positivity. Her name's Marsay Martin, and today we're asking the question, what underrepresented elements of the black experience should movies and TV focus on more? So get ready to think a little critically for the sake of positivity, because, baby, this is Keke Palmer. No matter what we doing in the car, just chilling, pop on Amazon music, sit back and listen. Life, love, sex, science covered it all, especially the bad. Cause money always evolved no matter what it is we gonna make, make it make sense Nothing else to do but kick it with the homies and kings so grab you a drink and a snack you enjoy and get into the vibe that only wants you know it's your girl. This is Kiki, baby. This is Kiki Palma. Yeah. My guest today is an actress, producer, and entrepreneur who has been breaking barriers from a young age. You probably know her from her role as Diane on hit show Black Ish, or as the youngest executive producer in Hollywood history for. For her film Little. She's continuing to make waves with her production company, Genius Productions, and her latest project, Saturdays. Marseille Martin. Welcome to the show. Hello, girl. Like I was saying, I feel like every time that I see you, I only get, like, five minutes here and there. This is our first time being, you know, sitting down and getting into something.
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B
Sitting down and talking, like, for real. For real. No, I'm excited.
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A
I mean, how have you been? Like I was saying, I mean, you're only 20 years old and you've already accomplished so much. I mean, how do you feel approaching all those different roles? Did it ever feel like too much or kind of like your birthright?
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B
Oh, man, I think it's like my birthright, honestly. I think it's something that I just do for fun. Just have a good time. I always look at either, like, a script or just a certain project, and I'm like, okay, like, just, let's try it out. Let's do it. I think, like, my Parents always tell me, like, if it doesn't become fun for you anymore, we can move on to the next thing. And I think that's the beauty about just being young and being very experimental with the things that I do. And, yeah, I think that's just always.
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A
Been the goal and having encouraging parents. Cause my parents used to say that same thing too, where if it ain't fine, then don't do it. And that kept kind of pressure, you know, you do feel a little bit pressure as a child entertainer.
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B
Oh, for sure.
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A
It helps to balance it. So how did you get into entertainment and where are you from?
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B
I'm from Dallas. I'm from Dallas, Texas. Yeah, you know, little Texas, baby. But, yeah, I'm from Dallas, Texas. I started modeling when I was, like, little.
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A
Little.
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B
But I started acting when I was five.
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A
Okay. And Raven Simone. Yeah, just a little bit.
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B
Just a little bit. And of course it was like modeling, like, print and all of those things at first, and then it grew into something bigger. And then one day, it was. It was a lot. We took holiday photos from my grandparents back in Dallas. And the photographer was like, I will give you guys a discount if you take her to this acting class. So that was. That was pretty much like the start of it, for sure. Which was Kathy Sullivan.
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A
Hey, Kathy.
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B
Yeah, that was the beginning. And, I mean, we only did just a few sessions. And from there I got my la agen from Back and Forth from Dallas. Yeah, back and forth from Dallas.
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A
So y'all never officially moved until maybe you got Blackish. Was that it?
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B
It was. I think if. If I'm not mistaken, it was like about a year or so before going into black. Ish. And I remember my agent back then on cesd, Melissa Berger, cesd.
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A
I always remember as a kid, that was the agent. It's like, you know that nostalgic agency, cesd. You knew a kid was serious. Yeah.
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B
You know, a kid. If they had that age in voiceovers. Tell me, tell me. You know a kid is in the studio working.
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A
Yes.
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B
Right now, as we speak.
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A
And.
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B
Yeah. So Melissa called my parents and was like, it would be just way better if you guys would come here and. Meaning la.
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A
Yeah.
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B
And it was just like. It's a different energy from, you know, just recording tapes versus when you're actually in the room. So then my parents sat me down at this time. I'm probably like eight.
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A
Okay, okay.
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B
And they're like, are you sure you wanna do this? And I'm like, yes. You know, and all the trust that they put in Me, when I was just that little is exceptional. And from there, I mean, it was such a process. We moved to Huntington beach first, which is still very far from la and.
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A
So different from Dallas. You went from no water to water, west coast, supervised.
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B
Yeah, but both of my parents are from LA as well, so it's not. We didn't know, like, the space. My grandpa lived there at the time in Anaheim, so it was still. It was still very familiar. But obviously it was like auditions used to be in, like, the heart of la. So we would be driving two hours, like there and back.
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A
No, for real.
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B
And my dad was still working at the time. It was a lot. It was a lot. And it was always me and my mom doing auditions. And my dad would be. Was a car salesman, period. Selling them cars.
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A
I would get the talent from.
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B
No, right? No. Yeah.
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A
That charisma.
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B
Yes. I would see him. I would only see him, like, really at night. But my mom eventually was like, it's 10 toes down. Like, we got like. So eventually it's a family business. Yeah. Eventually he let go of his job and we all really just put our best foot forward into anything that we did. And, you know, fast forward to now we have our production company and of course we are co workers in a sense, but now we just love to create. We love to create different things, whether it's just projects on TV and film, but also just things that build community outside of that, you know. So I think it's just been an amazing, amazing journey.
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A
And it's just I relate to so much of what you're saying. The way that I see, obviously I love entertaining, but the way that my family and I saw it, especially with all the sacrifices that you have to make in order to be in this business, we saw it as a family business and we all knew the roles we had to play, even if it seemed odd or different to other people. Because when people are like, your parents ain't got no job. It's like, no, this is their job.
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B
No, this is it.
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A
Running my career.
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B
Exactly.
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A
You know, we're all in this together. Hashtag High School Musical.
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B
Oh, for sure. So you still see a lot of, like, child actors now that will go to these events. And I don't know if you've seen it, but, like, they'll go to these events without their parents and they'll be there with their agent or their manager because they think that's how it's supposed to be. But literally, like, everybody knows, like, and you see me, you see either my mom and you see me, you see my dad. Like, we.
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A
It's.
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B
It's a thing, you know, and it's. And it doesn't matter at what age, but it really just. It's a security thing. You know, it's like, you want to be in these, and, you know, they got your back and they built their.
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A
Damn brand with me. So why would we stop now?
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B
Absolutely. Yeah. Absolutely.
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A
So let's talk about Blackish, because that's when I was first introduced to you and I'm sure a lot of the world, because that show was huge and, you know, always going to be huge in our culture. What was that experience like for you growing up on television? I mean, how old was you when you started and how old were you when you ended it?
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B
Ooh. So I was nine when we started.
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A
Wow.
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B
Yeah. And I was 17 when we ended.
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A
Dang, girl, that's so special. Yeah. We have Tracee Ellis Ross, Anthony Anderson, Laurence Fishburne, Dion Cole, Jennifer. I mean, working and growing up with icons in both drama and comedy.
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B
Yeah.
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A
What was it? I mean, did you. You probably didn't know initially, but then maybe by the time you were 17, it hit you.
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B
Honestly, it didn't really hit me until the show ended. If we're gonna be very real, you know, I think. Cause I saw these people as, like, my family, for sure. And of course, I knew Tracee from Girlfriends and, like, Jennifer Lewis playing Mama Odie.
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A
Like Tracy. Kangaroo Jack.
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B
Yes, I did.
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A
I used to love that as a kid.
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B
I did. And it's actually hilarious. Cause I saw it when we were still in the auditioning process for Black Ish. Cause I didn't know. I'm not gonna lie.
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A
I didn't know what that was. I mean, seriously. Yeah.
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B
Cause I was like, I don't know what that is, but I watched it and I knew Anthony. So, yeah, I think it was just, like, such a cool family dynamic. And it was one of those things that, like, you don't really know what you have until it's gone.
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A
Yeah.
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B
And I think it was like, oh, that was so. It was so fun. It was very, very special. And it, like. A lot of people called it like a unicorn set because of how. How loving everybody was, like, from the cast, the crew, the writers. Like, yeah. It was so much passion behind the project.
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A
I think those are really special because even if you do a show where it's, like, it doesn't have to be one extreme or the other, a lot of times it's just in the middle. We come to work, we're professional. We leave. It's not always that you feel like you my family. For real.
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B
Yeah.
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A
So when that happens, it does do something different to you, you know.
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B
Absolutely.
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A
It feels like you're at home.
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B
Yeah.
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A
So the show ends, but you continue to know what you're gonna do right after that. I mean, your production company had already been started, or did you start it at the ending of the show?
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B
No, I actually started it after little, which I believe was 4 or 5 of black ish. If I'm. If I'm not mistaken, you were how old? I think I was 13 when we started filming Little, but I pitched little at like 10, so. And we know how long, like, films take to put together, so. So, yeah, that was on set.
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A
To Kenya, Paris.
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B
Yes. Yes. I think the finale of season one. That's when the little journey really started for.
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A
For the film.
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B
Wow.
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A
Yeah. And what was that experience like? Obviously in the beginning you said, you know, you mentioned it, you pitched it at 10, and then the process going. By the time that you were 13 and you actually were on set filming it, how were you taking on that. That role? Because this is the first time of you being a producer, I imagine.
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B
Yeah, for sure.
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A
How was it for you and how was it with your parents in supporting you in that position?
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B
Well, I was. I was just learning, you know, I was doing what I was just there to do, you know, which was not only act and be a.
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A
Give your opinion.
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B
Yeah. And give my opinion. And then also learning what that opinion means to people. And I think for that film in particular, it was really just a learning curve of just me trying to find my voice and seeing just how it works. In a sense, it's like, okay, so if I say this, then what then does this happen? Or, like, you know, am I gonna say this and nothing's gonna happen?
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A
Yeah. What is my power?
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B
What is my power? Exactly. So I think for that in particular, it was one of those things that I was just happy to be there. I was just happy to have a film that we created from the ground up and see it come to fruition while also learning what. Yeah. While also learning what a producer means. So I think it was layers of things, but I didn't really know what a producer meant until going into my mid teens of just trying to understand, you know, more of my power and more of what my identity is as a producer and if I like being behind the scenes more than in front of them.
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A
And I do think there's something that's so interesting about the whole Producer thing. Because every producer is different.
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B
Yeah.
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A
Like, you are already being a producer even without you thinking of just having a vision for something. And that could just all be that. It is. This is the vision. This is what the storyline is. That's how I'm producing. But then also, producing could also be. I'm throwing you the money. Y'all do it. Come call me afterwards.
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B
Yes.
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A
Or producing could be. Look, I know this guy named John. He writes really well. And I know this other guy. He directs really well. Y'all two need to meet. Like, that producing thing is so many different layers and levels. And it does happen over the course of time of seeing, okay, how people produce. And it's been the same for me, growing and seeing how much I like being behind the scenes as much as I do in front of the camera. It's a relationship that I continue to have questions about, become curious about. Because it's all forms of storytelling.
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B
Absolutely. And it's funny because, like, you, at a certain point, you've worked with every type of different producer. Like, there's people that I've worked with that are. Have a producer credit that I'm like, oh, bet. Like, okay, we gonna work on this. We gonna do this together. Crickets. I don't see crickets. You never see beginning to end. Literally, like. And I only see em on the carpet. I'm like, listen, where were you? Where were you when.
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A
When we needed you? Literally? Meanwhile, I was like, they was cutting that one check and it was like, oh.
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B
And that was it. And then I'm like, oh, I see. So you can do that too. Okay. I think for me, I've always loved to just be behind the scenes and, like, work and just find the people to take over those certain jobs I think would be amazing at it.
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A
What sign are you?
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B
I'm a Leo. I'm a triple. Yeah.
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A
Delegator, period. I'm about to delegate and put y'all together, and I know y'all gonna work and we gonna get this popping. Yes.
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B
Yes. So that's always what I love. So I love being, like, in the thick of it. That's me. Like, I wanna be in the casting process.
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A
Triple Leo.
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B
I'm a triple Leo, period.
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A
When's your birthday? August.
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B
August 14th.
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A
OK. Friend's August 9th. I'm August 26th, so I have some of the Leo vibe, but, you know, I'm Virgo all day.
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B
Yeah. So that's. That's.
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A
Why would I do this?
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B
Nah, that's my. That's my sister. She's Eight. And she's like, lord have mercy.
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A
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B
Well, really how it started was we had our office and people would just come in with these slave movies. Like, that's really it. Like, that's really how it started. Honestly, I'm very like, that's if that to be completely real. It was the lack of original and creative ideas that were coming through the table for a black company to produce. So I think that that was really the start of me being like, no, I don't want to see this anymore. I want to see fun, exciting projects, things that are unique, things that feel different, things that are fresh and is for today and for the now. And that was just me. You know, it's not like I. Like, I don't want that across the board. If it's something that speaks to me, then of course, but.
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A
Cause another thing I think I'm hearing you say also is like a new perspective.
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B
Yeah.
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A
Like, if we're gonna talk about pain and trauma or troubles, like, can we have some whimsical elements?
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B
Yeah.
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A
You know, can we put Alice in Wonderland spend on it? And I think that's so true. Is like a lot of times, whether it's a trauma story or even a rom com or anything, a lot of people just hit on the cliches. There aren't a lot of new eyes that are looking at things from a different vantage point. So it does end up making us be a little hesitant for the black pain because we already oppressed motherfuckers. We don't need another storyline where it's like, ouch. Coming out the theater. And so I feel that where it's like, how can we encourage different and unique voice to speak on things with fresh eyes, with. Not from the eyes of the oppressor, but from the eyes of the survivor.
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B
Yeah. Yeah. You know what I mean? Yeah, for sure. For sure.
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A
Because I've had that same thing, you know, of just trying to figure out how to not totally jump over the important stories, but to come from. From a place that make people feel uplifted.
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B
Yeah.
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A
You know, so for you, in this time in your career, how do you go into these rooms and talk about what you want to do or how do you feel about even auditioning at this stage? I already know.
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B
Let's talk about it, because. All right, so two. Two things. Two things. Right. I mean, I think auditioning, I got to a certain age that I just did not like to audition anymore. I just don't like. And I have a panic attack. Over it.
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A
It feels like you're jumping up and down saying, look at me, look at me, look at me. Hey, hey, hey, hey, hey. It's like I was literally your age.
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B
Yeah.
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A
About from the ages of 18 to 23. It was literally the most dehumanizing experience I could ever have.
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B
And only people that have been in those positions know, like, the feeling.
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A
Oh, my gosh, no.
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B
Lord. And, I mean, I think I had to get over it at a certain point, too. Right, But. Cause obviously, that's our business. But it can feel very dehumanizing at times, you know, And I haven't auditioned in a long time. If we're gonna be real, I think I only audition for things that obviously, because I think Marvel.
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A
I mean, we gotta. We gotta audition for that.
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B
We gotta audition for that.
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A
You know, we can't miss that out, even if it's the casting. Hey, y'all. Call me for the next one.
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B
Yeah, legitimately.
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A
Sure. Like, there's so much politics in that regard.
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B
Exactly. And I think it's also one of those things of, like, they give you the character, and it's your perception of the character, and you only really have one try.
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A
Yes.
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B
So. And if it's not their version of what the character's supposed to be, then it's like, you're done. You're done.
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A
Yeah.
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B
But I always like to make sure in my projects that we are casting along. Like, I'm in the room for those things. Cause I know how, like, overwhelming those rooms can feel.
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A
Yes.
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B
So, you know, I. I try to either talk to. If they are my age or younger. Like, I try to talk to them beforehand or just make. Make sure it's, like, a comfortable space for them to, you know, get those nerves out. Because most of the time, they know the role. It's just the nervousness is always like, you know.
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A
Yes.
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B
It's a lot. So I think that.
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A
Yeah.
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B
Auditioning just. It just was never like.
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A
No. And I feel like when we were kids, it felt a little bit different. I mean, I would still get sad if I didn't get a part, but as a. I felt way different. And then as I got older, because I think what happens is, for me, it was like I was too old for the younger parts, and then I was too young for the older parts. So it was like I was coming in and I was just shuffled into the. One of the bunch, and it was hard to kind of reintroduce myself, so to speak. Yeah. But I see a lot of people in our generation, whether it's the, you know, youngest millennial and the oldest to youngest Gen Z. Er. We really are starting to depend on digital more to tell stories. And I've seen it with you as well, where you're reestablishing your brand in space. Whether it's the we. We see these amazing photos and we just see you evolving and on your. In your own pace with us in a way that we can't do traditionally. Cuz we can't tell someone to do this and put me in this thing. And you know, it doesn't go like that. We have to either produce it ourselves, which we also do, or we have to do it on a smaller scale through digital, where we're telling our stories. So how has that empowered you during some of this experience of just that re evolution of who Marseille Martin is as a grown woman?
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B
Oh, I mean, I think it's fun, you know, and it's, it's very, it's very nitpicky, you know, so like it's. You're not trying to think strategically on. I know for me, like adulthood, the transition to adulthood is very, very hard. Yeah, it is for any child actor going into adult, like, it's. It's hard because then everybody's always still gonna see you as that little girl, no matter how old you are. You can be 30 years old and they'd be like.
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A
But we still call Rumi Ruby.
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B
She like, please.
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A
You know.
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B
So I think, I think that that transition is. It's now funner, I think, I think it had more pressure on me in the beginning because I was like, I'm not trying to show my ass and titties out here, but what else do y'all knit like? No, it does end up seeming that way. It's not the only thing, you know what I mean? Like, and I feel like as soon as people go that way, they think like they're growing up too fast or whatever. But I think, I think it's also the people you work with as well. So like my stylist, Brian Javar, which is absolutely amazing.
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A
Yeah, I love what y'all do.
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B
I love him so much and he's such a creative and I think working with people like him, that's just like more fashion forward and also to just, just like understands the transition. It's like we just doing what we want to do, you know, we can't, we can't. I don't care what the audience and.
- [22:46]
A
I'm express myself in a new way. Like I don't know what I've only been whatever ages. I'm now this new age. I'm now in this new era of myself, and I need to figure out what it is for me and explore. And so, yeah, when you do have a good team around you, whether it's your family or also a stylist or someone that can help you explore creatively, it is so fulfilling because you just, you know, girls just want to have fun, though. Yes.
- [23:10]
B
And I think just people. People are just seeing that in real time. I think that's it. Like, people are seeing these carpet looks or, you know, the event and all of those things, and they're just. They're just seeing the transition.
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A
Everything is in the forefront. You are a star, you know, how do you balance? Are you kind of more like. Which I think I'm more like, look, y'all name is Bennett. Y'all ain't in it. Yeah, that's more so my. My approach. But then also, I mean, some people are open with it. How do you feel with you?
- [23:39]
B
Um, you know, I just be living life, man. That's just it. Like, I just. I just. I just. I just be living out here, you know, I feel like a lot of people know, like, how I move, and I would like to keep it that way. Yes. And I think, like, you know, I'm never the person that's gonna, like, hide everything, you know? Like, if you ask, yes, I'm gonna tell you. But at the same time, I'm, you know, I'm just doing me. Yeah. It's not your career, and it's not my career. You know, I'm always the person that's, like, it's sacred, but it's not hidden, you know?
- [24:15]
A
That's right.
- [24:15]
B
You know, so I'm always in that route. But. But, yeah, no, I'm just being young and fine.
- [24:22]
A
I'm just, you know, they call it 20 fine.
- [24:24]
B
I'm just.
- [24:25]
A
If you're 25, you're only 20, so. 20 and fine.
- [24:27]
B
20 and fun, you know, that's all I got to say.
- [24:30]
A
Well, I love that. It's good that, you know, you're out there having fun. I ain't gonna dig too much, because I don't like to be in people's business. So let's talk about Saturdays. Yeah, tell me about the. How we got to this show. What is it about? You're not acting in it. Okay, yeah. So let's get into that.
- [24:45]
B
Saturdays was a Disney Channel show with our three girls. Yes. That were, like, in this cool skating community based on the south side Of Chicago, my city. Yeah. Yeah. So, you know, it was. It's. It was super dope. We filmed it 2022, I believe. And no, it was. It was exciting. It was lots of fun. And it was original and different, and we worked with just some amazing actors that were just ready, that were just excited, you know.
- [25:13]
A
And these were the girls we were talking about, where you were supporting them in the room when they were audition.
- [25:18]
B
Absolutely. Absolutely. Through and through. And I think there is always something about just putting our black girls in the forefront. And that's exactly what we did with Saturdays. And it was so fun. It was so dope while it lasted. But, yeah, I think there is something about things getting put, I think, onto the wayside due to, I think, just the studios. I think there's something about just the way it's presented, too. I think marketing is everything.
- [25:49]
A
Yeah. I mean, I talk about this a lot. When it comes to our shows, obviously, we're in a position where. With streaming, where it's just all about the more the more the more, and things are easily able to be unseen when you're just piling everything all in the same bucket. Nobody knows where anything is. And that's the marketing piece you're speaking to. But then on the other end, when it comes to our shows, shows that represent our culture, if there are not a lot of people in the positions to understand that in these buildings, it's beyond it being personal. It's. You don't get it.
- [26:21]
B
Right.
- [26:21]
A
You don't know the value. And if you don't know the value of something, then you aren't able to treat it of value.
- [26:28]
B
Exactly.
- [26:28]
A
And so I don't know all the ins and outs of Saturdays, but, you know, if this is a show about girls from the south side of Chicago, and there may be not that many people in the appropriate positions that can understand that point of view at the studio, then, yeah, it can end up being something that people don't think is of value or don't feel like it's something that is needed.
- [26:46]
B
Yeah. But, you know, it's funny because they'll. They'll hype it up too. Like, oh, yo, this is my favorite show. Like, oh, this is what. What's gonna be out here? Like, that's gonna be the thing. But then when it comes to, you know, promoting it, promoting it, putting it into the things, and, you know, then at the end being like, well, it didn't do this, that, and the third, no, you know.
- [27:07]
A
Yeah, you know.
- [27:09]
B
Yeah, baby.
- [27:10]
A
This is Hickey palma.
- [27:13]
B
Yeah, at hotels.com we know some travelers.
- [27:16]
A
Crave an ocean breeze.
- [27:18]
B
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- [27:30]
A
Okay, so I know y'all caught last night's premiere of the Bachelor, right?
- [27:34]
B
Right.
- [27:34]
A
Didn't I tell you there'd be a quiz? Look, it's fine because if you didn't, I'll let you hop on over to Hulu to get caught up. Now that that's out of the way, didn't I tell y'all that man was fine and genuine and kind hearted and really sweet. And did I mention fine? This is the sort of television that I live for. The romance, the drama. Watching all these beautiful people gallivant and cohort all over the mansion. My heart fluttering just thinking about it. Will Grant choose Savannah, the blonde bombshell from Virginia? Or Kelsey, the gorgeous goddess from Brooklyn? Or any of the other beautiful and intelligent women vying for his love? Y'all know I have no horse in this race, but I am locked in. Listen, if there was ever a time for a wine fueled watch party with the besties. It's Mondays at 8, 7 Central, darling. New episodes of the Bachelor air every Monday at 8, 7 Central on ABC. And as always, you can choose to stream it on Hulu too. Now, where's my rose? So you did this show Saturdays. It's about three black girls in Chicago. And it was on the Disney platform for one season, but then they took it off. They didn't give it another season and then they took it off.
- [28:51]
B
Yes.
- [28:52]
A
What's the reasons for so girl only God knows.
- [28:58]
B
I think, I think honestly, I think it's because they never know how to really promote black television or films on the platform. I think that when it's supposed to be for them, marketed a certain way as of, you know, I think for me not being on the show and they're thinking that it needs to be like, put on my back to support it through and through without the means of like in this case, Disney support.
- [29:24]
A
Yes. Which is huge.
- [29:25]
B
Yeah.
- [29:26]
A
And wildly, you know, important.
- [29:27]
B
Yeah, exactly. I think it just kind of got overshadowed with a bunch of other projects in the line. So, you know, so I think people.
- [29:38]
A
Might say, okay, well, you know, shows, they get off and that happens and you know, you have to move on. But I think there's something critical about what you're saying about the impact it has not only on the girls that were in the show, but the black girl that's trying her best to use her platform to produce and showcase other young women.
- [29:55]
B
Yeah, exactly.
- [29:56]
A
How does that feel for you? And how are you combating that in a. In an industry that we have to keep on pulling ourselves up by our bootstraps and focusing on the prize?
- [30:06]
B
You know, I think for me, it's like, I know what industry that we're in to just keep pushing and we keep moving and we keep grinding. And, you know, I think those are things that we kind of just. Just are acclimated to do.
- [30:19]
A
Yes.
- [30:21]
B
So, you know, for me, it really wasn't like an issue, you know, so I'm like, okay, it is what it is. We know what happened, but. Okay, cool. But, you know, I think that for our black girls, you know, our three main leads, that, you know, for this show to be like their breakthrough, in a sense, for being seen. I can never talk about it without getting emotional, but.
- [30:47]
A
Because we all know what it feels like to be let down and to be unseen in this industry. And it's not that we become jaded, but we understand that this business is an objective business that we have to be objective about in order to maintain. But when we see somebody else have that first experience. And it makes me feel that way about you right now.
- [31:05]
B
Yeah.
- [31:05]
A
You know, watching you have that first experience of trying to get things off the ground, you know, and going through a tough transition period. But I will tell you, it don't last. And you just keep staying focused and everything will come to. I can promise you that. As long as my name is Keke Palmer and baby, this is Kiki Palmer. But it is tough.
- [31:29]
B
But yeah. Yeah, it's a lot. You know, I think that a lot of people don't even see that part. Oh, a lot. But nobody sees that part. We gonna be real. So, you know, I think obviously there's a bunch of things down the pipeline that I'm excited about, but, you know, with this in particular, it's like it always makes you feel like you're going back to square one.
- [31:54]
A
Of course.
- [31:54]
B
No, of course.
- [31:56]
A
And in many ways you are, but because you're going so much further in the next direction, and I'm telling you. Cause I've been there. A lot of people don't remember in that time period when I was. When I was 18 to 23, a lot of people were all. I was being so criticized. So many things I was trying to do weren't getting off the ground, and I was trying to Figure out how to make sure that I could make my transition and express the new person who I am. I'm doing comedy. This is what I am.
- [32:19]
B
Exactly. These are sketches.
- [32:20]
A
This is. And I would feel so much like, man, like people aren't getting it or, you know, how do I communicate this? Or why don't the studios understand? And then over time, over consistency and perseverance, it. It comes to. But it's true. These feelings and these moments. We gotta talk about em.
- [32:37]
B
Yeah.
- [32:37]
A
So the other people on their road of continued success, they know what to expect. It ain't this.
- [32:44]
B
Oh, absolutely. It's this. You know, it's that. It is for sure. And it's like you can have all of these different sources of income or different things. Right. Like, you can have all of that.
- [32:54]
A
Definitely that.
- [32:55]
B
But if there's this one, like, passion project that you really want to go, it's like, like, well, damn.
- [33:01]
A
Yeah, it's very much so. Well, damn.
- [33:02]
B
Like, why? Like. Like, yes, I'm. I'm filming in, like, next week on something else. But, like, for these girls, you know, what's their names? There's Peyton, Danielle and Daria.
- [33:16]
A
Peyton, Danielle and Daria. We love y'all.
- [33:18]
B
Yes, yes.
- [33:18]
A
Shout outs to our girls.
- [33:19]
B
We love them.
- [33:20]
A
I'm very proud of you for getting that off the ground because people don't know how hard it is.
- [33:24]
B
Oh, for sure.
- [33:24]
A
The fact that he even got one, that's insane.
- [33:27]
B
Yeah. Like, it's just great. You know, I was able to have my cousins a part of it. Like, it was. The wardrobe was everything. We actually filmed in Chicago. Like, it was so fun, you know, And I think shows like that need to be represented more.
- [33:44]
A
Yep.
- [33:45]
B
Not just from us that are the creators of it, but also the studios, the people that say they support it, you know?
- [33:52]
A
That's right. That's right. But the fact that we have young producers like yourself, as well as entertainers, but also young producers, that's what makes the difference. So aside from the producing stuff, let's talk about what you have next that you're starring in.
- [34:06]
B
Oh, absolutely. There's so many things that are happening. Too many things. So we have our cute, sweet little project called La Fridge that we're filming, which is so much fun. I just did the masking.
- [34:21]
A
Oh, my gosh.
- [34:22]
B
Yeah.
- [34:22]
A
Marsay, did I know that you could sing?
- [34:25]
B
I don't know. Did you.
- [34:26]
A
Did you sing on Black? Ish, though. Ish.
- [34:28]
B
It was. It was. It was a comedy girl.
- [34:31]
A
You was on the Masked Singer. I love that show.
- [34:33]
B
Yeah. So I was. I was the woodpecker. I got. I got a masked.
- [34:36]
A
Oh, my God.
- [34:37]
B
And that whole experience was insane, girl.
- [34:39]
A
It was so imagined.
- [34:41]
B
Like, you gotta be on it. So, like, you gotta be like. Cause it's.
- [34:44]
A
It's.
- [34:44]
B
It's so much fun. But, yeah, I mean, there's so many things happening. Of course.
- [34:48]
A
Now what's La Fridge about?
- [34:50]
B
L. A Fridge is just. It's a beautiful father daughter film that I've been waiting to just create a project about. I think those are one of my bucket list things to work on, is to be able to have a real and grounded story about a father and a daughter. And yeah, so this daughter, which is played by me, is from New York that is now moving to LA to stay with her father for the summer. And yeah, it's just from that. It's just a whole. It's just a whole experience. And who's playing your dad? Courtney B. Vance.
- [35:19]
A
Oh, my gosh. I love Courtney B. Vance.
- [35:22]
B
Yes.
- [35:22]
A
First of all, obviously him and the amazing Angela Bassett are married. But when I was 17, he played the pastor at my church in a movie I did called Joyful Noise.
- [35:30]
B
Oh, so sweet.
- [35:31]
A
And when I was going through, like, a period where I was like, do I want to keep acting? Do I not want to keep acting? He was like, I'll write your recommendation letter to Harvard if you want to go to school. Like, he's a great person.
- [35:39]
B
He's so sweet. And so is Angela Bass. I saw Angela Bass at a Tyler creator, and that's why I knew I loved her. Cause I was like, girl, why are you here? Like, she just out here with her friends. But yeah, I love them so much. And it's gonna be lots of fun being with him. And yeah, I mean, aside from that, we're just always working. We're behind the scenes. I have a festival called, say, Summer Cookout, which is a HBCU curated festival.
- [36:06]
A
What? And.
- [36:07]
B
Yeah, that's.
- [36:08]
A
And where cities or do you go to multiple.
- [36:10]
B
We go to multiple cities. So it's annually. But y'all must be going to dc. We went last year. Yeah, we went last this past time.
- [36:17]
A
When you think about hbc.
- [36:19]
B
Yes. And then this next year. I don't know when this is coming out, but you know us, I'll tell you on the side, we always gotta do a surprise. But yeah, I mean, I'm just getting older, doing my thing. Real estate is my thing right now. We just buying stuff everywhere, bro.
- [36:32]
A
I live for the real estate.
- [36:33]
B
I live.
- [36:33]
A
Cause, you know, we're always talking about investing. Cause, you know, we might not want to do entertainment forever. We might want to take a little break.
- [36:39]
B
I know me, I know I'm not going to be.
- [36:41]
A
You know what I mean?
- [36:41]
B
Yeah.
- [36:42]
A
And I'm not into stocks like that. I don't like playing around and gambling with money that you don't have.
- [36:45]
B
Exactly.
- [36:46]
A
Real estate. That sounds like a little safe.
- [36:48]
B
Oh, absolutely. Like.
- [36:49]
A
Like, you know, little property safe.
- [36:50]
B
I'm gonna just be out here in Georgia real quick. Or let me go to Charlotte, you know, like that's me. So that's where. That's where I am with it. And I'm looking forward to just the many. The many years to come of just.
- [37:02]
A
What I was about to say. The funny thing about it is that you've already done so much and you're only 20 years old.
- [37:08]
B
So.
- [37:08]
A
Girl, in the next 20 years, it's about to be crazy.
- [37:13]
B
It's about to go down.
- [37:15]
A
Why? They reminded me of Omarion with the.
- [37:18]
B
No, don't play.
- [37:22]
A
That was actually fabulous. People wanted to hate.
- [37:24]
B
But it was. I loved it.
- [37:26]
A
I loved it. I have to let you go. Cuz they was telling me to wrap up. But we was just really getting into some stuff.
- [37:30]
B
I know.
- [37:32]
A
I always play a game with my guests before they go.
- [37:34]
B
Okay.
- [37:34]
A
So if you're down, I'd like to play one with you. It's called. This one has some sweetness to it. So I'll ask you some rapid fire questions about your love that day.
- [37:43]
B
Some sort.
- [37:44]
A
Sorry.
- [37:44]
B
This one has a little sweetness to it.
- [37:46]
A
Exactly.
- [37:48]
B
Sorry. That shit is so funny.
- [37:50]
A
So I'm gonna ask you some rapid fire questions about your love life.
- [37:54]
B
Oh, shit.
- [37:54]
A
And then you tell me the answers. You ready? They're rapid fire.
- [37:57]
B
Okay.
- [37:58]
A
Oh, okay.
- [38:00]
B
Okay.
- [38:01]
A
Worst date you've ever been on.
- [38:02]
B
Worst date I've ever been on.
- [38:04]
A
Somebody was talking too much. Somebody Breath stank.
- [38:06]
B
Someone was probably talking too much. Someone. Okay, yeah, someone was talking too much. Someone was also just trying to be too like, like.
- [38:15]
A
Oh, I hate the too cool vibe. I hate the too cool vibe actually for a cringy guy prefer like Steve Urkel energy.
- [38:23]
B
Oh my gosh.
- [38:23]
A
To be quite honest with you. Okay. Would you meet someone on a dating app?
- [38:28]
B
No. No, no, no, no. Okay.
- [38:32]
A
Okay. Is ghosting someone valid? Sometimes? Let's be honest, Leo.
- [38:36]
B
No, it's valid. I don't talk to anybody for real. I think. I think ghosting is fine when you know who I am. Like, you know I love you. I'm gonna see you in Thanksgiving. Like I Might or I'm gonna see you over here. Like, you know, it's all love. Like, so I like ghosting.
- [38:53]
A
But I've ghosted you, bookie boo.
- [38:55]
B
It's cool. Yeah, it's okay. You know, I be just, you know.
- [38:58]
A
Does the guy's car matter?
- [39:02]
B
Um, nerve.
- [39:07]
A
Period. Period.
- [39:09]
B
Listen, I don't. I don't drive, so, you know, I feel like I. I'll be complaining too much if I'm worried about somebody else's car when I don't even drive, so that is hilarious.
- [39:19]
A
Come on, princess. Period. Yeah, drive me around. Okay, last one. Most unattractive quality in a person.
- [39:26]
B
Oh, man. I think their fakeness, like, when they try to be somebody that they're not, I think that's the most annoying thing for anyone, you know, like when, like, don't play me in my face.
- [39:43]
A
Just be real before.
- [39:43]
B
Just be real, you know, I think that's. I think that's it for, like, everybody. That's probably why I ain't got no friends, really.
- [39:50]
A
But honestly, the smallest circle is the best circle so far. It's the best.
- [39:53]
B
It's my little tight knit circle. We just be out here, like chilling at Fairfax or something. It's just.
- [39:58]
A
Come on, Fairfax. I love the location drop.
- [40:00]
B
Yeah, the little location drop. Just a little Jon and Venny's type thing.
- [40:04]
A
Oh, my gosh. That fool so good.
- [40:07]
B
So good, too.
- [40:08]
A
Good girl. I live for the pastas.
- [40:10]
B
Yeah, absolutely.
- [40:12]
A
Well, Marsay, you're absolutely amazing. I love you as an actress, I love you as a producer, and I love you as a homegirl. Cause we was really getting into it right now.
- [40:19]
B
I know, I know. We gonna have to talk.
- [40:22]
A
We go further.
- [40:23]
B
Oh, yes.
- [40:24]
A
You are amazing. And so is your mom.
- [40:25]
B
Yes, she's the best.
- [40:27]
A
And I love you.
- [40:29]
B
I love you more. I love you more.
- [40:34]
A
Marseille had so much to say. That's got a ring to it. I hope you got as much out of that conversation as I did. I mean, I guess my biggest takeaway would be that there's so much power in staying true to yourself, Marseille reminded us that while the struggles are real and valid, there's also a legacy of creativity, resilience, and joy that needs to be celebrated. By keeping it real and honoring the reasons you started doing what you do in the first place. Place you will always find your next thing, even if that thing is buying properties in Georgia. Now, that was T. Boo. So remember to seek out the joy. Lift it up, share it, and I'll be back next week because, you know, it's your girl. Baby this is. This is Kiki. Baby this is Kiki Palmer. Yeah, enjoy. Baby this is Keke Palmer on the Wondery app, wherever you get your podcast and now on YouTube where you can watch full episodes. Subscribe to the wondery channel on YouTube and don't miss any episodes you can listen to Baby this is Keke Palmer early and ad free on Wondery. Join Wondery in the Wondery app or on Apple Podcasts. Baby this is Keke Palmer is hosted and executive produced by me, Keke Palmer. Lucas Seagal is our post producer. Music supervisor is Scott Velasquez. Our original theme song was written and performed by me, Keke Palmer for Team Keke. My producer is Sharon Palmer for Wondery. Our managing producer is Olivia Fonti. Our producer is Tristan McNeil. Senior producers are Lizzie Bassett and Candace Manriquez Wren. Our executive producers are Dave Easton and Marshall Louis.