Podcast Summary: Nadie Sabe Nada - "Filho do olho" (22/09/2018)

Podcast: Nadie Sabe Nada
Hosts: Andreu Buenafuente & Berto Romero
Episode Title: Filho do olho
Date: 22 de septiembre de 2018
Recording Location: Teatro Lara, Sala Lola Membrives, Madrid
Theme: Improvisational Humor, Audience Interaction, Daily Absurdities

Main Theme / Purpose

This episode continues the spirit of Nadie Sabe Nada: two of Spain’s premier comedians, Andreu Buenafuente and Berto Romero, riff on absurdities from daily life, improvising jokes, sharing anecdotes, and interacting with the live audience. The show blends sharp wit, surreal humor, linguistic playfulness, and some philosophical pondering—all with the sense that, in the end, nobody knows anything for sure.

Key Discussion Points & Insights

1. Improvised Opening & Live Audience Dynamics

• The show kicks off with the duo joking about creating a stress-relief program called Plástico de bolas (bubble wrap noises), satirizing the need for "desengrase" in tense times [00:00–01:16].
• They playfully analyze how to read the public: "El público percibe el miedo. Son como los perros." (A) [01:46], comparing laughter to assessing the ripeness of fruit.

2. Venue Trivia: Lola Membrives

• Andreu decides to share daily trivia about theater namesake, Lola Membrives: “El primero: soy actriz de origen argentino.” (A) [01:31].

3. Grammatical Banter & Confessions of “Low Studies”

• A playful argument on the correct use of Spanish grammatical structures [04:13–04:28].
• Berto: “Yo te recuerdo que no tengo estudios, solo los elementares.” (B) [04:22].

4. The Daily Chatarrero and the Meaning of “Scavenger”

• Berto’s neighborhood experiences a daily visit from a “chatarrero” (scrap collector) who advertises with a megaphone ad, to the point of absurdity [04:33–06:48].
• The word "scavenger" surfaces, leading to a lost-in-translation moment:

  Andreu: "Me da mucha vergüenza, pero me sale la palabra en inglés y no en español... scavenger." [06:52]
  Berto: "...scavenger... ¿Qué significa? ¿Scavenger? No, chatarrero. ¿No?" [07:06]

• After back and forth with the audience, "carroñero" (carrion eater) is recognized as the correct translation [08:47].

5. Thalía's Meme Song & Virality

• Anecdote about the singer Thalía, who turned a quirky, “me escuchas, me oyes” home video into a viral song [07:29–08:03].

6. Philosophical Q&A: Humorist or Humor?

• Audience question: What came first, humor or the humorist? [09:43]

  Berto: "Primero fue un juez." [09:49]

• Discussion: Is humor dependent on an observer, or does it exist innately? [10:13–10:24].

7. The Brazilian Bikini & Human Nature

• Question: Are we ready for the Brazilian thong on our beaches? [10:59]
• Andreu's insight on passive observation when accompanied by a partner:

  "Se permite el visionado con tu mujer, se permite caminar, pero..." (A) [11:52]

• Berto riffs on the physiological involuntariness of glancing:

  "El nervio óptico tira de ti como un caballo..." (B) [12:34]

• Detailed distinctions between thong types: "filo duñera, filo dullera, filo duoyo—¿tienes filo duoyo duolo?" (B) [14:35], jokingly inventing variations.
• Andreu on shifting sexual interest:

  "...he llegado a sentir hastío. Mira lo que te digo. Bueno, estoy entrando en una nueva fase de mi vida, una fase ya más reflexiva." (A) [15:10]

8. Musical Toys, Addictions, and Fake Radio Confessions

• Audience asks about Andreu’s obsession with toy instruments [17:05].
• Spontaneous mock radio segment: "Confesiones domésticas con Berto Romero," where Berto interviews Andreu about his “addiction” [18:13–20:31].
• Notable moment:

  Berto: "¿Cómo lo llevas, Andreu?"
  Andreu: "Bueno, vivo con una niña de cinco años. Que va para seis." (A) [19:23]

9. Identity and Professional Labels — “Bromista Profesional”

• Andreu recalls a formative, awkward interview in La Vanguardia, being labeled "bromista" instead of something more formal [20:38–25:46].

  "Mira, venga, ponga bromista profesional... Pues que soy bromista como mucha gente, pero a mí me pagan." (A) [25:46]

10. Gesture Communication: The Morse of Cervicals

• Explaining how nodding the chin in rapid succession forms a silent, universal gesture [26:55–27:24]:

  "Dos golpes rápidos de barbilla hacia arriba, qué muy bien. Y uno solo: 'sales.'" Berto: "Es un morse de cervicales." (B) [27:24]

11. Gifts: Sound Machine and Audience Participation

• A fan gifts Andreu a sound machine as a “placebo” for his toy instrument withdrawal (with homeopathic/metaphor jokes) [28:12–29:53].
• Marina, an audience member, asks about being followed by Berto on Twitter, and the ensuing pressure:

  "Pienso, ¿Y qué pensaría Buenafuente?" (Marina) [32:09]

  • Berto proposes a satirical feature for Twitter: users could prevent “unfollows” [32:11–32:39].

12. Other Audience Q&A & Social Observations

• Discussions on cleaning car windows, black cats & luck, and hair grafts with the “pelo de culo” anecdote (pelos trasplantados de partes insospechadas) [33:20–34:35].
• More gifts—including a bottle of vermouth “Petroni”—and playful plans to share it with the audience [37:30–38:39].

13. Musical Interludes & “Anti-Radio”

• Debates over song choices and “antiradio” moments when the mics aren’t cut, leading to inadvertent on-air banter (“Esto es la antirradio.”) [40:07].
• Berto:

  "Me gusta cuando callas porque estoy como ausente..." [41:39]

  • Emotional tickling and the light jab at each other’s musical taste.

14. Philosophy Lite: The Imaginable vs. Unimaginable

• Section "Filosofía barata": Deep, absurd questions [46:39–52:20], e.g.:

  “¿Se puede imaginar lo inimaginable?" [49:29]

  • Andreu and Berto riff about words whose only function is to describe what’s impossible, before concluding that we “have too many words” and inventing the role of “palabrero," the language equivalent of the scrap collector, who collects unused words [52:02].

Notable Quotes & Memorable Moments

• "El público percibe el miedo. Son como los perros." (A) [01:46]
• "Yo te recuerdo que no tengo estudios, solo los elementares." (B) [04:22]
• “Scavenger… ¿qué significa? ¿Scavenger? No, chatarrero.” (B) [07:06]
• “El nervio óptico tira de ti como un caballo” (B) [12:34]
• “He llegado a sentir hastío... una fase más reflexiva” (A) [15:10]
• “Mira, venga, ponga bromista profesional” (A) [25:46]
• “Es un morse de cervicales.” (B) [27:24]
• “Me gusta cuando callas porque estoy como ausente.” (B) [41:39]
• “Tenemos palabras de más. Lo que necesitamos no es un chatarrero, es un palabrero que venga a recoger las que no sirven.” (A) [52:02]

Memorable Segment Timestamps

• Opening bubble wrap bit: [00:00–01:16]
• Grammatical riff: [04:13–04:33]
• Chatarrero & ‘scavenger’ confusion: [06:04–08:55]
• Brazilian bikini dilemma: [10:59–15:10]
• Toy instrument confessions: [18:26–20:31]
• ‘Bromista profesional’ story: [20:38–25:46]
• Audience gift – sound machine: [28:31–29:53]
• Twitter follower anxiety: [32:09–32:39]
• Hair graft anecdote (‘pelo de culo’): [34:00–34:35]
• Vermouth gift and sharing plan: [37:30–38:39]
• “Antirradio” debate: [40:07–41:14]
• Filosofía barata: [46:39–52:20]

Tone & Style

Remarkably light, absurdly witty, self-deprecating, and never far from a surreal twist. The hosts banter naturally, veer off in tangents, and treat even the most trivial questions as worthy of comedic exploration. Their chemistry and comfort on stage invite the audience to conspire in the farce that is life—and language.

In short:
A classic, freewheeling episode combining wordplay, philosophical nonsense, everyday satire and audience gifts—with no shortage of laughs, nor of reminders that, indeed, nadie sabe nada.