Podcast Summary: Nadie Sabe Nada – "Un entierro convalida tres misas"
Cadena SER, 17/11/2018
Hosts: Andreu Buenafuente & Berto Romero
Episode Overview
In this lively and improvisational episode, Andreu Buenafuente and Berto Romero take "Nadie Sabe Nada" out of the studio to the Esplenda Café Bar, a Twin Peaks-themed spot near Madrid's Teatro Lara, before moving the show to the theater itself. They riff comically on their surroundings, share personal anecdotes (many revolving around death, funerals, and family), interact with the audience, and answer spontaneous listener questions. The episode embodies their trademark absurdist humor, blending the morbid with the mundane and finding laughter in unexpected places.
Key Discussion Points & Insights
1. Twin Peaks Café Immersion
[00:34-03:50]
- The show begins at the Esplenda Café Bar, with both hosts delighted and amused by the Twin Peaks-themed décor, referencing the iconic “Red Room” and the series' surreal atmosphere.
- Andreu humorously recounts teaching his children to dance like Twin Peaks’ dwarf (“la danza del hombre del sueño”) as a surprise for his wife.
- Quote (Andreu, 02:09): “No todo va a ser penuria tener hijos.”
2. Logistics & Absurd Justifications
[03:50-06:42]
- Jokes about the "promotion" for the bar being accidental (“se ha puesto cerca”) and essential logistics for choosing where to record.
- Playful banter about the select group of audience members at the café vs. the larger group at the theater.
- The hosts orchestrate how the “remaining” audience should respond when they return, creating an inside joke about moral character based on booing.
3. Twin Peaks, David Lynch and the Art of Not Understanding
[06:42-07:31]
- Andreu and Berto discuss the essence of Twin Peaks—its weirdness, Lynch’s creativity, and the philosophy that sometimes shows are just to be “experienced” rather than fully understood.
- Quote (Andreu, 07:13): “No hay que intelectualizarlo demasiado. Creo que es un error, hay que experimentarlo sensorialmente.”
4. From Bar to Theater: Improvisational Journey
[08:09-10:08]
- The hosts lead the audience from the bar to the theater, comment on the logistics, borrowed backpacks, and carry on the playful chaos (“Interpass”).
- Side commentaries on cherry pie, à la Twin Peaks, and dedication to authenticity.
5. Lola Membrives & Random Trivia ("membridato")
[11:41-12:31]
- Once set up at the Teatro Lara, Berto shares a random “membridato” (trivia) about Lola Membrives winning the medal of merit in work in 1969, segueing into satirical historical references.
6. Absurd Family & Social Ritual Anecdotes
- Kids and Protesting:
[13:13-14:46]
- Andreu tells how his kids want to go to a protest—not for political reasons but simply to shout because “in casa no nos dejáis.”
- Quote (Andreu, 14:22): “Ellos lo que quieren es gritar y en casa no les dejamos.”
- Encounter with the Afilador:
[15:10-23:04]
- Berto relates a surreal run-in with a knife-sharpener (afilador) whose whistle and intense eye contact inspired both fascination and awkwardness.
- This launches a meta-attempt at a live reenactment, which hilariously fails, derailing into classic mutual mockery.
- Quote (Berto, 19:26): “Colaborar con mi escenificación.”
- Funerals, Social Awkwardness & Necroquésdotes:
[24:21-33:01 and 37:17-40:42]
- They exchange stories about laughter at funerals, social clumsiness in cemeteries, and the often-surreal behavior of people during mourning.
- Berto recounts someone congratulating him for his comedy at his mother’s funeral.
- Quote (Berto, 24:55): “Una señora en el pueblo decirme ‘el otro día vi 8 apellidos catalanes, qué risa’...”
- The “Necroécdotas” section is born, a comedic space for funeral and death-related anecdotes, e.g., Berto’s grandmother faking a faint in church just to leave a packed funeral.
- Quote (Andreu, 32:52): “Simuló un desmayo para irse. Mi abuela era muy fuerte.”
- Audience member Fernando Alonso (a painter, not the racer) shares about painting cemeteries and exploring death through art.
- Quote (Fernando, 34:48): “Me pinté yo mismo metido en un ataúd.”
- Comando Velatorio / Spanish Mourning Traditions:
[35:51-37:17]
- Discussion about “el comando velatorio,” elderly women who swiftly attend local funerals in the countryside, bringing a collective, almost competitive spirit to public mourning traditions.
7. Talking to Children About Death
[37:37-40:42]
- Andreu shares the difficult, often surreal, process of explaining death to his young kids after his mother passes away. The story is a blend of tenderness and comic realism, culminating in his son’s prolonged singing and painting about death.
- Quote (Andreu, 39:42): “Este programa llevamos seis años y no habíamos hablado nunca de la muerte.”
8. Listener Questions: The Absurd & Philosophical
[40:57-49:06]
- Why does scratching an itchy testicle often turn into pinching? (Humorous speculation about anatomy and “squish toys”)
- A listener named Rashid Jaén España wonders if he’d face migration problems visiting Jaén.
- A “serious” question on evolutionary necessity of the bladder—why don’t we just pee constantly like an air conditioner drip?
- The challenge of car windshield washer fluid always “running out.”
- Are vegans allowed to kill mosquitoes? (“legitimate defense!”)
- Quote (Berto, 48:13): “Ese mosquito viene a robarte tu sangre. ¿Me estás escuchando o no?”
- Barack Obama, flies, and killing as presidential theater.
9. Celebrating Life & Mortality
[49:31-end]
- The episode winds down with Andreu wishing to “celebrate life” after humorously wallowing in death, joking that “talking about death is also talking about life.”
- Teasing philosophical discussions for future episodes (including reincarnation and the etymological joke: “prefiero encarnación”).
Notable Quotes & Memorable Moments
-
On Twin Peaks:
Andreu (07:13):
“No hay que intelectualizarlo demasiado. Creo que es un error; hay que experimentarlo sensorialmente.” -
On Protesting to Shout:
Andreu (14:22):
“Ellos lo que quieren es gritar y en casa no les dejamos.” -
On Social Cluelessness at Funerals:
Berto (24:55):
“Una señora en el pueblo decirme ‘el otro día vi 8 apellidos catalanes, qué risa’...” -
On Funerals Being the 'Tetris Stick' of Masses:
Berto (31:16):
“Un entierro sería el palo largo del Tetris.” -
On His Grandmother Faking it:
Andreu (32:52):
“Simuló un desmayo para irse. Mi abuela era muy fuerte.” -
On Legitimacy of Killing Mosquitoes as a Vegan:
Berto (48:13):
“Ese mosquito viene a robarte tu sangre. ¿Me estás escuchando o no?”
Key Timestamps
- 00:34–04:00: Café Esplenda setup and Twin Peaks talk
- 06:42–07:31: Philosophizing about appreciating odd art (Twin Peaks)
- 14:22: Kids yearning for protests to be allowed to shout
- 15:10–23:04: The afilador anecdote – awkward encounters and role-play
- 24:21–33:01: “Necroécdotas” – Funeral stories, awkward encounters with mourning, grandma's fake fainting
- 34:48–35:01: Audience member Fernando Alonso talks painting death and its impact
- 35:51–37:17: “Comando velatorio” and the culture of collective Spanish mourning
- 37:37–40:42: Andreu’s difficulty explaining his mother’s death to his children
- 40:57–49:06: Absurd listener questions, existential digressions
- 49:31–end: “Celebrating life” after all the necro-talk, and cliffhangers for next week
Tone & Style
Characteristically irreverent, self-aware, agile, and warm, the podcast blends gallows humor with affection, absurd meta-jokes about their own profession, and open-hearted audience participation. Even when joking about death, the hosts strike a balance between cathartic laughter and moments of genuine tenderness.
This episode is a rich tapestry of improvisation, personal stories, absurdity, and metafictional jokes—a prime example of why "Nadie Sabe Nada" endears itself to fans who crave wit, warmth, and the unpredictable beauty of not knowing.