The One About Communication

Summary

Sibling Rivalry – "The One About Communication"

Date: March 10, 2025
Hosts: Bob the Drag Queen & Monét X Change

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Episode Overview

This episode of Sibling Rivalry centers around the theme of communication—from playful banter and hilarious storytelling to deeper discussions on conflict resolution, apologies, and how communication styles evolve over time. Bob and Monét use a blend of comic sketches, personal anecdotes, and relatable scenarios (with trusty producer Jacob and friends dropping in) to dissect what it takes to be an effective communicator, both as entertainers and as friends.

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Key Discussion Points & Insights

1. The Comedy of Miscommunication: Anecdotes & Games

• The episode opens with a playful (and heated) recounting of Monet’s misadventures at live shows, including missing performances because stars called out sick (02:40).
• Bob confronts Monet about a fan interaction where a promised photo was never received, evolving into a debate over whether Monet owed the fan a picture, $10, or something else entirely (03:30 - 05:56).
  • Bob: "You took $10 and you gave him nothing." (05:00)
  • Monét: "He said he don’t want no $10... and we spoke it down." (05:07)
• The group indulges in an impromptu Broadway trivia game, with Jacob as quizmaster and the duo struggling to recall theaters and show locations—delivering classic sibling rivalry energy and competitive chaos (06:11 - 09:04).

2. Cultural Names, Sensitivity, and Team Mascots

• The discussion pivots to the potentially problematic name of the musical "Gypsy," raising questions about terminology and respectful language (13:44 - 14:44).
  • Bob: "I don't have a horse in this race... maybe someone here can let us know if you find that term to be offensive." (14:44)
  • Monét: "If you are that experience, please comment below and educate us on what's appropriate." (14:59)
• They segue into sports teams with racially insensitive names, comparing them to other potential slurs and critiquing traditions like the Atlanta Braves' "Tomahawk Chop" (15:53 - 17:36).
  • Monét: "That's like a team being like, 'we're the Chicago Negro Faces.' That's crazy." (16:24)
  • Bob: "What about the Alabama White Devils?" (16:44)

3. Personal Growth in Communication

• Both hosts reflect on how their communication styles have changed over time (20:42 - 21:45):
  • Bob: "I talk about things as soon as I feel them... I do tend to try to see other people's part and see my part." (20:54)
  • Monét: "As I've gotten older, I've definitely learned to be a better and more effective communicator. But I'm not like you, I do not address things in the moment... I need a beat." (21:45)

4. Roleplay Drama: Conflict & Apologies

• Several elaborate roleplay segments imagine scenarios where Bob or Monét damages the other's belongings (e.g., Red Bull on a laptop, coffee on a dress), using these as case studies for how to resolve real-life conflicts (22:25 - 29:33; 40:24 - 47:59).
  • Bob: "I think an apology for me is when you offer atonement, right? So you acknowledge what you've done, you acknowledge that it was not right, and then you ask how you can fix it." (43:37)
  • Monét on apologies: "There needs to be some acknowledgment of what you're sorry for." (41:02)
• They explore different communication and apology styles, with Monét advocating for taking a "beat" to cool off before responding and Bob emphasizing the importance of clarity over intent.

5. Feelings vs. Facts in Communication

• The duo debates how much the way something is said vs. what is actually said matters in communication (35:58 - 38:05):
  • Monét: “How you say it, 100%... You can say anything if you say it correctly.” (36:08)
  • Bob: “I say what you say, and that's because I don't know what you mean, but I know what you said.” (36:18)
• They bring up scenarios (e.g., group plans with Jacob) where miscommunication or reading subtext can cause conflict. Bob discusses possibly being on the autism spectrum and how it affects his reading of social cues (38:33 - 39:54).
  • Bob: “I've only been diagnosed once, but me and my mom stormed out of the office, and I've never been treated for any level of adhd, autism, or anything on the spectrum.” (39:15)

6. Friendship, Community, and Support Stories

• The hosts celebrate friends’ achievements, such as Arcia’s new job and launching the Black Girl Walking Club, and Alfredo’s journey from struggling to becoming a union wardrobe professional on Broadway (27:52 - 31:06).
  • Monét: "When I hear my friends succeeding like that, it makes me so happy." (29:15)
  • Bob: “He is, y'all, Alfredo can sew down... Now Alfredo is a union wardrobe on Broadway.” (31:00)

7. Memorable Real-Life Drag Feuds

• They recount memorable drag queen conflicts, from Bob’s arguments with Violet Chachki and Alaska to legendary backstage rumbles. Monét insists she’s never had a 'face-to-face' drag queen fight, only witnessed them (51:36 - 52:24).

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Notable Quotes & Memorable Moments

Bob: "I'm also not interested in getting diagnosed because I think I'm doing fine." ([01:32] & 39:54)

Monét: "I was not drunk." ([01:39])

Monét: "If you are that experience, please comment below and educate us on what's appropriate." (14:59)

Bob: "I play your little reindeer games." (09:12)

Bob: “I just don't answer texts or calls or calls.” (26:11)

Monét: “When I hear my friends succeeding like that, it makes me so happy.” (29:15)

Bob: “I think an apology for me is when you offer atonement... you ask how you can fix it.” (43:37)

Monét: “Taking a beat in a heated situation... brings the temperature down. Everyone takes a second, they can think.” (41:41)

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Important Timestamps

• 01:22–05:56: Fan story and $10/photo/hug debate – Models of miscommunication & performer responsibilities.
• 06:11–09:04: Broadway (and reindeer) trivia chaos – Comic bonding and quick thinking.
• 13:44–17:36: Discussion on problematic names in pop culture and sports – Sensitivity awareness.
• 20:42–22:25: Reflections on communication styles and growth – Personal insights.
• 22:25–29:33: Conflict skits (coffee on laptop/dress) – Role-played communication, apology, and escalation.
• 35:58–38:05: Debating 'how you say it' vs. 'what you say' and the limits of reading subtext.
• 40:24–47:59: Roleplay: Effective apologies and “atonement” scenario.
• 51:36–52:24: Real backstage Drag Race arguments.

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Tone & Dynamic

The episode, true to Sibling Rivalry tradition, is fast-paced, full of side-splitting banter, and playful jabs—balanced with genuine reflection. Bob and Monét oscillate from mock-arguments and wild role-plays to moments of honest vulnerability about how they handle conflict, friendship, and communication challenges.

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Summary Takeaways

• Bob and Monét’s dynamic highlights how miscommunication can be both hilarious and universal, especially when filtered through the lens of friendship and performance.
• They stress the value of clear, direct communication—though each prefers a different approach (Bob: address immediately; Monét: take a beat).
• The importance of apology, atonement, and recognizing feelings vs. facts surfaces as key themes, as does the necessity of learning from, not just joking through, conflict.
• The episode ends with the pair reaffirming their bond: “Thank you for being my best friend... that space and having for me, me able to just, like, sit. Because if you would have said that to me the day before, I'd be like, well, I'm not sorry.” (42:59)

A funny, illuminating ride through the messiness and magic of communication—with enough drag drama and deep dives to keep new and longtime fans entertained and enlightened.

Transcript

[A]

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[C]

My name is Bob the Drag Queen,

[A]

and I'm Monet X Change.

[C]

And this is sibling rivalry.

[A]

On this week's episode, I ruined one of Bob's most priceless dresses.

[C]

We communicate about communication.

[A]

And we find out what made Bob say this.

[C]

I'm also not interested in getting diagnosed because I think I'm doing fine. And we find out what made Monet say this.

[A]

I was not drunk.

[C]

All right, let's do a quiz. Jacob, you named the show, and me and Monae were trying to name the theater that it is playing in. Don't.

[A]

I'm going to lose this.

[C]

Crazy. We're trying to get money. We're on teams.

[A]

We're not.

[C]

It's not against each other. We're on teams. We're on a team.

[A]

I have nothing to contribute to this group.

[C]

You're just trying to contribute, Monat. Let's do this together. Come on, Jacob, hit it. But only the. Only the old shows

[B]

now.

[A]

But you guys are comp. We have to talk. J has to, like, compile the list now.

[C]

Yeah, Give me one second, y'.

[A]

All. Bob will spring a game on Jacob in the middle of it.

[C]

We're on the same team. No one's losing, baby. You're my teammate.

[A]

No one's saying that. We're saying, you know, Jacob doesn't like being put on the spot. You're like, all right, Jacob, I need a list of all the US Presidents, ailments, their sicknesses, and any disease they have between 1917 and 4907.

[C]

All I said was, what Theater. Are these shows at. You're acting like I asked. What was Alexander Hamilton's 15th word that he ever spoke in life?

[A]

I'm surprised you didn't. Um, we were just. Before this. I was. What is up with me in live shows? This happens to me all the time. This happens to me. When I came back at last when I was in New York to go see Sunset Boulevard, Nicole Scherzinger called out that day. This happened when I was chasing Chelsea Handler around just to go see her show. Now I'm here in New York. I came here literally to come see Gypsy. I came here two to three to come see Gypsy the musical. The whole cast is sick today, so they're not doing the show today.

[C]

How do you think your fans feel when you cancel your shows?

[A]

I never cancel a show.

[C]

You never.

[A]

When I cancel a show, I think fans get upset and like. And I am not, by the way, Karma. They are well with me, the right to be upset.

[C]

You should have known better.

[A]

They're well within the right to be upset and annoyed 100%. And just like I am entitled to be annoyed and 100% right now.

[C]

Monae and I were at a party, and this guy came up to her, and he said, monet, I met you at DragCon back in 2018, and you took a picture, and your team said you would email the pictures out. And I never got my picture. And what I said was, monet, so you should either take a picture with this guy now or give him $10. Monet didn't either. Monet offered him a hug

[A]

because it wasn't for you to decide. I asked him. When you said that, I was like. I said, no. I was like, what do you want?

[C]

He said.

[A]

He said, I don't want nothing.

[C]

That's not what he said.

[A]

What he say.

[C]

Monet didn't offer anything.

[A]

What did he say?

[C]

Mon offer anything? He said, this way. He said, monet, I got a bone to pick with you. I've been telling everyone at this party, and I'm mad at you. Monet said, why are you mad at me? And then he told us what I just said. And then I interjected. I said, and you either owe him $10 or a picture right now. Take a picture right now or give

[A]

him $10 to respond to that.

[C]

But. But you didn't offer him anything.

[B]

You.

[C]

All you did was took your arms out for a hug. He said, I don't need no say or a hug.

[A]

He said, I don't want no picture. He said, I don't want no picture. And he wanted $100. And he said. And he said. He said, I don't want no picture.

[C]

He didn't say that. He didn't say that.

[A]

Oh, my God.

[C]

He. He. He.

[A]

I think he tagged me on Instagram. I don't remember his name, though. He absolutely said, I don't want no picture. I don't want no $10. I was like, ooh, okay.

[C]

And then. I don't remember that part.

[A]

And then we Kiki'd. Yes. We won 100%.

[C]

Did just give him $10. It's $10. Give him back his name.

[A]

He said he don't want no $10. He don't want no and no. He's not getting $10.

[C]

You took something from him. You offered him.

[A]

You didn't take anything from him. Let's be very clear.

[C]

You took $10 and you gave him nothing.

[A]

I didn't take anything from him.

[C]

Someone at your company took $10, and you offered him nothing in return?

[A]

Yeah, Correct. And then I gave him a hug, and we spoke it down, and he was very grateful for the interaction experience we had.

[C]

You should want to rectify it and give him $10.

[A]

I did rectify it. We had our moment, and we shared a time. He seemed very happy with what happened at the party.

[C]

He was drunk.

[A]

He was not drunk. He seemed very happy. He was drunk.

[C]

He was drunk. Even his way, he was drunk.

[A]

By that time later, when I was speaking with the person, they were not drunk.

[C]

He was drunk.

[A]

He was drunk.

[C]

I promise you, he was drunk. When he was drunk. When he was talking to me, he was like, I'm a little drunk, Russ. I wouldn't even be doing this. That's, like, the first thing he said to me. He goes, I'm not gonna lie. I'm geeked. I'm gagged. You're my favorite drag queen, and I am a little drunk. That's like.

[A]

He didn't seem drunk to me. And him and I had a lovely interaction. And he said you were drunk too. I was not drunk.

[C]

Sorry. Wasted.

[A]

Sloshed is probably the proper term.

[C]

I was drop.

[A]

I was throwing up.

[C]

I was on her. Monet had $10 on her.

[A]

I had more. I probably had $100 on me, actually.

[C]

And you just wouldn't give this man his $10? Correct. Why?

[A]

Because I don't want to.

[C]

That seems so shady to me. Beep, beep.

[A]

Bada, bada, beep, beep.

[C]

Okay, Jacob, do you have these theaters in these shows? We can do this. Monet, come on. You are.

[A]

What is this. Who wants to know?

[C]

I like games about this. I like games,

[A]

but I think if I took a response, the answer is no.

[D]

Yes. Okay, what?

[C]

The answer is yes. Whatever.

[D]

When was the opera running at?

[C]

Ooh, femme opera. It was on 42nd.

[A]

No, it was not. Are you sure it was on 42nd Street? It was like, 43rd or 44.

[C]

Which one was it, Jacob?

[D]

Oh, I know the theater. I don't know the street.

[C]

It was on the Majestic.

[D]

Oh, my God. That's right.

[C]

Gang, gang.

[A]

And what street is the Majestic on? It's definitely in 42nd Street.

[C]

I don't know, but I knew the theater, though, which is. Which is pretty. Monday. We did it. We got one.

[D]

Is. Oh, no. They're showing me the Hollywood Majestic. Ugh.

[C]

Okay, we got one, right.

[D]

Monet, you theater is on 44th.

[A]

I knew it.

[C]

Great. See, you helped me by telling me what street it was on. See? We did it together.

[D]

Where is Hamilton playing?

[C]

Hamilton, I want to say, is on 52nd or 51st, so I'm guessing theaters or street names. I need to do it in chunks.

[A]

Yeah, just gather her.

[C]

So Hamilton is on 51st, right?

[D]

I don't know. I just have the theater. I don't have the address for all the.

[C]

I want to say it is at the. I don't. No, it's at the.

[D]

The.

[C]

Where was Dreamgirls?

[A]

The Pearl. It's at the Pearl Theater.

[C]

No, Dreamgirls was at the Imperial.

[D]

Let me look.

[C]

I believe that Hamilton is at the same theater Dream Girls at. And I believe it's the Imperial Theater.

[D]

Dream Girls did premiere at the Imperial Theater. That is correct. That is not the theater Hamilton is currently running at.

[C]

Oh, which one is Hamilton at?

[D]

The Richard Rogers Theater.

[C]

Okay, let's do two more.

[D]

Okay.

[A]

Richard Rogers. I knew that.

[D]

In the Heights.

[A]

That's in the Heights.

[C]

Premiered uptown at the United.

[D]

What was on. On Broadway, though?

[C]

Wow.

[A]

Theater. No, no.

[C]

I don't know what was in the Heights.

[D]

It was the Richard Rogers Theater. Again.

[C]

Wow. All right, one more. Monet's probably gonna be Richard Rogers. One more.

[D]

Okay. Where is the Lion King currently going?

[C]

The Lion King? The Minsk off.

[D]

That is correct, Bob the Minskoff.

[C]

Okay, one more. I want to do one more. I should stop at 50. 50. One more. One more.

[D]

Reynes.

[A]

Ooh, the Seldom Theater.

[C]

Wait, the new one or the original?

[D]

The original.

[A]

La Sydnorma.

[C]

No. Les Mis was at the Winter Garden.

[D]

Nope.

[C]

No. Mamma Mia was at the Winter Garden. Les Mis was at the Richard Rogers.

[D]

Nope.

[C]

Where was it?

[D]

The Imperial.

[C]

The fuck? Okay, that Was fun for me. Monet, we did a good job.

[A]

I did not do anything. We didn't do anything.

[C]

Monae, participate.

[A]

We didn't do anything. Nigga, I tell you, I want to play this game.

[C]

I play your little games. I want to play.

[A]

What? Like what?

[C]

I play your little reindeer games.

[A]

Anyway, what are Reindeer games?

[C]

I'm assuming that Reindeer Games is probably, like, fetch is probably a reindeer game, I think.

[A]

No, when someone talks about reindeer Games, like, I don't want to play reindeer games, it means something specifically, like, oh,

[C]

like, I'm not playing. I'm not playing games with you. Like, I'm not. I'm not playing these reindeer games. I've only ever heard Todrick hall say reindeer Games.

[A]

There was a movie called Reindeer Games, right?

[D]

No, there's a movie. I mean, baby reindeer.

[A]

No, there's a movie called Reindeer Games. I'm pretty sure.

[D]

Yeah, Reindeer Games. Homecoming.

[C]

This looks like it is a.

[D]

Let's see. Sparks fly between a Vermont biology teacher and her high school crush as they compete in holiday fundraising tradition.

[A]

No, I'm talking about the Ben Affleck movie.

[D]

With Charlie just released from prison. Rudy Duncan wants to start a new life with Ashley Charlize Theron, the girl of his dreams whom he met through pen pal letters in prison. But between them and Happy stands her crazy brother and his motley crew of deadly criminals who think Rudy has some inside information about a casino where he once had a job.

[C]

Okay, that was not what I was picking for a movie called Reindeer Games.

[A]

Yeah, I remember the Reindeer Games movie. It was wild and I guess, yeah, Reindeer Games are playing Follow the Leader.

[D]

This says Reindeer Games is occasionally used in speech to describe a group activities that unfairly discriminate against participants.

[C]

Oh, they're Reindeer Games. If the rules of the game are unfair, is there something. Is there a fire in front of you?

[A]

No, I don't have my light and was I looking too dark before? Jay's gonna be like, monet, what are you doing?

[C]

But like, I'm saying it now. What are you doing?

[A]

Okay, I guess what I'll do is go back to this then.

[C]

Yeah, this is better. Okay, y' all just moved to the window.

[A]

I am. Bitch.

[C]

Bitch.

[A]

The sun sets at 1 o' clock

[C]

nowadays and it is New York. It's probably gloomy, bloomy and doomy over there, girl.

[A]

Gloomy, bloomy and doomy.

[C]

All those are Santa's new reindeer. On Bloomy on gloomy on doomy. Can you name all the reindeer?

[A]

Rudolph, Prancer, Vixen and Dancer Donner Goner.

[C]

There's Dasher and Dancer and Prancer and Vixen, Comet and Cupid and Bo. There's only two more. There's only two more left.

[A]

There's a one. Is a planet like Jupiter or something?

[C]

Comet.

[A]

Oh, that's a comet planet.

[C]

And Pluto. No, Pluto.

[A]

No.

[C]

There's Donner and Dancer and Prancer and Vixen. Comet and Cupid and so in and Nixon. Who are the two I'm missing?

[D]

I don't know. Well, first one of them is Rudolph.

[A]

Yes, I said that.

[D]

And then Dasher.

[A]

Uh huh.

[D]

Prancer, Dasher, Dancer, Prancer, Vixen, Comet, Cupid, Donner, Blitzen, Rudolph.

[C]

Oh, we got them all.

[D]

I think you just were doing them out of order and you both got different ones.

[A]

Yeah.

[C]

Monet, we did it again. We are so good at trivia. Monet, Monet.

[D]

Can you name all the planets in the solar system?

[A]

Yes, they did. Who is knocking on my door? Yes.

[C]

Yeah. Monet is going through. Monet is fighting for her life. The lights are out. The sun's going down. People, people, people knocking on the door. Monet is over here, y'. All fighting for her life in these

[A]

streets because my feet hurt. I just want to do I'm borrowed time with the light. I just keep.

[C]

You also know you. You Basically go to YouTube, right? Type in white screen, and then you won't be able to see me, but it will shine a very light, a bright light in your face. Like, I type in white screen for 10 hours, and then you turn off the brightness and it like, puts a bright light in your face. Do you see that?

[A]

I remember done that before. If I go to like. Like this.

[C]

Is that. Is that your screen? Yeah, yeah, you can do that.

[A]

Jay's gonna be like, Monet, I have wore. I have changed colors 49 times on this call.

[C]

Well, Monae, you're doing the best you can with what you have, okay? We're not going to judge you. You're doing the best you can with what you have. Your show got canceled. Yo, Monae's show got.

[A]

Oh, my God. I forgot about that. I'm so annoyed.

[C]

They're knocking on the door, the lights are out, the show's canceled.

[A]

She don't like that shit. Like, I came here to come see fucking Gypsy and now I can't see. Oh, my God. Which. How would they still be able to call. Let's talk about this a year. Talking about what with me, like, that's still the name of the show. Gypsy.

[D]

I mean, that's her name. That's the name of the actual person. Gypsy.

[A]

I know, but it doesn't make it less problematic.

[C]

I mean, having someone named be Gypsy is. Is. You know, I don't know. I'm not. You know, I'm not a gypsy. I don't really have a horse in this race, so I'm not gonna. Or I don't even know if they call themselves Gypsies. Is that the word I was to say?

[A]

You know how you say I'm not a Gypsy?

[C]

Do they call themselves Gypsies? Am I using a Slurpee?

[D]

Yes.

[A]

I don't know.

[C]

Wait, they do call themselves Gypsies.

[D]

I mean, I. Okay, I'm not, like, the expert on this, so, like, maybe we should just cut this or not do this. The general name of the people is Romani. I think that's like, the name that of the people. I don't know how people within that community use or don't use the slang, but that is not the proper way to refer to the community.

[C]

Okay, well, I apologize. I am not Romani, so I. So what I'm saying is, honestly, I don't have a horse in this race. And as a person who is not Romani, I'm just gonna say. I don't know if it's offensive, but maybe someone here can let us know if you find that term to be offensive.

[A]

I don't know. I mean, these are. These are honest conversations we're having. We're not. We're not. We're not trying to offend. We're having an honest thing about. Probably a lot of people don't know. So if you are that experience, please comment below and so you can educate us on what's appropriate.

[D]

Gypsy Rose Lee, the burlesque performer's real name was Jacob.

[A]

Would I stop screaming? His name is her name.

[C]

You said it. The name of the musical.

[D]

Her name was Rose, so I assume she took that name on performing. I don't know how she arrived to that name. And if it was under a problem, like, if that choice of the name was problematic. It probably was. But I mean, that also is the name of the show.

[C]

There was a person from that ethnicity on Drag Race, but she ended up passing away. Her name was Cherry Valentine. Cherry Valentine.

[A]

Oh, yeah.

[C]

She passed during COVID but she was of that ethnicity.

[A]

Well, you know, they have a lot of sports team have to end up changing names, too. Like, you have, like, the Kansas City. They're not the Chiefs anymore. They're the Kansas City something now.

[C]

Oh, girl, I don't Know if I think Atlanta still calls themselves the Braves, which is crazy. And do you know what they do at the games?

[A]

Oh, the Tomahawk, Chuck. Whatever it's called, Chop the Tomahawk, child. That's crazy.

[C]

It's. Girl, we all did it as a kid. We all did it. It was insane. We all did it. The entire stadium, even people at home watching. Everyone in Georgia did it. They made me implicit in their harmful rhetoric.

[A]

Like, that's like, y'. All. That's like. That's like a team being like, oh, we're the Chicago Negro faces the Chicago Black Skins. Like, that's crazy.

[C]

There are teams called Black Skins where. Not anymore.

[A]

Gag. Because they have the Washington State, the Washington Redskins.

[C]

What about the Alabama White Devils?

[A]

Is that. Is that a real thing? No, but about to say. That's real.

[C]

Welcome to say the Alabama Klansmen.

[A]

Hello. Damn.

[C]

I mean. Well, I'll tell you more thoughts about people changing their names when I get back. So. I'm from a town called Columbus, Georgia, and we used to have a military base there called Fort Benning. It's not called it anymore because it was named after. I think, apparently it was named after some person who may have not been savory. And now it's called Fort Moore, I want to say. I think. But they're changing names all the.

[A]

I don't even.

[C]

They're changing all up. All up in Georgia is full of these things. Full of these names, honey.

[A]

Yeah, I'm sure, girl. I'm sure. I mean, it's fucking. In the south, it's problematic as fuck.

[B]

Oh.

[C]

Cause the north is so good.

[A]

I mean, in terms of things like that, we. I mean, we didn't have anything like that. That was crazy.

[C]

Oh, you didn't?

[A]

What sports teams we got up here? The Giants. The Bra. No, the Giants. The Jets. The Nets.

[C]

Yeah, the Nets. That's about the coarseness of black people's hair. Our hair is so net.

[A]

No, it is not.

[C]

Because black people play basketball and our hair is so coarse, it looks like a net.

[A]

That's not true.

[C]

And you think that's okay.

[A]

That's not true.

[C]

But you think it's okay.

[A]

I mean, is the Celtics a little problematic? Cause about Celtic people or like.

[C]

Cause they're like a leprechaun or like the Fighting Irish?

[A]

Cause, yeah. Cause the Celtic is like a leprechaun on the mascot, right?

[C]

Yeah. With his dukes up, I think.

[A]

Yeah, maybe that one is a problematic one.

[C]

There's a statue of Harriet Tubman in Harlem right near the Magic Johnson Theater. I used to love walking by the statue. I was obsessed by the way. I would love for you all to go and purchase my book. For pre order right now, you can go to readthedragqueen.com and pre order yourself a copy of Harriet Tubman Live in Concert, a novel by Baba Dragman.

[A]

Harriet Tummo. I started reading your book today, actually.

[C]

Did you really?

[A]

Yeah.

[C]

How far did you make it?

[A]

About to page 20. I just did a while right before we took off. When I sat in my seat, I was like, oh, okay. Then I started getting sleepy.

[C]

You got any thoughts?

[A]

I think it's good so far.

[C]

That's it. I read the book.

[A]

It's good so far. Do you want to give you a page by page critique of what I've read?

[C]

I want a compliment, and I would like an endorsement.

[A]

Girl, y', all, the first 20 pages are great. The first 20 pages are great. Bob's doing a great job. I'll have my full thoughts when I read the whole book so I can tell y' all the real tea.

[C]

I want to do a book club. I want to relaunch my book club when the book comes out. I actually might do the Good Lord Bird first by James McBride I want to say is his name, which is another historical fiction book, but this one's about John Brown, the abolitionist John Brown. Do you know the John Brown song?

[A]

No, I don't, but I know there is one.

[C]

John Brown's Body Lie, Emulsion in the Grave.

[A]

Yeah. No.

[C]

Do you know?

[A]

I know I am Henry viii. I am.

[C]

I'm trying to remember the. I'm trying to remember the person who wrote the song Camptown Races. And he wrote a bunch of songs like that. And his name is. His name is. Oh, my God. I'm gonna be so mad because I'm

[A]

gonna look it up.

[D]

I have it here.

[C]

When you want it, give me the first letter.

[D]

S.

[C]

I can't remember it.

[D]

Stephen Collins Foster.

[C]

Stephen. Yes, Stephen Collins Foster. He wrote up. So he wrote a bunch of songs like, you know, Camptown Racist singing this song. And there's a whole musical about Stephen Foster's songs.

[A]

Interesting.

[C]

And he wrote all these songs that were like these incredibly patriotic songs during the time.

[A]

Remember the time. Do you think you're a good communicator, Bob?

[C]

I think I'm a very effective communicator. Me and Jake were talking about this last night, actually.

[A]

Why? What makes you a good communicator?

[C]

I think because I talk about things as soon as I feel them. I think that does make me quite confrontational. But if I'm having like a real conversation, I'm not like being silly. While I am confrontational, I do tend to try to see other people's part and see my part and understand what they're saying and accept their criticisms and move forward with that unless. But on here, on this podcast, I'm being really camp and you know, doing. You and I have a. But when you and I are having like a real, real problem, we actually do communicate. And I say, well, I didn't like this and this made me feel, I felt this way about this. And then I'll hear you saying, I'll say, okay, well, thank you for that. And. But when we're doing, when we're, when we're in the midst of the silliness and sometimes we don't realize that has gone into the seriousness. But once we get into the serious area area, we tend, I think that both of us tend to be much more effective with our communication.

[A]

I think I've learned to be. I think as I've gotten older, I've become a more effective communicator. I think first, being like some 20 something year old kid, I don't think I was very good at communicating or also not even good at handling confrontation. But I think as I've gotten older, I've definitely learned to be a better and more effective communicator. And. But I'm not like Keto. I do not address things in the moment. Like when a thing happens, I need a beat so I can process what happens and then I can speak about it. Which is also a great. It's great for me because if I react in a moment, I think I am very reactionary and not like not thinking, not having any intention about what I'm thinking about what I want to say. If I need to really take a minute to gather my thoughts and then speak about it.

[C]

So let's communicate about something. Ready? You and I are on the work the world tour and I have put my coffee down on your laptop, just right on top of your laptop, and I left a little ring on it. And then the next day I did it again. I've done it twice now. Third day, I come in, you and I are sitting side by side. I see your laptop, I'm holding my coffee. Hey, Monet.

[A]

Hey, girl. Listen, before you come over here, do not come over here with the coffee. For the past three days, for the past three days you left your coffee on my computer. There's now a permanent ring on your Computer. I really do not. Please don't put your coffee on a permanent ring.

[C]

Have you tried to wipe it off?

[A]

No, I haven't tried to wipe it off.

[C]

So let's wipe it off real quick. Let me wipe it off. Oh, the ring is gone.

[A]

Well, you know what? There shouldn't be a ring in the first place because it's highly inappropriate to take your coffee and put it on my electrical device. It's disrespectful to my property. It shows me that you don't have any value over myself. And you just think that you can put your coffee on it, and I would really like you to not put your coffee on my computer, regardless if it comes off or not.

[C]

To be clear, I'm happy to not put my coffee on your things, and. But to say I have no, I don't see your stuff having any value. I want to be clear. The only reason I put my coffee on your things because I saw you put a Red Bull on the other day, so I assume you're okay with it. You put a Red Bull right on top of it.

[A]

I put a Red Bull on what?

[C]

Your laptop?

[A]

My. Exactly. My laptop is not yours. So can I come and put my Red Bull on your dress for the show tonight? Can I.

[C]

If my coffee's on it, can I.

[A]

Can I. Can I. Can I come rest my. Can I come rest my Red Bull on your hair for tonight? No.

[C]

Is my coffee on the hair?

[A]

You're right, because it's yours. But I don't care if you've done it before, but I will not do anything to your property. So I'm asking you, if I take my laptop and smash it on the wall, that does not give you the right to also smash my. My. My. My computer on the wall.

[C]

I understand that, and I want to be clear. I'm not going to put my coffee on your laptop anymore. But I want to be clear. I valued it at the same way that you did, at the same rate that you did.

[A]

Because I can value my phone how I want to.

[C]

I just thought I was treating your things the way you treat your things. I was trying to give your things the same respect you gave them. I thought maybe you didn't want the coffee in your area, so you put it on the laptop because you didn't want to maybe get on your makeup or something.

[A]

But that is not for you to decide. I'm not deciding.

[C]

I'm not putting my coffee on your laptop anymore. But to be clear, to say I don't think your things have any value is you came in hot. Like this coffee.

[A]

Like this coffee. But how'd I really go? You know, we do. But out of like. Girl, do not put your computer. That's. That's rude as hell. Stop doing that.

[C]

Okay, for real. Let's do it for real. Let's do it for real. Hey, Mo. And it's a Red Bull. I don't drink coffee. It's a Red Bull. Hey, Mo.

[A]

Bitch, you put your Red Bull on my computer and you left a ring on my shit. Don't come over. Did I? Yes.

[C]

I'm sorry. I probably wasn't thinking. I really didn't think I was.

[A]

Yeah, yeah, nigga. You don't think that's what I'm saying?

[C]

Okay, Monet, you're doing a lot. I'm sorry, I did not mean to put my Red Bull on your. You want to put a Red Bull on my laptop now?

[B]

Actually.

[C]

What?

[D]

Make you feel better?

[A]

Uh huh.

[C]

All right, here. Place it on there. How long you want to keep it there?

[A]

Three days.

[C]

I did not leave my Red Bull on your laptop for three days. You know, I chug drinks. Also, the can was empty. You know, I chug. The can was empty.

[A]

But it's a condensation because your ass drank the shit in 2.2 seconds. So now all the condensation is leaking on my shit.

[C]

That must have been your vocabulary word for the week. Condensation. Jacob must have sent you that word. I know you didn't just bubble that word up. That actually is probably how it would go for that. That is the actual.

[A]

Yeah, that's how it actually happened. That's how it actually happened.

[C]

Also, Bob is.

[A]

Bob is.

[C]

Bob.

[A]

Yes, you are a good communicator, but in terms of, like, conflict resolution and doing that stuff just to communicate day to day with his friends. Bob is a. Between our friends. Bob is notoriously a hard person to communicate with.

[C]

I just don't answer texts or calls or calls. Yeah, if I'm podcasting with you, bitch.

[A]

No, Bob, they're typing you. And I know that you were. That you were. I know that you were home with Jacob and I.

[C]

And we'll.

[A]

You won't answer text. I'll call you to answer this.

[C]

Because my phone stays on silent and I don't hold my phone on me all the time. But so. So yes, I don't answer texts or emails or calls or emails.

[A]

Bob is like, you don't answer emails. I'm like, bob, did you see that thing from our accounts and of other things like Monet what? Like, he sent it by email. He's like, monae, I don't check my emails.

[C]

I'm like, how are we communicating? But once we are communicating, I'm great at it. Once you get me in a corner. And I'm like, oh, let me look at this thing real quick. So, yes, you got me. I don't answer texts, calls, or emails. You got me. It's true.

[A]

We were on the phone right before they were talking to her because Arcia and I gonna see the show tonight got canceled. Blah, blah, blah. And then. And then Bob is like. Bob says, monet, tell Arcia to answer my text. And Arcea, she's like. She's like. She's like, who said that?

[D]

Bob?

[C]

She's like, yeah.

[A]

We say like, well, tell Bob that

[C]

is not how she said it. She did not talk like that.

[A]

Whatever. I get her.

[C]

Arcia does not talk like that.

[A]

She's like, well, when Bob answered my text, I'll answer his. Bob was like, what do you mean? I did answer your text. Arcia sent me a screenshot, which I am sending to the group right now, of her trying to communicate with Bob. And Bob has ghosted Arcia with no response to anything she's saying.

[C]

How many texts did she send me?

[A]

3.

[C]

Okay, that's not that bad. You know, I've been worse than that. That's actually not that bad. Three. I thought it was gonna be like six. This. This was. That was. That was a good. That was. That was. That was me communicating at the. At the peak of my performance.

[A]

Arcia, I was talking to her on the phone. If y' all are new to the podcast, Arcia and I have been. I was content with Dejuan last night. I've been friends with Arcia and Dejuan for 17, going on 18 years now. And, you know, Arcia graduated from school, she's got her doctorate, and, you know, she's been, like, struggling to find work a little bit because she's so over.

[C]

Oh, doxia to you, honey.

[A]

Dr. Silk. Struggling to find work a little bit. And she's been, like, going through it a lot with work and stuff, but stuff is really turning around for her. And I was getting so emotional talking to her on the phone because I'm just so. Sometimes I would call Arcia and she'll be like, heaven. What is it like? Just going through it. And I'm trying to offer her advice and trying to be as helpful as I can, but I can't make work for her. But now she's got A really, really, really fucking good job. She started. Have you seen her black girl walking club?

[C]

No. Is she teaching? Is she teaching again?

[A]

She's. Yeah, she's teaching at a school. She's got a really good job, but she started this thing called Black Girl Walking Club just on a whim, walking by herself with one or two people. It blew up. Now there are.

[C]

She's.

[A]

Now there are, like, hundreds of people doing this black girl walking club coming to our team. I heard this person.

[C]

Is it open for people to jo. Where do they walk at?

[A]

They walk in Jersey, but they're trying to do. They're doing, like a. I think they're gonna be doing some walking in LA soon. A black girl walking club in Chicago, and now they're doing little satellite walks.

[C]

Is it closed to women or, like, feminists and allies as well, or just for women?

[A]

Um, I don't know the answer to that, actually.

[C]

Okay.

[A]

Yeah.

[C]

Maybe we should have her on to promote a black girl walking club sometime.

[A]

We should. We should. We should have our sia back again. But it would just make me. When I. When I hear my friends succeeding like that, it makes me so happy. It makes me so happy. I was, like, just into it. I didn't tell. I was crying, though.

[C]

But.

[A]

But I was. I was like.

[C]

Because she would let you have it.

[A]

No, she let me have it.

[C]

I think Emon be going at it. RCM ona be going at it. I'd be like, oh, I don't know that I can handle this level of going. Y'. All, Arcia and Monae be. Be big backing each other and fat bitching. I'm like, this is crazy. Me and Monae don't joke. Like, this is. Y' all is. Y' all is cutting deep.

[A]

We do, we do. We do. We do Kiki. We do kakako. I love Arcia so much, though. She's so funny,

[C]

you know? You know that for me is Alfredo. Alfredo, like, Alfredo is a ballet dancer. Well, used to be a ballet dancer and then was a security guard and was like, I don't want to work security nightlife anymore. And then Alfredo was like. Was just. And I know Alfredo was listening, but Alfredo was like, I cannot find work. I just cannot find work. It is driving me crazy. I don't have any money, and it's driving me crazy. And then Alfredo. Alfredo started doing drag and just started sewing. So me and Patrick and Kennedy sat down and gave Alfredo a sewing class one time. We were like, really? Yeah. We're, like, together. Yeah. We're like, we're all going to show you how to sew. We all use our skills. To be fair, I think me and Patrick have, like a kind of cylinder school level. Kennedy is a much better. Kennedy went to school for Cosmos. She's much better than we are. And then Alfredo took that. Those few little lessons that we gave him. And he is, y', all, Alfredo can so down. Alfredo can really, really sew. And now Alfredo is a union wardrobe on Broadway.

[A]

Yeah, like.

[C]

Like that.

[A]

I love a union girly.

[C]

I said, girl came to visit me. We went somewhere. I went to go pay Afro said, ha ha. I got it. I said, alfredo want me some Alfredo want me some horchata over here in the Valley? Alfredo bought me a meal over in. Over in Pasadena. He bought me him and Camion's meal. I said, oh, my goodness, Alfredo, I'm

[A]

surprised to do that. After you dropped him off at my house like he was a foster child. Which, by the way, Alfredo, I was more than happy to have you, Sam, anytime you come. I told him. And Joel, which, congratulations to Alfredo and Joel. They got engaged.

[C]

Also, Monet is not painting an accurate picture. First of all, I wanted to make one thing clear that we all know. Yes, Congratulations to Alfredo and Joel. Monet's home is our home. Monet knows this. It is what it is.

[A]

So what about Andy?

[C]

It's time for debate. We're not having this conversation.

[A]

What about Andy?

[C]

No, Andy lives there. I don't live there. But it's me and Monet's home, right? So when I throw events, I throw them at Monet's home. When I go to Monet's events, I am co hosting the event with Monae. Monet knows this. If I'm coming, we're co hosting. So Monet's home is bigger than mine. And also, y', all, I'm. I'm not tidy. One, I'm not a tidy person. And two, I live in a three bedroom apartment with three people. There is someone in every bedroom in my house. Monet lives in a four bedroom, one, two, three, three bedroom, an office, three bedroom with two people. And two of them are in the same room. And it has two free rooms. So when I pick Alfredo up, I said, hey, Alfredo, just so you know, Monet offered for you to stay at her home. And also the one bedroom you're going to stay in right now, it is about to get remodeled. It is my old drag room. There's just a bed in the middle of the room. I haven't had time to redo it. There's no pictures on the wall. All the shelves are still up. It is literally a. It's like living in a closet with a bed in the middle of the room. That is what my other. That's what my guest bedroom is right now. Right? I was like, and Monet offers you to stay at her place. And she has a room that is fully decorated. And she offered. So I'm going to bring you to my house because Monet is working. And if you decide that you want to stay over at my place or at Monet's place every day, I'll come pick you up. We'll hang out every single day. But you can stay there if you want. I did not drop Alfredo at your house like an unloved child. You, me and Alfredo all had a conversation that Alfredo should stay at your place.

[A]

Well, you and I had a conversation. You and I. Alfredo had a conversation.

[C]

And then me and Alfredo had a conversation. Then me, you and Alfredo had a conversation. But yeah, but it was really lovely to have free visiting in la. I have not seen free in la. I cannot believe free. I could not believe I was looking at free in LA was gaggy.

[A]

Hey, it's Ryan Reynolds here from Mint Mobile.

[D]

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[A]

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[D]

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[A]

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[B]

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[A]

I know. I told him. Him and Jill, Jim and Joel should come out together and they can save us. Saved by Me, who's gonna watch the dog? They can get a fucking pet sitter for a week or however many days the hell how much dogs people act like. Don't get me tired on dogs. I can't. Because also the way people love dogs in America is kind of crazy. Like the way that people love their dogs in America is crazy, which I get it. But it's like the way the sun's

[C]

going down, it's getting more and more menacing. It looks like you're now telling a full on ghost story. Like the room is like slowly getting. The room is getting darker. The light is shining up. Like it looks like you about to fucking could do. Are you afraid of the dark?

[A]

Did you ever watch those shows?

[C]

Yeah, I loved are you afraid of the dark? Loved it.

[A]

I didn't watch that.

[C]

I didn't watch out of Goose. Goosebumps.

[A]

I like. I like Animorphs. Animorphs are such a good show, but it's not scary.

[C]

We're talking about. I thought we're talking about like so good. So the two spooky shows were go. Were the three spooky shows were. Third one's not really that spooky. Goosebumps, Earth, the dark, and then Ghost Rider. Which Ghost Rider wasn't really scary, but it just had ghosts in the title. And then it was these, these kids who were detectives, but this ghost would help them solve crimes.

[A]

I don't know that. I don't know that show at all.

[C]

Ghostwriter,

[A]

what do you think is more important in communicating what you say or how you say it? How you say it? 100%.

[C]

What'd you say?

[A]

How you say it. You can say anything if you say it correctly or if you say it a way that someone can receive it. That's all that matters. You can say whatever, but just how the information is received.

[C]

I say what you say, and that's because I don't know what you mean, but I know what you said. I tell people all the time. I don't. People go. People be like, I didn't mean that. I'm like, but you said that. Like you said, I hate you. I don't know what you meant because I'm not in your brain. All I know is what you said. And sometimes through text. I don't even know how you said it through text. I have no clue how you said this. All I All I'm reading, so I'm reading it in my. In my thought. So you know me, I'm very pedantic, right? So when someone is Saying something. I'm like, again, I don't know. I don't know. I don't know. I don't know what you meant. I just. All I know is what you said.

[A]

Well, so in relationships. So that. So I was of this. But I've had to learn, because I'm like, okay, you said, ga, ga, ga, ga, ga. And the person be like, well, what I meant was like, so then you have to do a little, like, deciphering or to massage information to understand exactly what they're trying to say. Which in relationships, that's just part of the thing, right? Like, this is someone you love. This is your partner. You cannot chalk it up to, like, well, this, this, this. I mean, which is my inclination is how I process and deal with things. But I've had to learn to communicate differently to, you know, like, why can't you just say.

[C]

Like, why can't you just say what you mean? Like, for example, this isn't really a problem that me and Monet have. Me and Monet are usually saying the things we mean. And if we get caught saying things we don't mean, we are both comfortable being like, oh, I didn't mean it that way. I actually meant this. Jacob is the same way. Jacob says things that he means. And if. And if one of us. Or if I say something I didn't actually mean, if I misspoke or if my feelings didn't actually align with what I said in the moment, then later I'd be like, you know what? I was tripping in that moment. What I meant was this. And I don't want to do the guessing work. I don't want to have to guess you're feeling.

[A]

Just say what you mean 100%, which is kind of the thing. I have my issue a little bit with the feelings thing, because feelings aren't facts. But I do understand that your feelings are valid, but it's not a fact. Like, if I. If you and I go into the store and Jacob wanted to come, and he took too long, so we just went. And Jacob says, well, you guys abandoned me. I'm like, I understand how you feel that way, but the fact is, we did not abandon you. So now what?

[C]

Well, it means more like if we're like, hey, guys, me and Monet and Jacob are all going to. Monet. Oh, Jacob, Me and Monet are going to the store. Do you want to come? Um, I don't. I don't think I want to go. So we go, we come back. Now Jacob's mad. Why didn't y' all bring me. Well, you said you don't want to go, but I. But I. But I actually wanted to go. I wanted you to ask me again. I'm like, well, that's not what you said, though. You didn't say that. Now. Now I got to guess what you mean, like, so I can't be guessing what you mean. All I know is you said you don't want to go. And, yeah, I can read some cues, and sometimes they're pretty obvious. Sometimes they're not that obvious. Also, I might be a little autistic, maybe according to a doctor when I was younger. I don't have any evidence of it, so I'm not always super great at reading social cues, to be honest. And I've never been. I've only been diagnosed once, but me and my mom stormed out of the office, and I've never been treated for any level of adhd, autism, or anything on the spectrum, because my mom was like, not my baby. So I just never dealt with it. But I also have had several people come up to me and be like, do you have Asperger's?

[A]

Really?

[D]

Yes.

[C]

I've had several people with Asperger's walk up and be like, bitch, do you have Asperger's? And I was like, that's giving Asperger's. Just. Just walk up and say that it's giving Asperger's.

[A]

Amanda Seals found out. She had. She was on the spectrum, leading life.

[C]

So I have had a few moments like that in my life where people are like, bitch, you seem a little bit autistic. I don't think I am. And I'm also not interested in getting diagnosed because I think I'm doing fine.

[A]

Yeah, I mean, I think you are, too. I think you're a pretty effective communicator. But that is a. That is a communication. A part of communication that kind of really rubbed me the wrong way is the feelings. Feelings versus facts that we had this

[C]

conversation a long time ago. Maybe we can revisit it. What is an effective apology?

[A]

I think an effective apology is acknowledging the feeling in that. Like. Like. Let's say like.

[C]

Like.

[A]

Like.

[C]

Like.

[A]

Give me an example.

[C]

Okay, I. We're. We're back at the laptop. Okay.

[A]

Mm.

[C]

Sorry.

[A]

Well, that seems like an empty apology. What? It sounds like I am sorry.

[C]

Sorry. Like, sorry.

[A]

But I think there needs to be some acknowledgment of what you're sorry for.

[C]

Like, okay, I put a Red Bull on your laptop, and I'm sorry. Sorry. I damaged your property. Sorry.

[A]

And I also think the energy and the tone plays a part in that. And I got.

[C]

But I am sorry. I'm irritated because we just had a confrontation, but I'm sorry.

[A]

So I would not need to wait and apologize when you want to wait to receive it, because I don't. Because telling me an apology when you're irritated and you're annoyed and pissed off that I brought it up is not giving apology. It's not giving apology.

[C]

You want me to apologize tomorrow, then?

[A]

Yeah, I think that. Let's take. Let's take a beat. I'm. I am a huge fan. I love.

[C]

I know you're a big fan of mine. I know you're a fan.

[A]

That's clear to me. I'm allowed to take a beat. Taking a beat.

[C]

Oh, a fan of the beat. Got it.

[A]

Never mind taking a fan of a beat. Taking a beat in, like, in a heated situation, I love it because I feel it just lets. It brings the temperature down. Everyone takes a second, they can think. And also, in that beat, if you're discovering there are more feelings coming up for you as to why you did the thing, then we can talk about that, too, so things don't fester and get out of control later on. So I am a huge fan of taking a beat. All right, let's just take a beat.

[C]

It's tomorrow.

[A]

Come on. Hey, girl.

[C]

Sorry for putting my Red Bull on your laptop.

[A]

Thank you. I appreciate that.

[C]

I didn't mean to disrespect. I didn't mean to disrupt your property. That was not my intention. That being said, you came in real hot and very aggressive and accused me of not valuing your belongings, and I think I would now like an apology.

[A]

Okay. I can hear how the anger and the tone, like, could be. Could put you off, and I do acknowledge. And I. And I apologize for coming in hot and being rude and nasty. I do. But I was pissed off, and I 100% had that energy, and I was really annoyed. I was really upset, and I can apologize for my partner. For real, for real, for real, for real, for real.

[C]

Forever, forever, ever.

[A]

Forever, ever.

[C]

All right, I appreciate that. Thank you for giving me time to process my feelings. I appreciate that. Thank you for keeping. Thank you for making me a better person.

[A]

Thank you. And thank you for being my best friend. And honestly, we're joking around, but for real, that space and having for me, me able to just, like, sit. Because if you would have said that to me the day before, I'd be like, well, I'M not sorry. Cause you did put your shit on my shit. So you get what you get. That would have happened the day before, but the next day, I can understand how that could be upsetting and how that could cause friction. And I will apologize. But the day before, I'm not apologizing because, bitch, you shouldn't put your shit on my shit. So now what?

[C]

Why you gotta be like that?

[A]

Because I need the time away from it. I have to get away from it so I can, like, relax.

[C]

That's valid.

[A]

That's fair.

[C]

I think an apology for me is when you offer atonement, right? So you acknowledge what you've done. You acknowledge that it was not right. And then you ask how you can fix it.

[A]

But what are the atonement like? Let's say it's reversed. I put my thing on yours, and then I apologize. And then the atonement I offer is. You want me to, like, wipe it for you? Like, no, I want a new laptop. I'm like, well, that's not fair.

[C]

Well, let's do this. We're back in the scene. You ready?

[A]

I'm like, hey, girl. So I know. I put my. I know. To retaliate for you.

[C]

Oh, by the way, just to be clear, I'm gonna. In this scenario, I'm gonna still be in my feelings. You have to try to rise above. I'm still in my feelings. Okay. That's your challenge.

[A]

And that's gonna be tough for me. But I will try to do that. Hey, girl. So I know I got upset yesterday because you put your Red Bull on my laptop and I put my coffee on your dress. That was uncalled for. That was really inappropriate. I'm sorry. I can get it cleaned for you.

[C]

Thank you. Clean my dress. Get my dress cleaned.

[A]

Now. I can't tell if you're doing a bit, if you're trying to be funny, or if you.

[C]

You offered to clean my dress or clean my dress. You got it dirty. Clean my dress.

[A]

Hold on, Susanna. Calm down. I'm going to clean your dress. I said I'm gonna do it.

[C]

Calm down. Has never. No one's ever been told to calm down and actually got calm. Let me be clear. You put your drink on my dress. You stained my dress. I called you out for it. You offered to clean it, and then I agreed. Yeah, clean my dress. And now you're telling me to calm down. Again, I want to be clear.

[A]

You have attitude. It's giving me a lot of attitude.

[C]

But I had no attitude when you put your Drink on my dress. I had no attitude. I was in a good mood. I was on stage enjoying myself. I come back and there is a cocktail on my dress. Not a vodka soda, an espresso martini, Monet on this. On this yellow dress. So, yes, I do have some feelings. Oh, yeah?

[A]

And so. And what about the Red Bull that you still ain't apologized for? For putting on my fucking laptop. So what about that?

[C]

You said you want me to wipe it off, and I wiped it off.

[A]

But I want a new laptop, baby.

[C]

Oh, so now you want to. But that's not what you said yesterday. Yesterday you said you want me to wipe it off.

[A]

Well, that's when it was done.

[C]

All of a sudden you want a brand new laptop.

[A]

So now.

[C]

Cause now. Now.

[A]

But between now and then, now my screen is all weird. And that's the only connective t that happened after you put your drink on my thing. So now what?

[C]

Then I'll get you a new laptop. Now take my dress and go clean it. Take my dress and bring it back clean.

[A]

So you think you can afford the 64 gigabytes of RAM? So you're gonna replace this $8,000 computer

[C]

and you're gonna replace this daddy disco dress. This daddy disco gown.

[A]

First of all, do you even know his name?

[C]

Daddy disco. It ain't disco daddy. Yeah.

[A]

Thank you. So when you know his name, maybe we can talk about it.

[C]

Vinny. Is it Vinny?

[A]

Vincent. Yeah, Vincent.

[C]

Vincent. So you're going to replace my. You're gonna replace my gown? You think you can afford it?

[A]

Okay, I think that's a gross miscalculation. Like that is not easy to. I can literally just get it dry cleaned and it'll be back to normal.

[C]

Okay, I can get your computer fixed. You don't have to get it replaced. They fix screens.

[A]

Okay, then do that then.

[C]

Okay, I'll do that. Now take my dress and go get it fixed.

[A]

Okay, sure. Patty, can you go and take this dress for Bob, please?

[C]

I want you to fix it. No, you don't want. You. No. I won't feel whole until you asked me how to feel a tone. I won't feel whole until you do it. Well, that is.

[A]

Well, that's not my problem. Patty either.

[C]

Either. Patty. Patrick, don't touch my shit. Put my shit down.

[A]

Why you cursing at Patty?

[C]

Calm down.

[A]

Now. You put a drink on my shit.

[C]

Patrick didn't put a drink on my shit. You put a drink on my shit. You asked me how to feel better. This will make me feel better.

[A]

Well, you have Two options. Either Patty does it or it don't get done. So which one?

[C]

And you have two options. Either fix it or I'm suing you.

[A]

Sue me.

[C]

I want to sue you. Do you know how much a disco daddy gown costs?

[A]

Girl, this is a Payless dress. You threw some stones on it doesn't matter.

[C]

The stones are expensive. The work was expensive.

[A]

I. Okay, I'm going to say it for the fifth time. I think either Patty gets it taken to the cleaners or you're getting fixed.

[C]

Kennedy, call the lawyers. Call the lawyers. But hey, you did not esco. Because. All you have to do is swallow your pride and fix the gown.

[A]

Because you got a lot of sass on you coming like, yeah, fix my.

[C]

Uhuh. What do you think this is? I knew that. You

[A]

said it. You want to get Monet?

[C]

Let Monet offer to fix something and then gloat about her. The. Yeah, fix.

[A]

Your pride will be my downfall. You're not gonna come at me like that.

[C]

That's crazy. Oh, you came for me. I said, yeah, I'll fix it. What you want, I'll fix it. It's fixed. And then I knew when I got you, but I was like, no, you have to do it.

[A]

No, why do I have to do?

[C]

Makes me feel whole. Don't you hate when that happens?

[A]

So annoying way they don't love you

[C]

like, I love you. Wait. Oh, that. I'm sorry. That one really sent me to the moon.

[A]

That was fun for me. Ooh,

[C]

you're on Facebook. Fix my shit. So are you the kind of person if you're having an argument with someone and you decide to walk away and they go, yeah, walk away. Are you turning around?

[A]

No, I'm not doing it. Oh, if someone says that, walk away.

[C]

Like, as you walk away, go, yeah, that's right, you better walk away.

[A]

I would turn around, but I don't. I mean, depend. I don't think I would engage with them after they said that. I'll probably look around and be like, girl, whatever.

[C]

Okay, you ready? Okay, bye. Walk away. Scared. Scared. You're literally afraid. Walk away.

[A]

Your girls really get fucked up. Who am I scared of?

[D]

You.

[C]

Me. Listen, you were already walking. You had the right idea. Walk away.

[A]

You're a child. You're a child. I'm not doing this because you really don't want to.

[C]

You really don't want to squat your little Balenciaga surgery shoes and walk away.

[A]

Whatever, girl, you full of it.

[C]

Whatever. What? Whatever. You walking away. Exactly. Whatever. But who's walking away?

[A]

I Walk away because I'm. Cause I'm a mature adult person. I'm not gonna gain anything.

[C]

You're walking away because I told you to, and that's why you're walking away. Yeah.

[A]

Being a child.

[D]

Correct.

[C]

Why are you still here?

[A]

I thought you was walking away because you're a child.

[C]

Goodbye.

[A]

No, I'm not gonna walk away, actually. I want to sit right. I want to stand right over here. So now what?

[C]

That's right. Stand here. Do what I say. Stand here. So now what?

[A]

So now what?

[C]

That's right, Stand here. Stand where I tell you to stand. I'm telling you to stand.

[A]

Give me that fucking hat.

[C]

Y'.

[B]

All.

[C]

More actually getting. I think I'm triggering her. Also.

[A]

Let me tell y', all, y', all, Bob is not this combative. Bob is not this girl. Bob is not escalating a fight like this.

[C]

No, I wouldn't. I would. I would never do that. That would be insane. I'm not.

[A]

Not crazy.

[C]

But that. That would. Even for me, that would be a lot. Girl.

[A]

That would be wild also. And all my guys are doing monat.

[C]

Between you and me, you would be the one yelling.

[A]

Y. I would not. I would not yell, yeah, walk away like that. But I would probably respond how I responded. I'm like, what are you talking about?

[C]

I would leave. I'd be like, girl, let's go.

[A]

I mean, says the girl who was fighting with Violet Chikotchi over her music in the dressing room. Did she walk over then?

[C]

I couldn't walk away. I was cornered. Violet Chassi was standing there with her, fucking with her, with her tucking panties on her. What kind of shoe? There's some fancy shoes. Vivian Westwood.

[A]

Oh, I don't know.

[C]

Some Westwood pumps in her little silk robe, antagonizing me. I say, yeah, eat your chicken, bitch.

[A]

Go have your chicken, bitch. Because it's done.

[C]

Before even that. I was. I go and eat your chicken, bitch.

[A]

Eat your chicken. Eat your fish. Eat your. Where's that from?

[D]

Eat your fish.

[C]

No, I had a big drag race argument in a dressing room. I mean, I haven't done these shows with the girls in a while. I feel like my last one was probably me and Jinx. Or maybe it might have been me and Jinx. Yeah.

[A]

Oh, Jinxy.

[B]

Jinxy.

[C]

And that was like, so. And that was like, so. That was, like, so long ago. And it wasn't really an argument. No, it was me and Alaska. Last one was me in Alaska, actually. Me and Alaska were the last one. And that was the same tour. I don't know which one happened, me or Lasker. Me and Jinx. One of them happened. They happened back to back.

[A]

Yeah. I never fought with a Drag Race girl, ever. There's no one I fought with.

[C]

Like, not in person. I mean, we argued online, but you never, like, had a face to face.

[A]

Yeah, not a face to face.

[C]

Really?

[A]

I don't think so.

[C]

But you've been there for some.

[A]

Yes, I've been there for some, but I've never experienced, like, been.

[C]

You were there for the Rumble in the Jungle. You were there for the Thrill in Manila.

[A]

Oh, with Trinity and thing.

[C]

Yeah. You were there for Mike Tyson versus Jake Paul.

[A]

Well, I got there the day after, actually, and Cracker filled me in.

[C]

I shouldn't talk about what? That. It's only funny because Trinity kept making jokes about it over and over again. That shit was sending me to the moon. Trinity was like, I'm gonna milk this, honey. Trinity is so funny.

[A]

I love Trinity. I really. You know, she's moving to la.

[C]

What?

[A]

Trinity's moving to la.

[C]

Oh, y', all, I'm done for it. It's a wrap on me. Y' all enjoy the new sibling rivalry. It's a wrap on me.

[A]

Well, me and her, we already have some plans for some fun content we're gonna do.

[D]

Yeah.

[C]

I've been a placeholder for Trinity. I know my space. I've been a placeholder the whole time. I know what the real deal is. The twinner's coming old. Your old sister. I got two younger twin sisters. I'm done for her.

[A]

You know, you said I would secretly have a twin. You were right. See, the whole time, you're the girl I knew you were.

[C]

This was a fun episode, bro.

[A]

It was fun communication. We love it.

[C]

All right, bye, everybody.

[D]

Bye.

[B]

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