The One About Criticisim

Summary

Sibling Rivalry — "The One About Criticism"

Release Date: February 2, 2026
Hosts: Monét X Change & Bob the Drag Queen
Studio: Studio71, Confetti Cannon

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Episode Overview

In this episode, Monét X Change and Bob the Drag Queen—two of the most beloved queens from the RuPaul's Drag Race universe—dive into the often complicated world of criticism. Through their signature blend of humor, candor, and genuine friendship, they explore how they’ve each received, given, and processed criticism in their careers, friendships, and personal lives. They also delight in comedic sidebars about cartoons, childhood, and “god tier” feet—proving, as always, that no topic is off the table.

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1. Childhood Nostalgia: Cartoons, Sweaters, and Identity

Timestamps: 00:41–07:34

Key Points:

• Bob and Monét banter about their favorite nostalgic cartoons: Teletubbies, Bob the Builder, Peppa Pig, Looney Tunes, Tiny Toons, and more.
  • "Looney Tunes is a pretty gold standard for cartoons…Bugs Bunny is so iconic." — Bob, [02:21]
• They reflect on cinematic universes in old cartoons versus today’s “standalone” shows.
• The pair discuss children’s perceptions of physics (walking off a cliff like in Looney Tunes), and their own attempts to defy reality as kids.
  • "I used to convince myself I could do the Looney Tunes walk off the cliff thing." — Monét, [09:49]
• A side convo about taking furniture from dumpsters and the perils of New York City streets offers laughs and insight into growing up resourceful/making do.

Memorable Moment:
Monét admits to trying to walk off the edge of furniture with eyes closed, convinced cartoon logic might be real:

"If I can just not know where the ground ends, I will be able to keep walking on." — Monét, [09:49]

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2. Feet Discourse & Wikifeet Dreams

Timestamps: 11:43–15:43; 19:17–21:22

Key Points:

• Foot surgery recovery updates: Bob is finally wearing closed-toe shoes and dancing in heels again.
  • "I'm at the year mark and I can finally fit in closed toe shoes." — Bob, [11:49]
• An extended segment on “god tier” feet within the drag community, including Plastique and Vanjie.
• Friends' foot pics, Wikifeet aspirations, and foot shaming tales—Jacob (the producer) shares a funny Grindr story about being blocked after sending a foot pic.
• Mini debate: Does dark or light polish make toes and hands look bigger?
  • "Light bright polish makes your toes look big. Darker polish makes your toes look smaller." — Monét, [19:22]

Notable Quote:

"Feed. It's a big step. I told you. I mean, I know you don't believe me. I've said this to you. Andy has nice feet." — Bob, [13:33]

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3. Spikes, Hugs, and Sibling Dynamics

Timestamps: 20:10–22:00

Key Points:

• Bob is called out for “dangerous” drag outfits with spikes and sharp accessories.
• The duo lovingly argue about how they hug—height, dominance, and who takes the ‘little sister’ role.
• On being picked up without consent:
  • "Or I will just lift you off the ground and swing you around." — Monét, [21:34]
  • "Without my consent." — Bob, [21:37]

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4. Receiving Criticism: On Set & In Life

Timestamps: 22:00–27:39

Key Points:

• Roleplay scenarios about getting negative notes on set: how to handle criticism from directors or producers, done with their signature wit.
  • Bob is clear: "That's inappropriate…It did not feel good. So maybe we take like five. I'll go to the trailer and let's just recelerate." — Bob, [22:53–23:39]
• Navigating power dynamics and not escalating situations on set.
• The difference between private and public correction.

Memorable Roleplay:

• Monét and Bob flip the director/performer relationship, layering humor over real-life frustrations of performance notes.
  • "You think that shit was funny? It was not funny. It was not clever. And we need to do some, like, think of some new jokes." — Monét, [24:28]

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5. Criticism in Relationships & Sex

Timestamps: 30:27–33:57

Key Points:

• How to take feedback in sexual relationships—Monét prefers directness, tries to adapt immediately to partner needs.
  • "Everyone's body is different...Just hear what they're saying and try to make the moment, you know, good for them...You only gotta tell me once. It is locked in." — Monét, [31:00–31:43]
• Both hosts are not interested in watching sexually explicit videos of themselves; concerns about privacy and leaks.
• Paranoia (and lack thereof) about the CIA/listening devices and technology—why it doesn’t really disturb them.

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6. Criticism Among Friends: Real Talk vs. Sugarcoating

Timestamps: 33:59–54:51

Key Points:

• Bob and Monét discuss their comfort (or discomfort) in handling uncomfortable conversations with friends.
  • Bob: "I'm really comfortable with uncomfortable situations...Other people being uncomfortable does not phase me." — [34:27]
  • Monét: "It takes me—I have to be really fed up to be like, and I don't give a fuck now." — [35:52]
• Discussion about a boundary crossed between them off-air, demonstrating their process of talking it out.
• Storytime: Bob recalls an awkward instance of inadvertently offending a co-worker with a compliment:
  • "Everybody, hide your wives." — Bob, [36:17]
    They analyze why that might be taken badly and whether context changes everything.
• Nuance of jokes and sensitivity, including a story about someone joking their "mom is dead" to Bob and Rob (both of whom had lost their mothers), leading to a real-time retraction and apology.
  • "I began like—relating, being like, oh my God, my mom's dead, too...and then they were like, no, no, no, my mom's not dead." — Bob, [41:35]

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7. Sugarcoating Bad Performances: How to Critique Friends’ Art

Timestamps: 43:01–49:39

Key Points:

• Both reflect on the etiquette of critiquing friends' shows: finding “a truth you can tell” rather than outright lying, but also not crushing someone’s dreams.
  • "I love bad drag almost as much as I love good drag...because it is fun for me." — Monét, [43:27]
  • They roleplay how to diplomatically answer:
    "I had so much fun tonight. I had a lot of fun." — Monét, [44:34]
  • "That was my favorite number you did in the show." — Monét, [45:02]
• When is it appropriate to give the “real deal” criticism, and when is it better to give “sincere compliments?”
• Deciding factor: how you believe the person will receive the feedback, more than how close you are with them.
  • "It's not about how close I am to you. It's about how I believe you'll receive it." — Monét, [51:35]

Notable Quotes:

"As my best friend, I want you to tell me the real rep." — Bob, [48:10]
"If you like, name a person, I'll tell you if I would give them the real treatment or...the true compliment." — Monét, [48:40]

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8. Legendary Petty Critiques, Feedback Moments, and Community Gossip

Timestamps: 52:21–57:20

Key Points:

• Specific anecdotes about receiving harsh but helpful feedback (from Patty, from Jackie Beat).
  • Bob: "Jackie Beat was like, that was a really brilliant show...and she notoriously hates everything." — [56:10]
  • On critical comments: “Tell me about this belt”—a phrase that filled Monét with rage [53:16]
• When “honesty” just comes off as mean (“tired, huh?” after a friend’s show).
  • "That is insane to say to someone." — Monét, [54:30]
• Discussing drag industry gossip and the value of a good wrap-up show.

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Notable & Memorable Quotes (with Timestamps)

• "Looney Tunes is a pretty gold standard for cartoons...Bugs Bunny is so iconic." — Bob, [02:21]
• "If I can just not know where the ground ends, I will be able to keep walking on." — Monét, [09:49]
• "I'm at the year mark and I can finally fit in closed toe shoes." — Bob, [11:49]
• "I love bad drag almost as much as I love good drag." — Monét, [43:27]
• "As my best friend, I want you to tell me the real rep." — Bob, [48:10]
• "It's not about how close I am to you. It's about how I believe you'll receive it." — Monét, [51:35]
• "Jackie Beat was like, that was a really brilliant show...and she notoriously hates everything." — Bob, [56:10]
• "That is insane to say to someone." — Monét, [54:30]

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Episode Highlights by Timestamp

• [00:41–07:34] Cartoon nostalgia & formative childhood beliefs
• [11:43–15:43; 19:17–21:22] Feet talk, Wikifeet, and polish debates
• [20:10–22:00] Spiky drag outfits & hugging habits
• [22:00–27:39] Handling criticism on set (roleplay with direct notes)
• [30:27–33:57] Criticism in relationships and sexual context
• [33:59–54:51] Critiquing friends, uncomfortable conversations, and boundary setting
• [43:01–49:39] Roleplay: Sugarcoating vs. direct criticism with friends
• [52:21–57:20] Legendary critique moments, community gossip, and industry tea

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Tone & Language

• Consistently candid, irreverent, funny, self-aware
• Maintaining playful drag banter, plenty of inside jokes and industry shade

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Quick Takeaways

• The duo use humor as a tool to address real issues around criticism and honesty, balancing directness with kindness.
• Knowing your audience (whether a friend or coworker) is key to delivering constructive criticism.
• Sometimes, bad performances are as memorable—and as worthy of love—as good ones.
• It's not just what you say, but how (and to whom) you say it, especially in close friendships or public spaces.

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For New Listeners

This episode offers a masterclass in how two drag icons process criticism with unmatched wit and authenticity. Whether you’re here for the RuPaul’s Drag Race tea, life advice, or just to laugh, the mix of humor, sincerity, and insight makes this a classic Sibling Rivalry moment.

Transcript

[A]

My name is bob the drag queen.

[B]

And I'm monet x james. And this is sibling rivalry. On this week's episode, Bob defuses a tense situation on set.

[A]

We talk about criticism and we find.

[B]

Out what made Bob say this.

[A]

Monet, first of all, was really rude on set. And we found out what made Monet say this.

[B]

It was inappropriate. It did not feel good.

[A]

Where's this sweater from?

[B]

It's from this online company called Lala.

[A]

What else is. All they do is clothes.

[B]

Yeah, all they do is clothes. I used to wear that like knee length sweater dress with the green dinosaurs on. That's from them.

[A]

All those like stripes and like rugrats.

[B]

Yeah. Those striped shorts I wear. That's from.

[A]

You should wear it with the hair of the pickles mom.

[B]

Didi like the orange thing?

[A]

Yeah. That's a cute wig. I think. Honestly, her hair is kind of iconic.

[B]

I realize it's kind of like a version of.

[A]

It was wet sound like a little. Like a little. Someone came up with it. It was giving acid reflux.

[B]

Can you name all the Telugu.

[A]

Can you name all the Teletubbies?

[B]

All the Teletubbies, of course. Tinky Winky, Dipsy, Lala and Poe.

[A]

Are they British?

[B]

I mean the guy saying singing the song was British.

[A]

Tinky Winky, Dipsy, La La and Po.

[C]

Yeah, it was originally. It premiered on BBC.

[A]

Oh my God. Bob the Builder is British too.

[B]

Is it really?

[A]

Yeah. Bob the Builder. Can we fix it? Bob the Builder? Yes, we can.

[B]

Paddington is British.

[A]

Peppa Pig is British.

[B]

Franklin is Canadian. Who?

[A]

The Turtle. The Turtle, you know, believe he was pbs.

[B]

Was he pbs?

[A]

I believe he was pbs.

[B]

Do we think the generation before had better, like which generation had the best. Had the best cartoons? Obviously we're not really fully equipped to talk about because I don't. I mean, I watch some cartoons now. Not like how you as a kid, obviously. So maybe I'm not well versed in this topic. So I honestly, you know what? I regret asking that question.

[A]

Well, to just address it for a little bit, I think that the Looney Tunes is a pretty great cartoon. Like, I think, I actually think Looney Tunes is a pretty gold standard for cartoons. The characters are really iconic. Bugs Bunny is so iconic. Yamity Sam is iconic. Foghorn Leghorn is iconic.

[B]

That's a. The frog that would wake up.

[A]

No, that's, that's, that's Michigan J Frog.

[B]

Michigan J Frog.

[A]

Foghorn Leghorn is a rooster.

[B]

Oh, him. And he had the little, the little companion.

[A]

Yeah, he said, I say, I say I say. I say boy. Yeah, that's him.

[B]

Well, here's the thing. Back then, I think cartoons. Porky the Pig cartoons used to do cinematic universes. Cause you had all the. All the Looney Tunes existed in the thing. Then you had all the Hanna Barbera cartoons that existed in the thing. But I feel like now they don't do houses anymore. Cartoons put in the ledger the House.

[A]

Of Looney Tunes, Literally from the House of Tunes. Give it up for Ms. Looney.

[B]

Okay, and what was first? Was it the tiny toons or the Looney Tunes?

[A]

Looney Tunes.

[B]

And then they made tiny toons later. Yeah, and then an animated action.

[A]

That seems. No, I thought.

[B]

I thought they were little ones and they grew up. I don't fucking know.

[A]

No, they were big and they regressed them.

[B]

Got it. And cartoons.

[A]

Paw Patrol is copaganda. It is. You know it is. It is.

[B]

I know. I know. I'm not saying it's not.

[A]

This fucking German shepherd out here.

[B]

Not a German shepherd.

[A]

He's a puppy.

[B]

He's not a German shepherd puppy. German shepherds have long snouts.

[A]

I think he's a German shepherd.

[B]

Jake, can we look this up? Is. What is. What is his name?

[A]

Chase?

[B]

Is Chase a German shepherd?

[A]

Chase has to be a German shepherd.

[B]

What breed is she? Is he.

[A]

Maybe he's just like a dog.

[B]

No, I'm sure. Listen, when people just do these shows, they have a whole backstories about these.

[C]

He's a German shepherd.

[A]

Yeah.

[B]

Really? Do you watch Paw Patrol?

[A]

He looks like a German shepherd. And all. All German shepherds are cops.

[B]

True.

[A]

Well, I mean, all German shepherds.

[B]

The one I had in my backyard.

[A]

Was not a cop. He was a cop undercover. You lost another bet, by the way. That was another bet. I did not bet anything. Well, like you said, I bet it in my mind. I added $18,000. In my mind.

[B]

No one said that.

[A]

I added it.

[B]

Anyway.

[A]

Yeah.

[B]

I feel like we don't get cinematic except for Avatar. Avatar is. I'm like, that's not true. They kind of are making their own cinematic universe. Kind of.

[A]

I just never seen it. Bob.

[B]

You have to get into it. There's a lot of. A lot is coming out in the Avatar multiverse. And you think I would have to get on board.

[A]

I mean, Jacob had me watch a couple of cartoons, and I. I just didn't like them.

[B]

Of Avatar?

[A]

No. He had me watch the one with the big. The big people with no skin on their bodies.

[C]

Oh, Attack on Titan.

[A]

Yeah. I didn't like it.

[B]

Attack on Titan.

[A]

Yeah.

[B]

I wasn't into it. This is a Netflix cartoon show?

[C]

No, it's an anime show.

[B]

Oh.

[C]

I mean, I think it is on Netflix right now, I think.

[B]

But I'm not really into anime because you know what? I'm sorry. As someone who did love it as a kid, I love them. I just can't get over what Dragon Ball Z would do to us.

[A]

What would it do?

[B]

Every fucking week? The story would progress microscopically the entire episode. If the episode is 30 minutes, you had 10, nine minutes of commercials, and you had 21 minutes of.

[A]

Maybe what?

[B]

They would edge you for, like, a whole season. They were doing one a week, One episode a week. Or maybe every day after school. I don't know.

[A]

I mean, every day. How much can you progress a story every day?

[C]

I mean, I will say it is a really large medium of storytelling. So, like, that is one specific facet of it. But there are so many different shows of different types and genres.

[A]

I was watching for the Fight Saiyan, for the powers. It's its own thing I did, but.

[B]

As a kid, like, I wanted more fights than powers. Half of it was Goku. Like, for example, the whole Frieza saga, and y' all are, correct me if I'm wrong, the whole Frieza saga, a majority of it was fucking Goku in the ship getting to the thing, and he's in the hyperbaric timetable trying to, like. I'm like, bitch, get to the planet already and fight Frieza. Don't want to get there. To Frieza. Frieza's too powerful. And then half of it is him trying to. It's just. I just felt like.

[A]

So Goku's, like, insanely powerful, right?

[B]

No, he's not insanely powerful. I mean, he is the most.

[A]

He is a Super Saiyan.

[C]

They kept on, like, amping it up. So season one, he's like, I'm gonna go Super Saiyan. And everyone's like, oh, he's going Super Saiyan. And then season two, he's like, I'm gonna go Super Super Saiyan.

[B]

Because he's not strong enough. So he goes, super Saiyan.

[A]

Super Duper Saiyan.

[B]

And then after that one, now when he's fighting Majin Buu, they're like, then to get off the super Saiyan 4, not super off of it. But then the next way to power up is to do. What's the thing, Jacob? When they would. Two of them would use the earrings and fusion.

[A]

Yeah.

[B]

Oh, my God. So in the Dragon Ball sequence world, you and I would Fuse together. And we would make bonet.

[A]

Oh, they become one person.

[B]

They become one person and they fight as one unit.

[A]

What would we look like if we fused together?

[B]

Which is weird.

[A]

Would we be between our heights or would we grow giant? Bigger. Bigger.

[B]

I think. Let's do. I think we would feud through a nice. A solid six feet tall.

[A]

So we're six feet tall.

[B]

Six feet tall.

[A]

Okay. What are our talents? Do we sing? We sing. Okay.

[B]

And we do. And we do comedy.

[A]

We have all of our talents.

[B]

Yes. And we get. And we have two equal sized feet. No exploding. One.

[A]

And our knees are.

[B]

Our knees are titanium.

[A]

How is our temperament? Are we friendly?

[B]

Well, you have the mean bitch over here.

[A]

You're not that mean.

[B]

No, you.

[A]

Oh, excuse me.

[B]

And I want to get the answer. I think we're.

[A]

So how would our meet and greets go then? Because we both have meet and greet. Heat.

[B]

Meet and greet Heat.

[A]

Heat and greet, honey. How? Money. We did a whole episode about your biggest fan and then everyone was roasting you at dragcon uk. And I've had some heat too, from the cruise. So what? So we. Our meet and greets are rough.

[B]

I would say the overwhelming majority of people who have done meet and greets with me, they've been exceptionally pleasant.

[A]

Same. That doesn't negate that person's experience.

[B]

But that's a one experience in like a thousand.

[A]

That's one. There's also all the comments from the. You keep acting like you don't remember.

[B]

There's also a boat of 800 people that said that you were just the meanest bitch walking around.

[A]

Yeah.

[B]

People couldn't get food because they were afraid to walk past you.

[A]

Yeah. So I'm not negating those things. I've never said I was particularly pleasant. That's the thing. I've never done the Ellen DeGeneres. I have never. And the people who are my fans are like, I don't know what these people expected from Bob the drag queen. People always go, they must not listen to the podcast. These people. There's no way these people listen to the podcast.

[B]

Well, I want people. So they always do these fusions of like, this is the one of me and. Oh, my God. The one of me and Eureka. Monika.

[A]

Monika's great.

[B]

The one of you and Thorgy.

[A]

Yeah. Borgy.

[B]

So can someone please do. I wanna do one of me and Bob, fuse us together, make bonet. And I'm very curious what bonet looks like. Or bonnet.

[A]

Jacob could do it. Jacob is a great photoshopper.

[B]

So let's Get a picture of Bonnet. Jacob, can we do it before the podcast is over or.

[A]

No, probably.

[B]

That's too much.

[C]

Yeah. Give me one second. I have one.

[B]

Oh, Coretta Scott King.

[A]

Is this Ko Nay X Change?

[B]

They didn't want to be. And Cory King.

[A]

I don't know.

[C]

No, I was gonna say the fusion between the two of you is just Cory King.

[B]

Oh, honestly. Honestly. Honestly, Cory King is so pretty.

[A]

Yeah, I agree.

[B]

I was on Instagram the other day.

[A]

I was like, wow, Corey is really.

[B]

And her makeup was beautiful, I think in her promo and everything.

[A]

Yeah.

[B]

But, you know, the girls. The girls are the clown Cory King for using blue eyeshadow. And so meatball's on my YouTube and she did my makeup. You know, Meatball only uses blue eyeshadow.

[A]

And now that you mention it, yeah.

[B]

You'd have any weird thoughts as a kid that you thought were real about your life?

[A]

I mean, I used to think. I used to convince myself that I could do the Looney Tunes walk off the cliff thing. Like, I would think to myself, if I can just not. If I can find a way to walk off of the edge of something and have. And not know where the ground ends, I will be able to keep walking on. And I really believe I could do it.

[B]

Wait, so, like, you would walk off a cliff and keep on walking?

[A]

Not a cliff. I didn't live in the mountains. I would start with my bed, but then I would be like, no, I know where the. So then I would get on the bed, I would spin in a circle with my eyes closed, and then I would just walk in one direction. But then I would. My bed was against the wall, so I would hit the wall or something like that. So I was like, I can't. I know too much. Like, I know too well where the. Where the. Where the bed ends. That's the only reason why, you know, you get the edge of the. But you ever walk on a bed? I mean, yes, but you get to the edge, the bed starts to go down. You're like, okay, I can tell that I'm at the edge. Then I was. So then we had this. This pool house. It wasn't really pull out. It was. There was. My neighborhood. Had a. Had a. When I lived on Victory Drive, there was a pool in the middle of the apartment complex, Right. And there was a storage area for all the chemicals. And in that storage area, I was like, oh, I can get on top of that building and then walk off the edge of that. But I had to have a friend, like, guide Me up there with my eyes closed. And then we put a mattress that we found by the dumpster underneath it so that when I fall, I would just land on the mattress and I convinced myself that I could walk off the edge.

[B]

Y' all have so many resources of kids where the you finding a mattress at the dumpster.

[A]

You would just go on a dirty ass mattress.

[B]

Y' all found about a dumpster city so you can land on them safely.

[A]

I used to. I used to take furniture from the dumpster all the time.

[B]

That's crazy.

[A]

I mean, you never got nothing from a dumpster?

[B]

No.

[A]

You've never taken any furniture or anything from the dumpster?

[B]

No. Not even off the New York City streets? Because New York City streets, you don't know where the that was at. You don't know what bedbugs wanted? You don't know what? No.

[A]

How's your foot surgery going lately, by the way?

[B]

How is it going?

[A]

Yeah, your foot surgery?

[B]

This. I'm at the year mark and I can finally fit in closed those shoes.

[A]

Well, the other day you and I were wearing some. Wearing some heels and you had a close toe shoe and you danced.

[B]

I know, and it was great. Did I look in pain? Did I look anything?

[A]

No, you looked really comfortable.

[B]

It was great.

[A]

Do you, have you. Have you done a reveal to the world yet?

[B]

I mean, not since the year.

[A]

Should I prop it up here, baby, right now? Show them, baby.

[B]

No, I need a pedicure.

[A]

Just let them see it.

[B]

No, we'll do it next.

[A]

Okay. Just show me and I won't show them.

[B]

No. Now that my feet are God tier, I feel the need to only present it to the world when they look their best.

[A]

You think they're God Tier?

[B]

God tier?

[A]

Who else has God tier feet?

[B]

God tier feet of people we know. Yeah. Plastique has really nice toes.

[A]

Would you lick them, Vanjie?

[B]

Vanjie has great feet.

[A]

Would you kiss Vanjie's feet?

[B]

I would kiss Vanjie's feet.

[A]

Is she, Is she on celebrity feet?

[B]

I don't know.

[A]

Oh, my God, yes.

[B]

I don't know if I'm on Wikifeet. I've seen, I've heard that I have a good raider on Wikifeet now, but every time I'm like, oh, let me check. I forget to check.

[A]

I'll let you describe my foot. Okay. But you cannot show it on camera. I'm talking to Jay.

[B]

Are we gonna just sensor this whole area?

[A]

I'll just put it out here or something. I'll just Cut crop or something. Do a quick crop.

[B]

I guess I'm not on Wikifeet.

[A]

Maybe Jacob.

[B]

Maybe check my boy name. Maybe. But no, I think it'll be under my drag name.

[A]

That's so.

[B]

Is that rude that they would want.

[A]

To be on Wikifeet so bad?

[B]

Yes. Can I submit my own files?

[A]

Just post a picture of your foot on your Instagram today, and you'll end up. Probably end up on Wikipedia. What? Bitch, that's crazy. The stuff you post on Instagram. You think a foot is crazy?

[B]

Feed. It's a big step. I told you. I mean, I know you don't believe me. I've said this to you. Andy has nice feet.

[A]

I've. I've seen Andy's feet.

[B]

You don't think he has nice feet?

[A]

No, I think he. I think he literally looks like he has. I. I not even being funny, it looks like Fred Flintstone's feet. Like, it's a big. Like, it looks like rocks. It looks like a big. It looks rough. It looks like it just like, it looks like if he walked on a hardwood floor, it would just be sanded down. Like, the varnish would be off of it. His feet are gigantic. They're. They're, like, bulbous. They're like shapes. It's not slender. It's just a big, ugly foot. Okay, I'm.

[B]

I.

[A]

This is.

[B]

I am not going to. You know, I will. I will ride with you and read Andy for Phil. I. As someone who see. Who sees Andy's feet every day, I disagree. And I. And I'm going to see. I'm going to. Going to get a consent from him, and I want to put a picture of his feet in this episode. So if I got consent, y', all, these are Andy's feet right here. And you be the judge.

[A]

Jacob has really nice feet.

[B]

I think I've seen Jacob's feet maybe once or twice.

[A]

Jacob did once get blocked on Grindr after sending a foot picture, though. Am I allowed to tell the story? Jacob.

[B]

Jacob, wait.

[A]

What? You want to tell your own story?

[C]

I mean, I was talking to a man at Grindr, and he was like, can you send a foot pic? And I was like, I mean, I'm not really into it, but, like, he's like, sure, whatever. So I send him some pictures of the tootsies.

[A]

Blocked.

[C]

Done.

[A]

Maybe it's because some people who like me, they want big feet, and Jacob has pretty small feet.

[B]

Oh, when he said, I thought. You're saying Grindr, like, blocked. Like, blocked your account.

[A]

No, no, no. Jacob got blocked on Grindr because he sentenced a person blocked him because he sent him his feet. Yeah. Is that him holding your hand?

[B]

You can't really see this.

[A]

Is that him holding your hand in this picture? Can you make sure that get something?

[B]

You're so dumb.

[A]

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[B]

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[A]

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[B]

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[B]

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[A]

You're telling those white again, they're always white.

[B]

They're light pink. But they're two weeks old. Now.

[A]

I gotta tell you, in my humble opinion, it makes your toes look big. Light bright polish makes your toes look big. Darker polish makes your toes look smaller.

[B]

No, I disagree. Because when you do white toenails, it like.

[A]

Yeah, go ahead and try to frame this because you know it doesn't make sense.

[B]

It doesn't make them look bigger. But it does.

[A]

You know, it makes them. No Monet, putting a big white spot on your big ass toenail is going to make me look. I learned this when I, when I, when I, when I was wearing white nails, I was like, oh, I want to get my nails done. I did them in white. Whenever I see myself wearing white nails, I'm like, God damn, look at that big ass gorilla hand. That big catcher's mitt the fry big man hands look like frying pans. But when I wear black and long nails, it looks so. I mean, I kind of have witch. When I do drag, I have witch hands.

[B]

Yeah. You and Cynthia Riva.

[A]

Yeah. Well, no, hers are flat. Mine are pointy. She does.

[B]

She changes up sometimes, but she often does a flat.

[A]

She often does like a flat. I never wear a flat. I always wear a sharp, long stiletto.

[B]

Yeah, you're dangerous in drag. Bob had a nerve. He do that then. Bob is wearing a fucking spiky hoodie with spiky pants. I'd be like, hey, girl. I'm like, bitch, I'm not touching you. You're dangerous. If you're in a car accident with the people in the car that you drive at the event to, you would probably kill someone.

[A]

I don't wear spikes that often.

[B]

You wear that spiky hoodie outfit, Bob, several times. I cannot touch you because you have that outfit on. Are you telling me you don't.

[A]

You can't. They fold down.

[B]

Everyone in here has seen Jacob. You've hooked Bob into spiky ass outfit. Is he not a danger?

[A]

They're pointy.

[C]

I mean, it is a very spiky outfit.

[A]

They're sharp, girl, but they point down. They fold when you. They're not like the money. They're on fabrics. They just kind of go like this.

[B]

No, some of them like the ones on your shoulders. Jacob is not hugging you up here. Jacob is hugging you down here. I am hugging your pointiest part of you.

[A]

You don't hug my shoulders.

[B]

When I hug you, I'm like, hey, girl.

[A]

No, I go high, you go low.

[C]

Let's do it.

[A]

Find a picture of us hugging. No, I always go high. You always go low. Every time we hug or see, you don't even notice.

[B]

You don't even hug me that often. You don't even know when I hug people. Andy's like this. I go under and I do like this.

[A]

I'm like, hey, but you know that with me, though.

[B]

I do that with you.

[A]

No, I think you. You're in the little sister role with me. So you go low and I go high and I hug you up top.

[B]

Or.

[A]

Or I will just lift you off the ground and swing you around.

[B]

Without my consent.

[A]

Yeah, I'll do it again.

[B]

And I will. There's no more of that Brett Green.

[A]

First of all, Brett already sent me the last season desist. And he. And he immediately said, I am so sorry. That was not true. I. You're right. So One of them already failed.

[B]

Whatever.

[A]

Now what? How do you. How do you think you are taking criticism?

[B]

It depends. Like. Like. Like. Like what? Like on. On a judging show, with friends, with partners, with work. Like what? You know, it varies in a work scenario.

[A]

Let's say slumber party, episode one, and the director does not think that what you're doing is gonna read well on camera. Oh, my God.

[B]

I love that on set. Because I would rather you give me the. Tell me that. Give me the notes. I love a note. I love a note on camera. Because at the end of the day, I want the show to do, to get a second season. I want people to think I'm easy to work with and within reason. Right? I don't. I don't feel to think I'm a pushover. Whatever they tell me to do, I'll just go with. But I love a punch up for a joke. I love stuff like that. So. Yes, but what if the way they.

[A]

What if they're right, but they're not saying it in a nice way?

[B]

Like, if you. If you're trying to. Like, if we're on set, we're all sitting on the thing. Camera's up, everyone's there.

[A]

And cut. All right, Monet. That was ass.

[B]

That's inappropriate.

[A]

Excuse me?

[B]

That's inappropriate.

[A]

Oh, I'm sorry. I feel like we had a fun vibe here and everyone's, like, always laughing, so I just wanted. I thought I would give it away. Those. Like, that's ass. Like, your performance today.

[B]

Okay. Heard Patty Kane. Yeah, let me just talk to everyone over there.

[A]

So. Hey, girl, it's me, Patty. Hey, girl.

[B]

So how Bob just approached that conversation to me was a little rude.

[A]

Yeah, it was crazy.

[B]

And doing in front of everyone and stuff like that really makes me uncomfortable.

[A]

Like, yeah, my. It's me, Kane. It was weird. It was. It was. It was very weird.

[B]

It was inappropriate. It did not feel good. So maybe we take like five. I'll go to the trailer and let's just recelerate.

[A]

Yeah, girl.

[B]

That's how I handle that. I don't think I would not make a scene on set, be like, who the fuck?

[A]

That's crazy.

[B]

But I would try to definitely Patty and the director or the EP or someone who else is in charge and talk about it there.

[A]

So how are you gonna address it? How are you gonna get that note back to the director?

[B]

So I think. So that is a note. That's for the EP and the showrunner to handle. Right. I don't wanna call. I don't Wanna make friction. So maybe. Maybe. I think I would assume their process is talking to the director and then we talk before we go back to set or talk to the director. They fix it and we do notes at the end of the day. Maybe. But, yeah, I would assume that that's. I think that's how the process will work. What about you? Like, you're on to doing a thing.

[A]

All right.

[B]

And cut.

[A]

Bob jokes.

[B]

You think that shit was funny? It was not funny. It was not clever. And we need to do some, like, think of some new jokes. We're gonna take five, Think of some new jokes, and let's do some new material.

[A]

Okay, let's. Let's. Yeah. In fact, we're gonna take five. Let's see, you and me talk for five. You, you.

[B]

You and me. Yeah.

[A]

Yeah.

[B]

Well, I wanna go smoke a cigarette.

[A]

I can stand near you while you smoke cigarettes. No big deal. Okay, great. All right, so we're outside smoking. You're sm.

[B]

Hey.

[A]

What?

[B]

He.

[A]

I. I gotta tell you, first of all, you lawyers spoke in that direction.

[B]

Oh, it's all right. Sorry, I didn't realize that.

[A]

Yeah. So I want to talk to you about the way that we communicate on set.

[B]

A.

[A]

I'm normally better at air probably than this. Are you. Are you drinking? It's 9:00am I'm thirsty. Yeah, we have water on set. I like a 40 of malt liquor.

[B]

Malt liquor at 9am okay.

[A]

And is. Is that a Camel? Yeah, and a Black and Mile on the other two fingers. That's crazy. Listen, I want to talk about professionalism and the way we communicate with each other. And I feel like the way that you approached me, first of all. Let me guess. That's not your first 40 of the day, is it? Good. You're right. Yeah, I figured. I figured. I think that maybe we should wrap for the day.

[B]

The day. Let's just get started.

[A]

I know I'm not feeling it today. I gotta. I'm not. I just got. Ooh. Ooh. I think I'm gonna have really explosive diarrhea.

[B]

And appendicitis. Oh, maybe also.

[A]

And my stomach. Yeah. And probably some appendicitis. I'm gonna. I'm gonna go talk to the executive producer real quick.

[B]

Okay. And we're. Don't. Well, listen, if we just. As you go, if you need to cancel. I gotta go.

[A]

I gotta go.

[B]

I gotta go. I gotta go.

[A]

I gotta go.

[B]

We have Monet Exchange on Saturday. I have to go.

[A]

I can't finish talking. I have to go right now.

[B]

Okay.

[A]

Executive Director. I'm executive producer.

[B]

Hey, Bob, what's going on?

[A]

Monet, first of all, was really rude on set. Like, I mean, it was. It was actually Monet. Yes. And then we had a side conversation. She was. She started smoking a cigarette. Blew the smoke into my face.

[B]

No.

[A]

And I'm gonna lie. At first I laughed. I thought she was doing a bit. It was so crazy. Then she cracked open a 40 of malt liquor.

[B]

Well, that's her medicine for the surgery.

[A]

What doctor prescribed?

[B]

Dr. Zismore.

[A]

Dr. Zismore prescribed malt liquor?

[B]

Yeah.

[A]

It's.

[B]

It's. It's unconventional. It's this new holistic.

[A]

It is unconventional.

[B]

Yeah.

[A]

It was her second one of the day, so by the time we would have shot the next scene, she would already had 80 ounces of malt liquor. She's smoking black and miles and a cigarette, which kiss about. But blowing them to people's faces. I don't think I can work her as a director. She's not this one. When we do the podcast, she doesn't act this way. I don't know what's going on. Okay. I don't even know she smoked. So I think that either we need to get a new director or I got to do something else. Noted. That's how I would handle it.

[B]

Got it.

[A]

Because the voice. Let's take a break. A lot of you know, I spent most of 2025 trying and failing to quit vaping. Now it's 2026, I'm in New York City, I'm about to make my Broadway debut, and I'm finally vape free. Thanks, Dex Program. What makes a difference for me was the support. There's a real community, real people, and it's there whenever you need it, which matters when your schedule is chaotic like mine. It stopped feeling like something I was battling alone and started feeling like something I could actually overcome. It's free, it's confidential, and it's available 24. 7 nationwide. Honestly, I don't think I could have saved my voice for this run without it. And y' all know my voice has been on the shakes for years now. If you're ready to quit, text, join Bob to 88709 and sign up for X program today. Between working on my book and keeping up with my podcast, and I'm also writing a musical. Listen, I realized that I just don't have the mental energy to play detective at the grocery store anymore. I'm tired of spending 20 minutes reading the back of a box just to see if it's Actually good for me or just you know this clever marketing, they're using organic this non GMOs that I don't know what they have that day.

[B]

There's so much protein on everything now.

[A]

Protein, water, Mon's low protein water. That's why I've been using Thrive Market and honestly, you should too. Thrive Market is a membership based grocery service that basically does the vetting for you. You just hop on their app and shop for wherever you go. The membership breaks down to just $5 a month which is literally less than a price of a latte. It gives you peace of mind knowing there's no junk in any of the products they carry.

[B]

What I love is that there's no trade offs for the food you actually want to eat. If you're craving Mac and cheese or snacks, Thrive give the better versions of brands like Siete and Simple Mills with less sugar and fewer sketchy ingredients. I discovered so many new favorites and flavors on there that I never have ever seen. The filters are a total game changer too. You can shop by over 90 different diets whether you're looking for high protein meals, low sugar treats or gluten free staples. The simple fact that I can shop high protein in seconds makes the membership a no brainer for me. I paid that $5 a month so I don't have to think about sketching ingredients every time I shop.

[A]

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[B]

Yeah, so they. So yeah, so that's how on those. I would do that. If it's criticism, like I don't know in relationships how do you handle. How do you handle criticism? And sex.

[A]

Oh and sex.

[B]

Sex.

[A]

Whatever you. If you tell me you prefer the other thing. If I'm physically capable of doing it, I'm gonna do it.

[B]

Okay.

[A]

I am a. I, I like to listen to what they are saying and if, if I'm capable, I'm gonna do the thing. You watch.

[B]

How does, does it bruise your ego? Like is there some part of you that will like gets a little like beat up about the criticism?

[A]

No. If. Because. Because everyone's body Is different. Right? So like, what feels good? Like if you're giving a blow job to one person, that technique just might not feel good to the next person. Right? So just, just hear what they're saying and try to make the, the, the, the moment, you know, good for them. So, you know everyone's got their tricks. They do, right? Yeah, but your tricks don't work on everybody. Yeah. You know what I mean? So I would much rather listen to what the person is saying and try to do that new thing as opposed to being like, well, I know, I know, I know I can suck a dick. I know I can eat a. I know I can be like, well, everyone's body shaped different. Everyone's has different nerves in different places and different kinks and, you know, different things that turn them on. So I, I listen, I, I love. And I would say right now you only gotta tell me once. It is locked in. It is locked in.

[B]

Would you ever record a session with a partner and watch it back together?

[A]

Never. Right? Never.

[B]

I can't. Like, I just, that does not. I just, I, I don't want to see. And again, I'm not embarrassed by it, but I'm just not interested in watching me taking a dick or sucking a dick back. I'm not into. Do you have any videos out there at all?

[A]

Yes, I would never, like on my phone though.

[B]

On your phone? Not, not on the other person's phone.

[A]

No, I don't have. There are no videos that are not in my possession.

[B]

Got it. Even on my phone. I wouldn't even want on my phone because like, no shade to that lady, but when the Jennifer Lawrence got out.

[A]

There and the other pictures.

[B]

Yeah, I, I would, I was just nervous to have it out there in the ether.

[A]

Have you seen that guy who says he's work for the CIA and he's answering these questions and stuff about the headphones he has. He's like, he was on like some, I can't remember what he was on, but they were like, basically chemist, CIA listen to you through, Watch you through your computer screens and your phone screens. And he's like, yes, they can watch you through your phone screens. And they do, they watch people through their phone screen. They listen to them. They can also, they can also break into your television and turn the speaker into a microphone and record you even when the TV's off. But he might be, he might never work with you. He might be lying.

[B]

But also, can I tell you, I'm like, okay, like, I'm not out here hatching any Plans or doing anything that I'm afraid the government would hear me say. Like, there's nothing I'm doing at home on my phone, on my on podcast with these camera. I'm like, I don't want the CIA. I don't care. Listen, what the you gonna find here?

[A]

I also don't think they're listening to me. I don't think, I don't think they're interested in anything.

[B]

Right? I'm like, what do we have going on? The CIA is like, we gotta hear what Bob and Monet are talking about. We're, we're gonna nail them this time. I'm like, okay.

[A]

But then part of me goes, if the CIA can do it, someone else can do it.

[B]

This is true. But what, but given what is the other person going to get that, like, what is this really smart hacker in fucking whatever country? Like, what are they going to get from me besides maybe them randomly getting me talking about a credit card number that they might use on something? Like, but how often am I discussing my private, my credit card numbers and stuff like that? Like, you know what I mean?

[A]

Something about it is a little scary though.

[B]

I'm not scared by it, to be honest.

[A]

It's a widow scary.

[B]

What about criticism with friends about like friendship? I feel like, I feel like Bob and I, obviously we've had moments. We've mad at each other. I think recently in like the past two months, we had a moment in the podcast that we did not record that there was a boundary cross and we, there was criticism of how we can like fix it and like what felt bad about it. And I think we did a very good job of having that conversation and doing, doing that. How do you, how do you feel?

[A]

Yeah, I'm really comfortable with uncomfortable situations.

[B]

You are? I will say that I kind of.

[A]

Thrive in them, to be honest. It's kind of me doing my best. Like, I. Other people being uncomfortable does not phase me. I, I don't know if that's a toxic trait, but I do not care if people are uncomfortable. I will, I will have the chat. I will do the thing. I will, I will just watch someone be fully uncomfortable and be like, it is what it is, my boy. So I'm really comfortable in uncomfortable situations and I like to address things. I really like to have long drawn out conversations. I like to try to listen to my friends. I don't, I'm trying to think about situations with my friends where we have uncomfortable situation. I mean, I feel like you and I more than anyone and it's probably because we are such good friends, but we also work together so much. One time, me and Mateo had had awkward conversation.

[B]

About what?

[A]

Well, we started out joking, and then Mateo said something I thought was misogynistic. And I was like, well, that's a little misogynistic. And then.

[B]

Come on, Bob.

[A]

And then he was basically saying that, and then, no, it's not misogynistic. And then he started crying.

[B]

Oh, God.

[A]

And then he admitted that it was misogynistic and that he was wrong for saying it.

[B]

I feel like after this.

[A]

That was years ago.

[B]

Years ago, after this podcast, I got into Circus. I don't. You never told me this.

[A]

Yeah, he was like. He was like that. He was like, you're right. It was. What I said was. He was. You're right, that was misogynistic. And. And I don't. I don't know why I said it.

[B]

Yeah. So it would. So I'm. I. I'm not. I'm not super comfortable in. I'm not super comfortable in uncomfortable situations until it crosses the threshold when I'm, like, super, like, either, like, I spent too much money on it or I'm really mad about it. And then I. Then I've crossed over, then I'm okay. But I think where you, like, from base level, you're on your. You're comfortable there. It takes me. I have to be really fed up to be like, and I don't give a fuck now. And now we can talk about it.

[A]

But I also like to listen to other people, too. Like, the other day, I was on set, and this guy was taking a photo, doing some photos, and I was like. I remember being like, I was trying to hype him up. I was like, oh, you look. You look handsome. And then I was like, everybody, hide your wives. And then this lady was like, that wasn't nice. And I remember thinking to myself, like, I don't know why you think it's not nice, but I want to hear why you think what I said wasn't nice. Like, I don't get it. Do you think I'm, in some way that he's stealing wives? Do you think I'm assuming that women can't control them? So I was just trying to be like, you look good and you're straight, and I'm trying to give you a compliment. You're doing a photo. I know. I like to get happy when I'm taking my photos. You know what I mean? And then she was like, that wasn't nice. And I remember Being like, okay, let's talk about it. Like, what wasn't nice about that was this at work. Yeah, yeah.

[C]

What did she say?

[A]

It wasn't incredibly articulated. We were also fast paced, moving. And she goes, she was like, it just wasn't nice. Like we can be nice. And I was like, okay. But I didn't have. But we were moving so fast, we didn't have time to really sit down and talk about it. I never really got what she was saying, to be honest, but I wanted to have, I really wanted to have the conversation. What do you think she meant by that?

[B]

I don't, I don't know. Maybe. Okay, so the scene is, there's a straight man taking pictures. You're watching this straight man take.

[A]

I'm watching him take his photos. I'm about to do my photos next.

[B]

And you're like.

[A]

I said, I said, I said I was like, you're looking great. And then I said, then I. After like boosting him up for his looks, for, you know, his pose and stuff, I said, everybody hide your wives.

[B]

Maybe there's something that you don't know. Maybe. Is this guy a celebrity? Yeah, so maybe, maybe he has on his reality tv. Yeah, maybe he has something where he was a womanizer or he had some situation, like some Tom Sandoval situation. And then you're like, okay, that's maybe.

[A]

Or maybe he was divorced once or.

[B]

Maybe he has some type of something with.

[C]

You say his name. Can we bleep it out?

[B]

Oh, no, maybe he.

[C]

I think, in fact, the man has been like. His whole thing is that he's married to one woman and they're like very into each other.

[A]

Right?

[B]

Yeah. So, yeah, I don't, I don't know, but maybe there's something that we don't know.

[A]

So years ago I heard the story secondhand, so I don't know how true it is. I mean, that's not true. I actually, I don't know, but I'm assuming it's not a lie because I don't know why you would lie about this, but Todrick hall had Brandy in one of his videos, the Cinderella one, and she was. No, it was a different. It was a different. Where she was like playing like a midwife or something or some sort. Anyway.

[C]

Oh, for forbidden.

[A]

For forbidden. And she was running a little late. And then one of the.

[B]

I thought it was just such a horrible joke. I won't say it, but.

[A]

Well, someone did, but they don't. They knew, so they said a joke, but they didn't know Let me watch from work. So Randy finally shows up. And then one of the. Someone on set was like, damn, what's next? You get a car crash or something? And then everyone's like, oh, that's not. And then he was like, what?

[B]

And she. Like, he said, it's in front of Brandy.

[A]

To Brandy. Were you in a car crash or something?

[B]

What are the people working on Todrick's video?

[A]

Yeah. And everyone's like, oh, that's crazy. And then Brandon was like, excuse me. And he was like, I feel so.

[B]

I feel physically uncomfortable.

[A]

And I'm not even.

[B]

And I'm not even. I was not there. This was years ago. I feel uncomfortable hearing that story.

[A]

Yeah. You know, when I retell the story in my head, which I don't think this is what Todrick told me in my head, I was like, what are you getting in car garage and kill somebody? But I don't think he actually said that. But, like, that's the insinuation, basically. And then.

[B]

Okay, so then what was the resolve?

[A]

Everyone got really awkward. I mean, I don't really remember. I mean, I don't really remember, but, like, people felt uncomfortable. And then I think someone pulled him aside and told him why Brandi was reacting the way she was reacting.

[B]

So that's so awkward. So incredibly uncomfortable.

[A]

The other day. The other day? Not the other day. Like, two months ago or so, me and Rob were in here with someone, and then something, somehow moms came up. Actually, it wasn't. It was like. It was over a year. It was maybe like eight months ago, and I had just gotten off tour, and we were, like, packing up the costumes, and then the person who was with us was like, blah, blah, blah, blah. Well, I wish I had a mom. My mom's dead.

[B]

The person said this to you and Rob?

[A]

To me and Rob, who. We both have dead moms. And then we. I just took to my face. I was like, oh, your mom's dead. Like, I remember thinking, like, why would you joke about that?

[B]

But you make jokes about your mom being passed away.

[A]

I remember thinking, why would you lie about that? Like, why would you joke if that wasn't the case?

[B]

Oh, God.

[A]

And then they were like, oh, I just realized. I just thought it through. My mom's not dead. I don't know why I said that. I feel bad about it. I apologize. My mother's very much alive. Very much living. And I am. Oop, I am sorry. I'm just gonna reel it back. And I was like, we can just keep working.

[B]

Okay. So I Have a question about that, Just to play devil's advocate. So, yes, this person's mom is not dead. Is it offensive to you for someone to make a my mom is dead joke? You feel sensitive about it because obviously your mom has passed away.

[A]

Away. I think because my mom had passed away so recently. Like, it had been less than six months since my mom passed away. And I. In that moment, I. I began like. Like, relating, being like, oh, my God, my mom's dead, too.

[B]

Oh, got it.

[A]

Like, hey, sister, welcome to the club kind of vibes. And they were like, no, no, no, my mom's not dead. My mom's not dead. My mom's alive.

[B]

Got it, got it, got it, got it, got it.

[A]

Very much living. That makes sense. So.

[B]

But right now, is someone like this. If I made a dead mom joke, would you feel offended by that, knowing that my mom is alive?

[A]

About your mom being dead? No, not really. No. But if I. But if I didn't know you, if I didn't know that your mom was alive, I would probably think. I would probably be like, oh, my mom's dead, too. And then I would probably make a dead mom joke. And then if I found out down the line that your mother was living, I'd be like, why would. Why would you do that? I'd be like, what. What was the point of that? But because I know your mom's alive, I would just assume you're just doing. You're just. You know, I'm telling some silly joke. Yeah, but I. I think I would. I actually. I probably wouldn't bring that up. I'd probably be like, actually, I don't even know. I don't even know. I'd be like, that was. I probably. I might bring it up jokingly down the line. Don't be like, well, since your mom's dead. Yeah, right. You know what I mean? I want to tell you guys how you can avoid giving negative criticism after your friend does a bad show.

[B]

Okay?

[A]

Because it's a tough. It's tough, y'. All.

[B]

It's tough.

[A]

It's tough. Your friends worked on this. Your loved one has worked on this, and you don't. I don't think it's okay to lie and say it was good if it wasn't. What I think you should do is find something. You find a truth you can tell. That is indeed a compliment. Right? So you can be like, I had so much fun.

[B]

But did you have fun, though?

[A]

If I had fun, yeah. First of all, I love bad drag shows. Bad drag people who know me know I love bad drag almost as much as I love good drag. In fact, I would rather watch either a really bad drag show or really good drag show. If I can watch a really bad drag show versus over, like, a decent drag show, I want to watch the bad one because it is fun for me. What about.

[B]

It's fun seeing the chaos.

[A]

It's just funny. It's funny. I'm sorry. It's funny to watch bad drag. It's funny. It is funny. So I would be like, I had. I had so much fun tonight. I had a lot of fun.

[B]

But isn't that lying by omission? Because this person asking you about this thing, they're.

[A]

Bitch.

[B]

They want to.

[A]

That's not what lying by omission is, in my opinion. I think that lying by omission is like, if. If you come outside, if I took your shirt and you go, who took my shirt? And I just don't say anything. That's lying by omission.

[B]

Well, I think, okay, maybe lying by deception.

[A]

Right?

[B]

Because if I asked you. So how was the show? As, like, let's say you're my best friend. This is Teddy.

[A]

I had so much fun.

[B]

But you. But I'm asking you.

[A]

Okay.

[B]

What'd you think about my number?

[A]

Okay, let's. You ready? It's wrapping. Oh, my God. Hey, girl.

[C]

Hey.

[B]

I just wipe it off. So sweaty work. So what'd you think?

[A]

I had so much fun. Really? I had a blast, truly.

[B]

What'd you think about my costumes?

[A]

The costumes. They looked like they were really well made.

[B]

Huh?

[A]

They're like. They're really well made. Really?

[B]

The sleeves are falling apart, and there's a little.

[A]

I assumed it was. I assumed that was the intention.

[B]

Okay.

[A]

Was that not the intention?

[B]

No.

[A]

Oh, could have fooled me.

[B]

What'd you think about my number?

[A]

Which one?

[B]

The second one.

[A]

That was actually my favorite of all your numbers. Really? That was my favorite one of all your numbers. Yeah.

[B]

And the singing.

[A]

Which song are you talking about specifically?

[B]

This in the second number again.

[A]

But that was my favorite out of all the songs you sang. That was literally my favorite one out of the whole show.

[B]

Do you think it sounded good, right?

[A]

I think you sounded pretty good. I mean, it's probably the best I've ever heard you. Actually, that's. Actually, that is the best I've ever heard you.

[B]

Better than when you heard me at the Met when I was singing that really great aria? I thought you.

[A]

That was. That was literally the best I've ever.

[B]

Heard you outside of the Met when I got the. Those raven reviews from the New York Times.

[A]

Yeah, you were ass at the Met. Really? I'm kidding. I'm playing. I'm playing, girl. But no, that was my favorite on the show, and I just had a fucking blast.

[B]

Would you recommend for people to come see me do this number?

[A]

100%.

[B]

Should I put this number in my Drag race audition tape?

[A]

100%.

[B]

Okay.

[A]

Thank you.

[B]

See, I love you. You're always so honest. You tell me the real tea, and I love you.

[A]

Bootstraferis.

[B]

That was just for the New Yorkers.

[A]

But, see, I told all truths. There. There were no lies. That was my favorite number you did in the show. I did have fun. I thought the outfits were intentional. There are no lies in there. And that way you don't have to. It's not. You don't. Okay. So you just watched me do a show. It was really bad. You ready? Here we go.

[B]

Hey, girl.

[A]

That was not my best show. Why?

[B]

Why you say that?

[A]

I was pitchy. I was behind on the dance moves, and it's honestly not a good show.

[B]

But listen, here's the thing.

[A]

What do you think?

[B]

What I think is that I've seen you do a lot of shows in a lot of shows. Yeah. And I think it wasn't, like, your greatest moment, but you put a lot of time, patience, energy into the show. And I watching you out there, you look like. You look like you were having a good time. So if you weren't having a good time, you fooled me. Cause you look like you were having.

[A]

A great time, but did you have a good time watching it? Yeah.

[B]

You know what? I think that a lot of the show, but, you know, I was only focused on you. I was, like, waiting for you to come out, and you were only, like, the last five minutes of the whole show. That's crazy.

[A]

Yeah. And imagine you only got five minutes, and you blow the whole thing.

[B]

You did not blow the whole thing.

[A]

Did I save the show?

[B]

You didn't save the show. But, I mean, girl, you had. You had an icon. You had Kenya Pleaser.

[A]

She was like, is it a good show, though?

[B]

Overall, the show is great, but how.

[A]

Was I in the show?

[B]

Overall, Overall, I think it is probably my second best time I've seen you.

[A]

The second best time you've seen me?

[B]

Yeah.

[A]

What was the first best time you saw him, girl?

[B]

When you won RuPaul's Drag Race. The Definitee, like, that show off number, that was like. I think, in my opinion, my favorite ball performance ever. Ever.

[A]

All right. Well, I gotta go. They made me rehearse more after the show. They said it was so bad. Did they?

[B]

Nazi. Mr. Nazi.

[A]

Wait, were those, were those truths?

[B]

Yeah, those are truths.

[A]

It was a bad performance. See, you didn't tell truths. Listen, I think that's why I make my, my comments. My comments. That was my favorite number you did in the show. I didn't say you the favorite number you did. That's my favorite number you did in this show.

[B]

But it was your favorite number in the show.

[A]

Say again?

[B]

It wasn't your favorite number in this show.

[A]

I said that was my favorite number you did in this show. Oh, you did. You see how you gotta make it so specific?

[B]

See, see, I don't want. Cause as my best friend, I want you to tell me the real rep.

[A]

Oh, this is my best friend.

[B]

Yes.

[A]

Oh, let's run this back. Let's run this. This is you. Let's run this back. I mean, like, when I went to go see you in the opera, I told you I didn't think it was fun.

[B]

Yeah.

[A]

I was like, I didn't. I was like, when I did, that was boring. I love seeing out there. And that was true. I genuinely enjoy seeing out there. It should have been more you. You probably sold all the tickets anyway.

[B]

You know what I mean? It's opera. It is what it is.

[A]

But yeah, when it was my close friends. I'm gonna, I, I, if you like, name a person, I'll tell you if I would give them the real treatment or, or the, or the compliment. Like the true compliment. It's like the real one of the true compliments. Yeah.

[B]

Okay. Nick Smith, the real one, Mateo Lane, the true compliment.

[A]

And he's a good friend of mine. But Mateo is, is not, he's not.

[B]

I, I don't think it would end.

[A]

Well for either of us.

[B]

Well, okay, first of all, Mateo comes on stage, self deprecating. She's like, nah.

[A]

Well, I mean, I, I, I've to be. Also, I've never seen Mateo not crush. I have never seen Mateo not crush.

[B]

Yeah.

[A]

Yeah.

[B]

Naomi Smalls.

[A]

I would do the real compliment. The, the real thing.

[B]

Yeah. Kim Chi.

[A]

I would probably do the, the, the, the, the, the true compliments.

[B]

Yeah.

[A]

And I think Kim would too, by the way.

[B]

Yeah, yeah. Jacob Ritz.

[A]

I would give Jacob the true thing, which we, we talk about Jacob shows all the time. Like when I go to see his core shows, the car show, I'd be like, this is what I thought. But also, Jacob is my favorite person in the chorus. He's honestly, great to watch. He's eating up. And he's also the dance captain for the baritones.

[B]

Oh, Selina. Oh, wait. You're the dance captain, Jacob.

[C]

Okay, here's the thing.

[A]

He has some flowers to prove it.

[C]

I'm in the front row, so I can't watch anybody. Like, when you're learning the dance moves, generally people just watch whoever's in front of them do the dancing. So I don't have anybody to watch, So I have to learn all the dance moves, or else I'm just out there looking crazy and I'm in the front row. And they were like, we're looking for people to help be the dance captain and lead. And none of their baritones were like, no one else volunteered. And then people started volunteering me. And then I was like, well, I guess I'm the dance captain.

[A]

Didn't you, like, get on a block and dance for me? Yeah.

[C]

They put me on a block so, like, everyone can see me.

[A]

Jacob's a go, go boy, honey.

[C]

But they're also multiple. There's a one to the tenors, but they're like two for all the other sections.

[A]

Can you describe getting on the block and what's like. Do you feel like a go, go boy?

[C]

It's not that kind of a block.

[A]

Can you describe the experience? Yeah.

[C]

I mean, you go up, you're behind a piano, There's a block. I'm next to Lucky, who's the baritone, who's really expressive that you pointed out. Yeah, sorry. He's amazed.

[A]

He's another one of my favorites to watch.

[C]

And we just do the dance. It's not anything crazy. It's not like the block is maybe like this, like, a foot tall. It's not like a go. It's not.

[A]

And everyone's. Everyone's watching while they are you. Is your back to them.

[B]

Yeah.

[A]

So you're back to them, and then you're just dancing. They're all trying to do it with you.

[C]

Yeah, but I grew up with all the dance captains, so there's maybe, like, eight of us.

[A]

So Jacob's running.

[B]

This is basically what we're saying work, but.

[A]

Yeah, but I give Jacob the real. The real deal.

[B]

100 Mona exchange.

[A]

I'll give you the real deal easily.

[B]

I give you the real deal, too. Yeah.

[A]

Yeah. But I think it's. And it's not. I actually want to redact what I say. It's not about how close I am to you. It's about how I believe you'll receive it.

[B]

Take it. Yeah. Yeah, I mean, I think. To be honest, I think that's why Patty and I obviously, besides all the other things that Pat and I have done together, Patty and I have been working together since I. Since a year before I got into Drag Race. And in everything I've done to this point, every time Patty is. Which for the first five years or six, seven years, Patti was also on the road with me. So Patty seen me do a lot of shows, a lot of everything I do, and Patty always gives me the real thing. Bitch. I had one time. I did a show at Joe's Pub, and I was feeling my puss puss that day, and I tried a second option. It was the night Rose Ritz, and all them came, and, bitch, I was a mess. I came back to pal. I was like, what was that? And I was like, was it that bad? He was like, it was pretty bad.

[A]

I had to be doing a little too much.

[B]

I need that, though. I want that.

[A]

I think it's a subtle change you can make that I would appreciate instead. So instead of being like, what was that? Like, you know what it was. Don't ask that question. Get to the thing. Hey, that second option wasn't a great choice. I'd appreciate that more than what was that?

[B]

No, but to be fair, I came backstage this.

[A]

So I get off stage. Did you think it sounded good?

[B]

No.

[A]

So you knew it didn't sound good.

[B]

I get off stage, I walk to the back, and I was like, oh, my God. Oh, my God.

[A]

I was like, what was that?

[B]

And I was like, girl, I didn't know. I was feeling it. I didn't think Pep was like. We both were both laughing.

[A]

Oh, that's different.

[B]

Yeah, we're both. It wasn't like, ew. It was like we were both laughing. I was in the corner. I was like, I can't say. I had to people. He was like, yes, you can. He was like, that was crazy.

[A]

One time, I got so mad at Petty, we were here doing the photo shoot. I was so mad at him for this. We were walking from. From my drag lab into the. The psych wall, and then on the way over, Patty said.

[B]

Oh, God, tell.

[A]

Me about this belt. When I tell you rage filled my body. When I tell you rage filled my body. This belt, this.

[B]

This was.

[A]

I was wearing debut of this photo, by the way. World debut of this photo. Oh, yeah, we're gonna show you that. And instead of being like, hey, I don't think this belt is great for this. Tell me about this belt.

[B]

Rage.

[A]

Rage has Consumed me. Flames. Breathing, heaving breaths from the. On the side of my face. Flames. Flames. There's my fucking flames. This was me. This was me, bitch.

[B]

You're like the red fringe from the inside out.

[A]

I was so. I was. I was so mad at him. I was so mad. I was so mad at him. I was so mad at him that day. So also some, Some. Some things you don't need to say. Like, I got so mad for Mateo one time. I was, like, livid. I wanted to go see Mateo's Barbra Streisand show at Joe's Pub. And then one of Mateo's friends came up to him, walked right up to him. We were all standing around, walked right up to Matteo and goes, tired, huh? Damn. When I. I don't know who that guy is. I've never met him since then on. I do not like that guy. I don't like him. That is crazy.

[B]

That's crazy.

[A]

That is insane to say to someone.

[B]

Is this one of his close friends that we don't know?

[A]

He's a friend. He's a friend of. He's. He's a friend of Mateo's. Obviously close. Come to the show and, like, meet him after the show, right in the lobby. He didn't come to the dressing room.

[B]

Though, so that means that, that means he's not that close. But you know, Mateo likes a fucking. A fucking football team backstage with him.

[A]

So I was. I remember being like. I remember being. I remember being like, who the fuck is this guy?

[B]

That's crazy.

[A]

Like, who the fuck is this guy? That pissed me off.

[B]

Imagine after your first performance in Moulin Rouge. I come backstage and I'm like, you were tired today, huh?

[A]

And we all were like, I'm sorry. We were all like, who the fuck. Who the fuck is this guy?

[B]

That's crazy to say.

[A]

And. But I might have been doing too much. I know it irritated Mateo, but I was like, yeah, that was. I remember like, yeah, this dad. That's him. Oh, I know who.

[B]

I know her.

[A]

That's the fucking. Were you there for Jacob?

[B]

I mean, she's hot.

[A]

I don't give a fuck.

[B]

She is hot.

[A]

Oh, that was so irritating.

[B]

Yeah, that's wild. That is wild to say.

[A]

Insane tired, huh?

[B]

I remember after my. When I did my shit, my first time doing Life, Be Life and before it is what it is now. That was. I was so self conscious about that show because I. I hadn't memorized the script. Ben and I were reading these fucking cards.

[A]

I didn't.

[B]

I didn't Like, I had. I didn't do what the finale song ended up being. I was so self conscious about that show and then. But hearing from people like Kim was like raving about the show. It's like made me feel more confident about it. And you gave me some nice compliments about it. But I was.

[A]

When I came to see it when. What? What?

[B]

That was the first one ever. Oh, a Dynasty typewriter, right?

[A]

Yeah, yeah. You know who gave me a comment on my show and I was like, okay, I believe this is a really good. I mean, I was. I've all, you know me, I believe in myself. But one comment from one person, Jackie Beat, was like, that was a really brilliant chef.

[B]

Will you stand up? Yeah, work.

[A]

And she just notoriously hates everything. She's just a. Just a foul. Just a foul. Angry, grumpy, sad, depressed, crusty, Dusty.

[B]

Dusty.

[A]

Just sick tired. Yeah. Broken down and tired. But she was like. That was in Peaches Christ, who's actually a really, really positive person. Peaches Christ is just an angel.

[B]

Get your egg, mother.

[A]

I mean, she. I have a theory. I have an idea for her. Because, you know, I don't know if y' all know this or not, but Peaches Christ is a notorious gossip. You know this, right?

[B]

She can't hold water.

[A]

But she, she.

[B]

Peaches Christ could not hold water with a 10 gallon bucket.

[C]

Yeah.

[A]

She could own an ounce of it.

[B]

In a 10 gallon bucket.

[A]

And I was like, you need to have a show. Because she had to do the show on pizza. She's like, I have to do a solo show. And I was like, girl, you should call it. I'm not one to gossip, but. And then you just run down all.

[B]

The gossip for the show. Is it stand up?

[A]

This was like years ago. She ended up doing something different. She ended up doing like one of her plays that she wrote. But I was like, girl, you should just do the weekly report on the gossip in P Town and call it. I'm not one to gossip, but.

[B]

Oh, good.

[A]

And then she just was like, this is what happened with this person.

[B]

See, that's a great idea. Because you know, Brad locally does the wrap up at any of all the boats.

[A]

It's called the Last. The Last Laugh.

[B]

The Last Laugh. Really good, girl, to write all that material. Every cruise is so great. It's fucking J. Johnson level. This nigga's writing a new special every day.

[A]

Yes.

[B]

He has three specials a week.

[A]

Yeah.

[B]

So is someone doing that on P Town? That's a very funny thing.

[A]

I'm not one to gossip.

[B]

But because I'm sure all the locals, everyone who's there for the week is hearing all the gossip and stuff like that. That's a brilliant idea.

[A]

So Peaches do it.

[B]

Does she still do P Town?

[A]

I don't know. Actually, no. I don't know.

[B]

I might take that idea. I might take that idea and do it. My YouTube. Can I have it?

[A]

No, you don't have permission.

[B]

Why?

[A]

Bret Green. What? Brett Greene.

[B]

This is my idea now.

[A]

Brett Greene.

[B]

Bob, you talking about Brett Green?

[A]

We have it filmed right here. Podcast things.

[B]

Ideas that have podcasts become ours.

[A]

We'll see you all later. And I'll see you in court. Wait.

[C]

If one of you is suing the others, who does Brett Green go for?

[A]

Brett Fight himself.

[B]

Brett Verde. Both the plaintiff and the defense.

[A]

It wearing curtains on one side and wearing green and yellow on the other one. Honey.