INTERVIEW: Ms. Pat & Jordan E. Cooper Talk Writing Partnership, New Shows, Government Shutdown + More

Summary

Podcast Summary: The Breakfast Club – Interview with Ms. Pat & Jordan E. Cooper

Date: November 5, 2025
Hosts: DJ Envy, Jess Hilarious, Charlamagne Tha God
Guests: Ms. Pat (comedian, actor, producer), Jordan E. Cooper (playwright, showrunner, writer)

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Overview

This episode of The Breakfast Club dives deep into the creative and personal partnership between Ms. Pat and Jordan E. Cooper. The conversation flows through their collaborative process on "The Ms. Pat Show," their approaches to unapologetic storytelling about Black families and trauma, industry challenges, navigating cancel culture, representation, and current political issues including government assistance and healthcare. The episode is a blend of sharp humor, raw vulnerability, and real talk about the realities of the entertainment world and society at large.

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Key Discussion Points & Insights

1. Chemistry & Comedic Partnership

• The episode starts with banter highlighting Ms. Pat's humor and self-deprecation, setting the tone for a relaxed, candid interview.
• Ms. Pat on Body Positivity and Marriage
  • She jokes about her body, age, sleeping in separate rooms after 32 years of marriage, and her no-nonsense approach to intimacy and self-care.
    • “My titties and my neighbor do not connect.” (Ms. Pat, 03:41)
    • “You do not have to sleep next to these men. Get your own room!” (Ms. Pat, 05:42)
• The hosts ask Jordan how he handles her energy; Jordan admits, “I don’t” (Jordan, 07:56), highlighting their fun dynamic.

2. Creating Authentic Black Sitcoms

• Jordan on Ms. Pat’s Voice
  • The intention was always to let Ms. Pat be fully herself—uncensored and raw, much like stand-up legends who weren't allowed their genuine voices on TV in the past.
  • “I wanted to create the first sitcom … that would have that Def Jam comedy vibe where it’s like you could be uncensored.” (Jordan, 08:26)
• Ms. Pat and Jordan explain how show elements are grounded in her real life, including unscripted family moments and exploring hard topics with humor.
• They recount the story of their initial meeting and creative spark, describing how Jordan deeply understood Ms. Pat’s perspective—a connection she hadn’t found with other writers.
  • “When I first laid eyes on him I was like, this nigger is a black woman. A fat black woman trapped in a gay man body.” (Ms. Pat, 10:49)

3. Laughing Through Pain

• Both guests speak about using comedy as a way to reclaim power over trauma.
  • “Once you laugh at it, you have control over it.” (Jordan, 12:31)
• Jordan describes discovering Ms. Pat on TV as a teen and aspiring to work with her, feeling kindred in their ability to mine pain for humor and connection.

4. Navigating Representation and the Industry

• On Centering Black Stories:
  • Jordan never writes with “whiteness at the center” and instead addresses Blackness directly for Black audiences:
    • “Writing with whiteness at the center is a form of white supremacy … when Black people are entering a space, make sure they feel — ‘this is for me, we’re at the cookout.’” (Jordan, 16:27)
  • Ms. Pat reflects on the balance: “Sometimes it be too damn Black … Throw that Black shit back, I’m not doing …” (Ms. Pat, 16:50)
• Pushing Against Hollywood Constraints:
  • Ms. Pat details having to go to bat for Jordan to secure him roles as showrunner and director, and battling TV execs for authentic storytelling.
    • “I was fussing, cussing out of everybody so they let him show run … He had never directed. … He got a goddamn direct. And I call him, say, ‘Can you direct?’” (Ms. Pat, 19:43)
• Jordan on Broadway vs. TV: He writes “as if no white people are watching,” insisting on unapologetically Black-centered narratives (15:48-16:26).

5. Controversy, Cancel Culture & Trans/Pronoun Dialogue

• Jess Hilarious recounts being disinvited from "Ms. Pat Settles" for saying “only women can have babies,” sparking a nuanced discussion about how statements impact communities and gatekeeping in the industry. (28:00-31:00)
  • “Let people be whoever the they want to be.” (Ms. Pat, 29:54)
  • Jordan shares a spiritual perspective: “I always look at everybody as spirits … when we die, don’t come with a dick, don’t come with a vagina … It’s how you treated people.” (Jordan, 36:36)

6. Government Shutdown, SNAP, and Healthcare

• Ms. Pat passionately addresses government cutbacks, SNAP (food stamps), and the impact of social safety nets on children.
  • “When you out here celebrating somebody not eating, that child is who you hurting.” (Ms. Pat, 43:52)
• She makes the case for empathy and practical support, explaining personal memories of poverty and giving back.
• Roundtable debate about the healthcare crisis, rising premiums, and choices poor families face: food or medicine. (47:44-49:48)
  • “This is all to kill the poor … I guess they just want to wipe it white.” (Ms. Pat, 49:48)

7. Radical Black Joy, Representation, and Supporting Black Art

• Jordan emphasizes the need for “radical spaces” and Black joy—
  • “It looks like a Soul Train line…all of us coming together and reminding ourselves of our worth and our power in a time we’re being told we are worthless.” (Jordan, 53:10)
• Both call out a lack of Black representation in current film/TV, with nods to historical cycles of erasure.
• Ms. Pat critiques Black audiences for being quick to critique Black art while not doing the same for white productions:
  • “You never see white people online dogging out white shows. … Even if I don’t like a Black show, I would let it play in the background because you Black.” (Ms. Pat, 57:19)
• Jordan recounts shooting "The Ms. Pat Show" pilot on the same soundstage as "Julia", reflecting on progress and the legacy of unapologetic Black storytelling (58:19–59:43).

8. Mutual Loyalty & Looking Out for Your Own

• Ms. Pat discusses the rare bond she has with Jordan, their mutual honesty, and the importance of lifting up people you start with.
  • “As long as we stay together, I think we can succeed. You be honest with me, I always be honest with you. They could never tear us apart.” (Ms. Pat, 25:43 and 61:41)
• Both advocate for putting Black, queer, and diverse talent in every department and empowering everyone on the team.

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Notable Quotes & Memorable Moments

• On Authentic Storytelling:
  • “You can’t out funny me, motherfucker, when I’m talking about me…” (Ms. Pat, 10:55)
• On Black Comedy Lineage:
  • “She’s carrying that baton of those who came before. … I wish I could sit in a conversation with her and Bernie Mac and just hear what the kids got.” (Jordan, 15:10)
• On Snap (Food Stamps) Recipients:
  • “Nobody asked to be born into a family of poverty. … You’re making it their fault. It’s not their fault.” (Ms. Pat, 43:52)
• On Hollywood & Broadway:
  • “If you don’t have anything to represent me in there, my people, I don’t watch it.” (Ms. Pat, 55:37)
• On Support & Partnership:
  • “He came along and fixed the things that were broken with me, and he understood me from the front, from the beginning, and that is hard to do.” (Ms. Pat, 61:41)

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Timestamps for Key Segments

| Time | Segment | |-----------|------------------------------------------------| | 03:04 | Banter; Ms. Pat & Jordan introduced | | 08:26 | Jordan on Black sitcom legacy and freedom | | 10:49 | How their creative partnership began | | 12:31 | Laughing at pain and control over trauma | | 16:27 | Writing for Black audiences, not centering whiteness | | 19:43 | Battling industry pushback for authenticity | | 28:00 | Jess Hilarious canceled for trans discourse | | 29:54 | Ms. Pat: “Let people be whoever they want to be”| | 43:52 | Ms. Pat on SNAP, poverty, and giving back | | 47:44 | Government shutdown & health care debate | | 53:10 | Radical Black joy and protecting it | | 57:19 | Critiquing Black shows—community support | | 58:19 | Shooting "The Ms. Pat Show" on Julia’s stage | | 61:41 | Ms. Pat on loyalty and partnership |

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Tone and Takeaways

The episode balances gut-busting laughter, honest pain, and pointed critique—exemplifying what Ms. Pat and Jordan E. Cooper stand for: radical authenticity, humor as survival, and building collective Black joy and truth-telling. Listeners get a rare window into their creative process, the roadblocks of the industry, and why their work resonates with so many. The raw, unfiltered chemistry between guests and hosts makes for one of The Breakfast Club’s most engaging, thoughtful interviews—full of lessons for both aspiring creatives and anyone seeking to understand the real stakes behind Black storytelling on TV and beyond.

Transcript

[A]

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[D]

On the podcast Health Stuff we are tackling all the health questions that keep you up at night.

[E]

I'm Dr. Priyanka Wali, a double board certified physician.

[D]

And I'm Hari Kundabolu, a comedian and someone who once googled Do I have scurvy at 3am and on our show we're talking about health in a different way. Like our episode where we look at.

[E]

Diabetes in the United states. I mean 50% of Americans are pre diabetic.

[D]

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[E]

Extremely. Listen to Health Stuff on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts.

[F]

The murder of an 18 year old girl in Graves County, Kentucky went unsolved for years until a local housewife, a journalist and a handful of girls came forward with a story.

[B]

America, y' all better wake the hell up. Bad things happens to good people in small towns.

[F]

Listen to Graves county on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts. And to binge the entire season ad free. Subscribe to Lava for Good plus on Apple Podcasts.

[B]

You know the shade is always shadiest right here. Season six of the podcast Reasonably Shady with Gisele Bryant and Robin Dick and is here dropping every Monday as two of the founding members of the Real Housewives Potomac. We're giving you all the laughs, drama and reality news you can handle. And you know we don't hold back. So come be reasonable or shady with us each and every Monday. Listen to Reasonably Shady from the Black Effect Podcast Network on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts.

[G]

I'm Eva Longoria. And I'm Maite Gomez Rejun. And this week on our podcast Hungry for History, we talk oysters. Plus the Miami Chief stops by.

[D]

If you are not an oyster lover.

[C]

Don'T even talk to me.

[G]

Ancient Athenians used to scratch names onto oyster shells to vote politicians into exile. So our word ostracize is related to the word oyster.

[B]

No way. Bring back the Ostracon.

[G]

Listen to Hungry for history on the iHeartRadio app, Apple Podcast, or wherever you get your podcasts.

[C]

Every day I wake up.

[B]

Wake your ass up.

[H]

The Breakfast Club.

[B]

Morning, everybody.

[H]

It's DJ Envy.

[B]

Just hilarious.

[H]

Charlemagne, the guy. We are the Breakfast Club. We got some special guests in the building. We have Jordan E. Cooper and one of my favorite people in the world, Ms. Pat.

[B]

Ladies and gentlemen, welcome.

[C]

Hey, how much weight are you gonna lose, Ms. Pat?

[B]

As much as I can afford to die shot. Oh, Hayden, man, what the.

[I]

What?

[B]

Girl, you look good. I was looking good, fat niggle.

[C]

Yes, you are.

[B]

I ain't never walked in here looking wrong. You ain't never had to pull up no two couches for me, bitch. Yo, my shit is a proportionate. Come on.

[H]

Proportionate?

[B]

Proportionate. My titties and my neighbor do not connect.

[I]

I love your hair. You look like big. Glow with it.

[B]

Yeah, I know. I love Glorilla. I want to meet her. I know everybody like. You look like Glorilla, Ma. I wish like hell I had. Glorilla was the baby I killed. Then God got me back and made that famous. Got a gay daughter and a stupid son. That's why you should be careful about the babies you kill. You might kill a LeBron James. Damn.

[C]

You never know.

[B]

The good thing now they can tell you what you have it. You know, you can get the orchard sign. They be like, this is stupid, motherfucker. Go and send them back to God damn.

[C]

But you don't know. You don't know. They gonna be LeBron and Gorilla, though.

[B]

Yeah, you can now, but back in the day, you know that I was. My kids was born on Medicaid, so you only got a ultrasound when you were nine months. They. You was not allowed nine months. For real? Yeah. They didn't give a. About that baby. They like, we're gonna see what you're having at nine months. We gonna keep giving you these free pictures.

[I]

I did not know that back in the day, though, a lot of ultrasounds was not available.

[B]

They was available, but it was Medicaid, you know, so you had a choice. You can get. You can get as many abortions on Medicaid or you can get an ultrasound. So.

[I]

Dang.

[H]

Abortion or ultrasound?

[B]

Yes. So I had both. You can't. Yeah, maxed out.

[C]

Are you writing the buddy comedy?

[H]

Listen, we should make that happen. That'd be dope. That'd be dope.

[B]

Hell, yeah.

[I]

She.

[B]

She. Glorilla reminds me so much of me when I was younger. I Was even fine like a not as small, you know, before that old say nothing. I seen you about two games Charlamagne. I just want you to know that my vagina ain't always sick. I mean my stomach has not always set on my vagina at once in my life. I could wear a two piece and not chicken. Nigger. Yo, she catch you before. I know Ms. Pap is fine.

[C]

Ms. Pap fine now.

[B]

I'm all right. I'm married. I've been married for 32 years. So he ain't complaining. So whatever. He pulling to the side and lifting. He.

[H]

Nah, I be seeing them skinny niggas in your comments.

[B]

They do, but they not gonna make me pay him my money. I'm gonna be right there with my husband till the end. Y' all still sleeping in a separate bedroom? Yeah. That shit is delicious too. You hear me? Somewhere to lay my titty at on the pillow. I ain't gotta listen to him pass gas. I'm telling you, if you've been married in a relationship a long time, you do not have to sleep next to these men. Get your own room. You get tired of rubbing on you in the middle of the night. You know, you know, you know, you gotta. When you. I don't know most women like. I don't go to bed sexy. I just get in bed. I'm one of them people. I can't stand to take a bath at night because I don't want to be damped in the morning. What, you don't want to be damp?

[H]

Why is you down in the morning?

[B]

I'm fat and almost a little sweat. Yeah, I'm always leaking.

[C]

Why you don't wash?

[B]

I do. I wash in the morning. So I'll be fresh. Yeah, I need my stuff 24 hour fresh. I can't have. I just don't like that.

[C]

Yeah.

[B]

So I don't put on lingerie. I don't do it. You know, I go to bed. And if we're gonna do it, you won't. And if you don't, excuse me, you won't have sex. If you don't, you know, I just go to bed.

[C]

Save money in the winter time though.

[B]

Wow.

[C]

Cuz you keep them warm like laying next to him.

[B]

Boy, I got me a heated blanket.

[C]

Oh, okay.

[B]

And plus I have a. A full size bed in my room. He have a king. He like a hard mattress. I like a soft mattress. But I've been married for 32 years. I don't have on a fulls size mattress.

[H]

What you trying to say? She can't say.

[C]

Yeah, she can sleep.

[E]

She can.

[C]

That was crazy.

[B]

You meant to say that.

[C]

I wouldn't even say no like that. Cuz I thought about it, but I ain't say it.

[B]

I was like queen. Okay. I was waiting there, so I feel a little bit more balanced. God damn. I'm sorry. You got that twin body. She got that twin body. Said I slept on. No twin. God damn.

[C]

Twin bed body. Crazy.

[B]

Jordan, how you deal with her all day long?

[H]

I don't.

[B]

Okay.

[H]

No, she's a fool. Whenever we on set, she just be acting up. We were just talking about this. I was like, there's gotta be at least 1700 thoughts that come to your brain that you gotta stop before they come out your mouth. Cause you know it's Gonna set a.

[B]

5 in this industry. I do. I have to watch what I say. Cause you know, you walk into these meetings and you be like, you be want to say, what the fuck you weighing, white man? Damn.

[C]

Jordan, what did you understand about Ms. Pat's voice in her story that others might have missed early on?

[H]

I think just letting her be authentic. You know, I always say when. When we created the Ms. Pat show, I wanted to create the first sitcom that I felt like would have that Def Jam comedy vibe where it's like you could be uncensored because there's so many that came before her, like the Red Foxes and the Richard Pryors and who had a show for three seconds, you know what I mean? Who couldn't be themselves. Bernie Mac couldn't really be himself on the Bernie Mac show, but when he got on stage, he could say, I ain't scared of you, motherfucker. You know what I mean? So I wanted to create a sitcom that allowed her to just be. Be where she can say whatever she want to say, do whatever she want to do, and we can have a hard conversations and let her say her unfiltered self, you know? Yeah.

[I]

How did your kids get on an episode? Like, did you. You wanted.

[B]

No. So my kids on the episode of the Judge show, which airs this week, and my. Somebody dropped out, right? So they. These are people have real cases or whatever going on. Friends dispute. My kids, a case dropped out and literally I did not know they was going to walk through that door. So you did.

[H]

We made sure she had no idea.

[B]

I had no idea. But they did go to the strip club and my son did spend my gay daughter money, but we never would get it back. And they've been arguing over this for a whole year. And I Was like, well, why would you give a broke some money at the gate? I mean, at the strip club. And so he didn't pay her back. And it became a case. And when I heard lay versus Lay, I said, it might be my baby daddy. I said, I'm finna put it to this nigga. And it walked in with my kids.

[C]

Damn.

[I]

Damn.

[B]

So how did you approach the case?

[I]

Did you approach it as Ms. Pat or as that mama?

[B]

I approached it both ways because I can't believe. I couldn't believe. I couldn't believe they were suing each other when I had just got my daughter T fixed and she didn't pay me back, but she want her brother to pay her back. And I'm like, all y' all owe me money. So nobody. I put them out. I paid $8,500. Get your mouth fixed and flew you to Guatemal Bay, where the hell she.

[C]

Went to get her teeth up. Yeah, okay.

[H]

Yeah.

[B]

Cause they were rough, but they look good now.

[I]

Was it an agreement put in place like, you need to pay me back.

[B]

For this some reason? My kids don't think they. Especially them first two, then my Medicaid kids, they don't think they supposed to pay me back.

[C]

Your Medicaid kids?

[B]

Yeah, those are the ones on Medicaid.

[C]

Oh, okay.

[B]

Yeah, it's going on Medicaid too.

[C]

I'm sure.

[B]

You be killing me in this.

[H]

So wait, Jordan, you're 30 years old now, right? Yeah, 30.

[J]

30.

[C]

Hey, Jordan the genius, by the way, like to throw that word around, but I do join the genius.

[B]

You know what? It's nothing like this kid. It was so. And I've told. We don't told this story several times how we met, but when I first laid eyes on him, I was like, this nigger is a black woman. A fat black woman trapped in a gay man body. That's the first thing I said about him. I said, you died as a fat black woman and came back as a gay man. Cause he gets me. I mean, immediately. We just connected. And I couldn't do that with no other writer that I had. Nobody would listen to me. And it's nothing like dealing with a writer. And they writing a story about you and that writer think that they're funnier than you. You can't out funny me, motherfucker. When I'm talking about me or I'm talking about something that coming from my head. And when I met Jordan, I said, hey, I got an idea. But nobody would listen to me. He said, what was it? I said, I sat on a airplane and talked to white people and see why they so racist. And that's all I had to say. And that was the pilot. Yeah, yeah. Southwest. Remember Southwest? You. You. You said anywhere. So I would literally block the seat off. And I wanted to talk to white men to see why the they think the way they do. I would have racist conversation, right? Conversation about race. And I told him that. And that's how the airplane thing, because it was.

[C]

That's a trap setting. Like, they can't go nowhere.

[H]

So if you see. And if you see the pilot, what we do is the very first episode of the Mispad show, it's hers. It starts off with her doing stand up. And as she's. Oh, thank you. And as she finishes the set, like, the airplane kind of comes in around her. And then before you know it, we're dropped in the scene and she's talking to this white woman about black kids being shot and being a black mom and all this stuff a really cool way. Yeah.

[C]

I want to ask you, Joe, how do you. How do you make a set feel safe for actors to laugh about the same things that somebody like Ms. Pat might have cried about in real life?

[H]

Just that, I mean, I feel like that's one thing that me and Pat have always had in common, is that we find a way to laugh at the pain. Because once you laugh at it, you have control over it. So we try to make sure that in every episode that we do, whether we're talking about rape, molestation, or porn or drugs or whatever it is, we find a way to laugh at this thing, to give us victory over it in a way. In a way that no other show kind of does. What's crazy is that I always tell the story. When I first saw Ms. Pat, my dad had recorded her. She was on some daytime talk show. I was in high school. Harry Connick Jr. That's what it was. And he was like, you gotta watch her. She needs a TV show. She needs a book or something. And so I watched it. And I'm in high school. I ain't got no power. You know what I mean? But I fell in love with her. And I was like, yo, she does the same thing that I do. She, like, will tell a story about being molested and somehow have you fall over laughing. And I was like, yo, I wanna work with her. So fast forward a couple years. I'm in college. She writes a book about her life. I'm like, ooh, I'm gonna get this book. So I Can study it. I screenshot the book. The, like $35 hardcover. I'm in college, so I'm trying to save money for my four for fours. I got holes in my socks. You know, I'm trying. So I screenshot it, but I'mma come back to it. Then I write Ain't no Mo. Lisies Ain't no Mo. And he already had a connection with Ms. Pat, and he was like, yo, there's this comedian I met, and I think you guys have a similar voice. Like, you should connect with her and see if it'll work. She came out to see the show, and she said that exact same thing. She said, nigga, you act like a big black woman. I was like, I don't know what that mean, but thank you. And ever since then, we made it work and we built this show. Got bet they first Emmy nominations ever.

[C]

Amazing.

[H]

Yeah, we got three Emmy nominations.

[C]

That was the first time I met Ms. Pat. Was at Ain't no More screening in LA. Years, years, years. I don't even think it was a screening. It was.

[H]

Yeah.

[C]

What you call that?

[H]

That was like a reading before we even did anything with it. Yeah, that was like. That was probably. How was I. I was probably 23 when it happened.

[B]

Yeah. I was asking, with you being so.

[H]

Young, how did you dive into some of those. Those Legend comics, right? You mentioned Red Fox, you mentioned Rich Pryor.

[C]

What got you into those?

[H]

Being so young? I was obsessed with old school T. And I think because I love theater. So, like, whenever I watch those old sitcoms, like Good Times and the Jeffersons and Martin, it felt like just good theater with cameras. Like, when you have a live audience, it's not like that bootleg, like, Laugh Track shit. Which is why with the Miss Pass show, I wanted to make sure we had a live studio audience, make sure we got real people laughing. Cause if a joke ain't funny, we gonna fix it. You know what I mean? Like, we not just gonna make y' all laugh at a stupid joke. You know what I mean? And so I think learning from, like, the Norman Lears and learning from that era of television really taught me how to write it in a really interesting way. And also, I'm just a student of black comedy. Just like, old school black comedy. Like, everything from Mom's Mabley on, like. And I try to make sure that we honor that black comedy, even in the stuff that we do. Because she's, to me, like, she's carrying that baton of, like, those who came before. Like, I wish I could sit In a conversation with her and Bernie Mack and just hear what the kids got. I can hear it.

[C]

I was waiting on everybody else. When it comes to, like, the thing I love about Jordan's storytelling is he always centers black life with, like, no filter. Right. How do you decide what belongs on the Broadway stage versus what belongs on, like, a TV screen?

[H]

That's a great question. I feel like I never decipher, like, even with my new play right now called oh, Happy Day. It's at the Public Theater. We close on Sunday. So if y' all in New York come out to oh, Happy Day. It's a black ass play.

[B]

Ooh, and bring your tissue, honey. I was in that bitch crying last night. I was like, jordan, I hate your ass.

[H]

And y' all know Donald Lawrence, right? Donald Lawrence, like, encourage yourself. The best is yet to come. He wrote the music for it. But. But I always try to, like, write without whiteness at the center of anything because I feel like a lot of times black writers who are writing for Hollywood or who are writing for Broadway or theater, a lot of times they assume white people are going to be in the audience, and they assume.

[B]

They try to make them comfortable.

[H]

Exactly. They want them to be comfortable. Want them to understand every joke. Want them to understand. And me, I write as if there are no white people watching because I feel like writing with whiteness at the center is form of white supremacy. So it's like, I'm not about to put on my white hood. So I try to, like, make sure that anytime black people are entering a space, whether that's they're entering a theater or just turning on the TV and watching something that I wrote, making sure that they feel like, oh, no, this is for me. We have to cook out.

[B]

I will say this sometime. It be too damn black. I'm like, jordan, we ain't gonna be able to do that many times to look at little nigga. Throw that black shit back. I'm not doing.

[H]

No, no, wait, wait, wait. Let me tell you a story about, like, the first time I sent her the first draft of episode of Ms. Pasho, right? Sent her first draft, and she called me back. She said, jordan, we can't. We can't send this to. To these white people. I said, what you mean? She said, you got me saying, and. And. And I said, well, Pat, that's how you talk. She said, I don't talk like that all the time. Literally all the time.

[C]

I didn't know you had another play out.

[B]

Yes, we just invited you to it. You didn't answer back, but that's what you do. Pam did call you. You didn't answer the white woman. Back. Back. I'm not touching you ever. Come check it out.

[H]

We close on Sunday. Tonight.

[B]

Come check it out. So good. It is so good. It is so good. It is about the black family. It is so good. I was in that boohooing last night, other than the Breakfast Club. That's why I'm in New York now with the rats. And it's cold in this. I hate this city.

[I]

Joy, with you being so young, right. Did you ever get any pushback? Oh, yeah. They don't think serious. They don't think you are experienced enough to even.

[H]

Always from the very beginning, you know, like. And that's why I'm grateful that I had a champion of her. Because, of course, like, in my plays and my writing. My plays. I've been writing plays since I was, like, 10 years old. So I would always experience that then. But then when I get to Hollywood, that's a whole nother. Cause a lot of the conversations are, like, things like people telling me, like, oh, we don't do that on television, or that's not possible, or that won't make sense, or, you know, I've been doing this for 30 years, and you can't come in here and change this. And I'm like, no, no, we doing something new. That's the. We created something new for a new audience and a new generation. So, like, something specifically, like. I don't know if y' all are familiar with the Misspat show, but y' all know Nigga Poppins, the character that Tommy Davidson plays. So the whole idea was that, like, oh, we call him Nigga Poppins because he just. He really supposed to be in jail, but he just, like, randomly pop up at the house every now and again when something needs to be fixed. So the whole thing was that. Was that at the end of it, to put a button on a joke was that he was gonna steal Pat's umbrella and he was gonna fly off into the sky. Fly.

[B]

So let me tell the rest of the story. So Jordan wanted popping to fly, but the person at the time would. They understand why. Popping fly. And I'm not in Jordan head. So a lot of times, Jordan, because I'm the star of the show, he would have to come get me so I could push stuff through. So I'm like, joy, is this gonna work? You know, you get me to do this thumb, I'm cussing out every D. Say, it don't work. So they didn't want popping to fly. So I went and told look, popping gonna fly. Cause he say, popping need to fly. And I'm like, it did that make sense?

[C]

They didn't understand Mary Poppins.

[H]

They didn't understand it in a black country.

[B]

You know, the way. The way popping flew out the porch. It did look stupid, but I. I can't. I don't have that vision what he's talking about. So I will always just say, let pop and fly. And everybody got mad. But popping flew, and it worked. And it was one of the things that everybody remember. And it was so many times Jordan come up to me and say, we need to do this. And I say, jordan, I'm gonna lose the whole show with you. Like when he wanted to direct, and he's like, it's his show. So they wouldn't let him show run. So the second season, we got in the show run because I had to threaten him back. And I ain't coming back. I fussing, cussing out of everybody. So they let him show run. Then he wanted to dive right. He too young to direct. And then I. I cuss, I'm fussing. He got a goddamn direct. And I call him, say, can you direct? He had never directed. I said, well, you how to direct? You up here got me fussing at these people. So they let him direct. I was like, lord, please let this work out. He playing with these people, money. He ain't never been in front of this many damn cameras. And it worked out.

[A]

Yeah.

[C]

It's got to be frustrating when you funny, when you are creative and you got to explain your vision to people who are not funny and not creative, because if they were, they wouldn't need y'.

[B]

All.

[H]

Exactly.

[B]

Exactly. And it is hard. I mean, even. Even over at. Sometimes over at BET plus, you know, explaining to people what we want to do and why we want to go there. I remember when. When. When. When I was. Was on the episode where I was having an abortion and I had an abortion without my husband consent, because I was. We was trying to send a message. This is my body. Just because I'm married to you, you do not own my body. If I get pregnant and I choose to have an abortion, it is my choice. Like it's your choice to get your nuts clipped. Nobody ever say, when y' all get y' all nuts clipped, hey, that's killing babies, too. They stopped up in your ass. Now they can't come down to your ball and recreate. Right, right, right. You never thought about it like that. But you don't cut the baby head off. Cause it can't come out through your urethra.

[I]

Whatever.

[B]

They. Anyway, damn. Make a long story short, Terry punches the teeth the refrigerator. Because I had an abortion. And one of the executives was like, he shouldn't punch the refrigerator. I said, he frustrated his wife just had an abortion without his choice. So what are you talking about? And I had to fight to keep that in there. It was real. So those are the things. And I try to tell them, like, if it's what. When sometimes me and Terry had an argument, he'll grab me. And he was like, he get her head off. I said, I know how to be beat. I've been beat. So let me. I know what I know. I know what I'm doing to make it look like it's real. You know how many times I had my ass beating? How many times I beat somebody ass? And those are the things that you had to really fight for. Like, the real stuff. Him snatching on me or him talking to me a certain way, or him punching the refrigerator. You know, like, we had one exact. Oh, my God. Oh, my God, y'. All. You're gonna have an abortion. And I told her, I said. And she left the show. I said, the problem is, is that. That this is mimicking your life. So since I hit on something that you tried to hide within yourself, you triggered. So that's why you left. It wasn't because you didn't like the Ms. Pat Show. It was because I brought up memories, and it's okay.

[I]

Yeah.

[B]

You know, sometime I walk down the food aisle and I. I see polished meat and I feel poor. So that's why I don't walk down that aisle with the sardines and stuff on it. I don't eat Ritz crackers. Certain. I don't do to make me not feel poor. If I see a El Camino, I was molesting an El Camino. So I don't like them. So we all get triggered by, and it's okay. But don't fault my show.

[C]

That's how I feel about Jerry curls.

[H]

You get triggered by Jerry never had.

[C]

I used to get touched on when I was eight.

[B]

Ain't nobody touched. Did y' all have Jerry curl?

[C]

Huh?

[B]

The guy who touched the woman who.

[C]

Touched me had a Jerry curl. And I used to always say I didn't like the smell of her Jerry curl. That's why I made her stop.

[H]

Wow.

[B]

Oh, my God. You made her stop molesting you because you didn't like her handsome. No, that was not because she was touching you.

[C]

No, that was the. Exactly.

[H]

That was the excuse to make her. To make her stop.

[B]

I never paid attention to my molester haircut.

[C]

But you paid attention out to something. The alchemy.

[H]

Yeah, the music, the gravy.

[B]

Get off me. Your hair stank, man.

[C]

You miss.

[A]

Get off.

[B]

Get off. Don't do that. Don't touch my balls. Miss Betty. Oh, next time I come here, Nick, I'm wear J. Oh my God. No. With some primo. What's the one thing that you.

[C]

You didn't. You didn't fight about?

[B]

Okay, Dam. What's one thing that you you didn't fight? It wasn't the grave disease that threw you off, okay? Damn. She ain't having B. I think it was can ankles.

[C]

So what about the comedy you going to write about Ms. Patton Hell? The comedy about Ms. Patton Hell?

[B]

How that's going to be when you Whitney with laugh. She had her finger up her ass. That's why she like, smile, nigga, smile. Damn. She was like, smile.

[C]

Don't act like there's not pictures of men sitting on your lap.

[B]

Now ain't no man sat on.

[H]

That's a lie.

[C]

You used to pretend to be Santa Claus in the goddamn mall back in the day.

[B]

You got me Santa Claus. You got me messed up with the bitch who touched you with that Jerry. Oh my God. That was not me. That was your mama friend. Stop. Yo, move, nigga, move. I was asking if there's anything that.

[H]

You didn't fight for that you fought for in any of these shows. I think we usually win.

[B]

No, because we. One thing we did. And I tell. What I love about Jordan is when we went into this, we didn't know anything about tv. And one thing I promised him because I'm from the street. Your word mean everything to me. And I told him, I said, this is Hollywood and they're going to try to tear us apart. As long as we stay together, I think we can succeed. You be honest with me and I always be honest with you. And that's one thing they could never do do. They could never tell us apart when they was talking. When they were running around talking about, can she read? Hell no, I can't read that fast, but I'm gonna practice. He came back and told me. So what we did was we. We went to LA and we hired people to do table reads with us because I had never seen a table read. And we. And we did it like a couple times a month. So I could get practice to be comfortable because I ain't know about acting. And when. And when they was like, he's too young to direct, I fought like hell to make sure he directed. And finally they left us alone wrong. So, you know, and it's. That's hard to find in this business somebody who's gonna keep their word with you because it's easy to dangle money in their face and break up the whole tribe. But they was never baby. Plus, I already had a husband with a good job. And I told him, you could never give me as much money as I could steal from you. So I've never been fascinated by Hollywood. You know, I'm not the that gonna get my nose done, I'm gonna get my stomach done when they go all the way down because I would like to see my vagina before I die guy. But other than that.

[H]

Get you a mirror.

[B]

No mirror. Too much heat down there. You better have a windshield wipe on a not just hilarious little poo tang my hair grow down my thigh. Come on.

[H]

Little shop of whores.

[C]

Crazy man.

[B]

I own my leg. My shit say woo woo. Hooty. Who?

[H]

Ms. Pat.

[I]

You know, I was supposed to been on an episode or Multiple episodes of Ms. Pat settles, but I got a phone call right, like right, like right after paperwork was done and all of that, right, Saying that I could no longer be on the show for a few episodes because of a comment that I had made. And the comment was literally, literally verbatim, only women can have babies. I said that, you know, and I asked was that, was that what got them to, you know, revoke my opportunity.

[B]

To be on your show?

[I]

And they said yes.

[B]

Well, you know what? A lot of times when they do start, and I'm going to be honest with you because I knew you was going to ask me this up course you don't ask there. So I'm gonna ask him. They didn't come to us and say that was they just said we're gonna go in. Bet said no. So when I when I asked you to do it and no matter who I pick in this room, the network still have to approve it and they check out everything. So when I guess that conversation came up and then they decided to say no, it's nothing I can do when it's their money. I came in and said I want you on my show. I went back and told them I want you on my show. But then they all they said bet said no.

[I]

Yeah, I knew it wasn't you because the person who Even called me, said that you fought for, like, you really was like, nah, I want her on the show. And you said that more than once. But they told me that that was the reason why. And I'm like, oh, all right. Well, do she know that? Can she? You know what I'm saying? Like, did y' all talk to her.

[B]

Or did y' all tell her? What was her feedback?

[I]

Like, y' all don't care that that's her show. She want me on there. And then it's just bogus for a. For a statement like that, that I couldn't come and do Ms. Pat settles, that I was really upset about that.

[H]

Yo, but you do understand why people were. Why people were, like, all up in arms about that.

[I]

Absolutely, I understand, but that don't mean what I said was not true.

[B]

You know what I'm saying?

[H]

I think it's only because of. There are trans men. There are men, like, people who identify as men out there who have babies. So they're like, oh, I have a baby too, but I don't necessarily consider myself a woman. So then it exits me out of the conversation. It's like, that was it. It was the fact that there were people who don't identify as women who are like, no, I have babies. I do ch. Childbirth. But I just feel offended because I'm not a.

[B]

Let me give you a piece of advice from having a gay daughter. Let people be whoever the they want to be. I grew up with a lot of people who say whatever the they was at whatever you are, that's who I respect you as being. I just. Me personally, I don't put myself in those conversations. If you say you a woman, then you're a woman. You got on my shoes, you got on my dress. I'm mad because your makeup is better than mine. Other than that, I don't give a. What you can look like Charlemagne with a wig and Charlemagne want to be. And shut the hell up. If he to be Shila today, then fine. I mean, just don't argue with them, because let them allow them to be whatever they want to be. And that's just life.

[H]

But also I think it's because I always look at this, and we talked about this on the show is I always think that, like, I look at everybody as spirits. Like, we're all really just, like, having a physical experience for this lifetime.

[G]

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[D]

On the podcast Health Stuff, we are tackling all the health questions that keep you up at night.

[E]

Yes, I'm Dr. Pr, a double board certified physician.

[D]

And I'm Hari Kondabolu, a comedian and someone who once googled Do I have scurvy at 3am on health stuff, we're.

[E]

Talking about health in a different way.

[D]

It's not only about what we can do to improve our health, but also.

[E]

What our health says about us and the way we're living.

[D]

Like our episode where we look at.

[E]

Diabetes in the United states. I mean 50% of Americans are pre diabetic.

[D]

How preventable is is type 2?

[E]

Extremely. Or our in depth analysis of how incredible mangoes are.

[D]

Oh, it's hard to explain to rest of the world that like your mangoes are fine because mangoes are incredible. But like you don't even know.

[B]

You don't know.

[C]

You don't know.

[E]

It's going to be a fun ride. So tune in.

[D]

Listen to health stuff on the iHeartRadio app, Apple Podcasts or wherever you get your podcast.

[H]

Yes, all I know is what I've been told and that to half truth is a whole lie.

[F]

For almost a decade, the murder of an 18 year old girl from a small town in Graves County, Kentucky went unsolved until a local homemaker, a journalist and a handful of girls came forward with a story.

[B]

I'm telling you, we know Quincy killed her. We know.

[F]

A story that law enforcement used to convict six people and that got the citizen investigator on national tv.

[E]

Through sheer persistence and nerve, this Kentucky housewife helped give justice to Jessica Curran.

[F]

My name is Maggie Freeling. I'm a Pulitzer Prize winning journalist producer and I wouldn't be here if the truth were that easy to find.

[C]

I did not know her and I did not kill her or rape or.

[B]

Burn or any of that other stuff.

[H]

That y' all said.

[B]

They literally made me say that I took a match and struck and threw it on her. They made me say that I poured gas on her.

[F]

From Lava For Good. This is Graves County, a show about just how far our legal system will go in order to find someone to blame America.

[B]

Y' all better wake the hell up. Bad things happens to to good people and small towns.

[F]

Listen to Graves county in the Bone Valley feed on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts and to binge the entire season ad free. Subscribe to Lava for Good plus on Apple Podcasts.

[A]

Welcome to Decoding Women's Health. I'm Dr. Elizabeth Poynter, chair of Women's Health and Gynecolog at the Adria Health Institute in New York City. On this show I'll be talking to top researchers and top clinicians, asking them your burning questions and bringing that information about women's health and midlife directly to you.

[H]

100% of women go through menopause.

[B]

It can be such a struggle for our quality of life, but even if it's natural, why should we suffer through it? The types of symptoms that people talk about is forgetting everything. I never used to forget things.

[F]

Things they're concerned that one they have dementia and the other one is do I have adhd?

[B]

There is unprecedented promise with regard to.

[A]

Cannabis and cannabinoids to sleep better, to.

[B]

Have less pain, to have better mood and also to have better day to day life.

[A]

Listen to Decoding Women's Health with Dr. Elizabeth Poynter on the iHeartRadio app, Apple Podcasts or wherever you're listening.

[J]

Michael Lewis here. My book the Big Short tells the story of the buildup and birth of the US housing market back in 2008. It follows a few unlikely but lucky people who saw the real estate market for the black hole it would become and eventually made billions of dollars from that perception. It was like feeding the monster, said Eisman. We fed the monster until it blew up. The monster was extremely exploding, yet on the streets of Manhattan, there was no sign anything important had just happened. Now, 15 years after the Big Short's original release and a decade after it became an Academy Award winning movie, I've recorded an audiobook edition for the very first time. The Big Short Story what it means when people start betting against the market and who really pays for an unchecked financial system is as relevant today as it's ever, ever been offering invaluable insight into the current economy and also today's politics. Get the big short now at Pushkin fm. Audiobooks, or wherever audiobooks are sold.

[H]

Here on this earth. But we're all just spirits. And those spirits, when we die, don't come with a dick, don't come with a vagina, don't come with. They just. You're just a spirit. It's how you treated people when you were here and how you lived your life. And I think there are people who are like, oh, I'm just spirit. Like, I just. I just. I don't subscribe to the, like, colonialized mind of like, oh, I'm a man, I'm a woman, I'm a this, I'm a that. It's like, no, I'm just. I'm just spirit. But I think that that's why people were like, oh, all up in arms whenever that happened, because it was like. But I also feel like if you do, I don't think you should be canceled for it, though. No, I think it's a conversation. I don't think it's canceled. I don't. Personally, I don't think it's canceled. I think it's conversation. You know how we can have a conversation whether you agree and we can leave here and have a drink later? Yeah, exactly.

[I]

Because it's just so much said that, like, that is completely off radar, right? Like, nobody get in trouble for nobody else.

[H]

But my thing is, like, the gay.

[B]

Community is like, maga.

[H]

But wait, it's not.

[B]

It's not about. It's not about.

[H]

It's not.

[C]

But this is the thing.

[H]

It's not about getting cancer. I think getting cancer.

[B]

Wait, wait, wait, wait. Let me clear that up. What I mean by the gay community.

[C]

That you say again, that's exactly what you just said, Ms. Patrick.

[B]

No, what I mean is. What I mean is that when they come for you, they come for you and they come in droves. And. And no matter what you say, they. Right. I mean, they did the same. Yeah, that's crazy.

[C]

That's not true.

[B]

I guess it is.

[H]

No, it's not.

[B]

You don't with the gay community.

[H]

I do with it.

[B]

I'm just saying you don't be talking that about. I'll be like, I talk about my daughter on stage. And I said, this is by my daughter. And I leave it because it's a sensitive community.

[H]

But it's not about sensitivity. It's about respect. It's about. I respect what you do you respect what I do? It's not about being sensitive. It's like, no, you respect me, I respect you. Let's go out and like you said, have drinks. Let's have a conversation. But I don't think anybody. When people say something wrong, if I see somebody who considers himself to be gender non conforming and I misgender them and I say he or I say she and they correct me, I'm not going. I shouldn't feel canceled or feel upset because I didn't know. If you tell me, we have a conversation, I'm gonna respect you because you told me. Oh, this is how you identify? All right, I'm try.

[B]

Well, I don't do identification. I don't. I'm being honest. I don't want to know if you him, them, dad and her. What's your name? Give me your name, because I can't. I don't want you. That's a slippery slope. You around and call him or she or she or him or them. I guess too much to the new gay community. When I was coming up, it was just. It was just two things. He was a B. Can I say it?

[C]

What?

[H]

No.

[B]

Oh, you just two things. Okay. They trying to get me canceled.

[H]

You was the B and F. You.

[B]

Were the B and F. All you was. But all of this new stuff, I don't care. Just tell me your name and I will respect you.

[H]

It's not new stuff because this is the thing. It's just the same. It's new to you. But this is the thing. It's just. It's the same as as when we were talking about white. A white person trying to get over calling us negro or trying to get over calling us colored. It's because times have changed. It's not, oh, my gosh, these niggas are all of a now they want to be called colored and African American. And it's like, no, actually, I'mma listen to what you saying because it affects you. You. So I'mma try to do my best to not say colored no more. I'mma try to do my best to not say F no more and not say B no more. What? What it's about. It's about communication. But nowadays I feel like people are so busy doing this that they don't actually communicate, so we don't actually move forward anything. You know what I mean?

[B]

So is it okay if I just say, I don't need to know your pronouns. I just want to know your name?

[H]

I don't think that's offensive.

[B]

No, I don't, I don't. Cuz as long as I dropped out of school, I don't even know what a pronoun mean. So just give me your nine name. I don't know what a noun is. I don't know what a verb is. Just give me your name. And that's what I'm gonna call you. If you, if you're a gay woman, you want to be called Big Dick, will it? Big Dick Willie it is.

[C]

You know, fat is a player. Now what fat.

[B]

You telling me for?

[H]

Are you offended?

[B]

I'm never offended. I mean, let me tell you something. I'm straight off the USDA food stamp. Ten years ago, I supposed to be fat. So I ate good and I, when I did not buy with my food style, I stole or wrote your parents check. So I've been fat a long time. No.

[C]

Yes. I learned that from Big Dank. When she was here though. She called, she actually called it the F word.

[H]

The F word?

[B]

The F word.

[C]

Yeah.

[B]

She can be offended. I mean it's, it's out there. And I'm not talking about it. But I'm just saying you is what you is. I mean, how you gonna be offended to be called fat? Fat. When you fat, I'm fat, I'm thick.

[I]

Said they never said that word. And that word was forbidden in her household.

[B]

In her household. But not at the grocery store.

[H]

But it's forbidden.

[C]

But it's forbidden in my household too.

[H]

When a little kid, I feel like when little kids say fat it hurts your heart. Little kids call you fat because you don't want our kids going out.

[B]

Your kids can't your kid. Ain't nobody fattening your house. She said your skinny ass family. Your skinny ass light skinned family. I be looking at y' all say all them zeros over there. Y' all be in the car. In this car. I see your family in the seat. They don't take up none of the seat. My family get in my car. My, my family can't even ride in my G wagon cause they ass be hanging over the seat. But I mean you, you, you can't.

[G]

You, you, you.

[B]

I mean saying fact could hurt people feeling. Saying fat to me. I don't give a cuz I'm gonna fire back. I'm gonna easily go to your face and page and see your autistic kid. And I'm gonna drag the out, I'm gonna drag your whole family. So if you call me fat, don't hurt me. I know what I am. I'm not, I'm not fat where I put deodorant up under my stomach. I'm not that type of fat. I'm not baby powder fat.

[A]

For real.

[B]

Yeah, but I sweat after 12.

[C]

Snap benefits, right?

[B]

Why you asking her?

[C]

Because she, she understands.

[G]

Okay.

[C]

At least I do tell people what that means for people to have their SNAP benefits taken away, man. Especially around the goddamn holiday season.

[B]

You know, I was just talking to my assistant today. I said, you know, I see people in the grocery store celebrating that people don't have snap. And, you know, nobody asked to be born into a family of poverty. Nobody actually be born into a. A family of needs. When you, when you out there picking that, you can't fault the kids for having a parents that program. So when you out here celebrating somebody not eating, that child is who you hurting. That that child is who gonna go to school hungry like I did. I grew up on food stamp. There was so many times we ran out of food, and I could not wait till Monday morning so I can get that breakfast at school or my mama food stamp to kick in on the third. Nobody's thinking about the kids in there. So what you might think that the mama's selling the food stuff or the mama is a hood rat. But one thing I do know about being a hood rat, my mama, no matter how much you sell them food style, you're gonna put a little bit back for grocery. And that little grocery is gonna feed that child for a certain amount of days. So while you out here celebrating, you hurting a kid that don't have to do with the family that they was born into. It's not their fault. And you want to take that from them.

[C]

That's right.

[B]

Which. Which would give me flashback. And it hurts my feelings. It actually made me. I'm looking for a food bank that. Well, I found one in my community to give food to because nobody ever think about that child. I mean, I was a child with raggedy clothes. I was a child who had to get the Thanksgiving basket from. From school. I was a child that went to school raggedy, didn't have nothing. But you gonna. You making it their fault. It's not their fault. You know, everybody can't be born to you. Everybody can't be born to me. But, you know, but I. I had it rough. And those are the people that you hurt. And that's when I'm talking, when I'm on my social media talking, she'll be like, oh, you need to stay out of politics. I said, why the hell Do I need to stay out of polit. I pay a ton of taxes and I was once those people that you're talking about. I moved 10 years from, from being on section eight and food stamps. So I would never forget when I had custody of my sister kids and I was working at Walmart and I had to get food stamps and how that helped out that twelve hundred dollars I got for raising eight kids still was not enough. But I had to make it do what they do. So when you talking about snap out here, the mama, forget the daddy, think about that child in that household that needed more than anything that you out here celebrate that they're not gonna be able to eat because you think their parents are getting their hair done or you think their parents are not doing what they supposed to do. Nobody ever looked behind that parent and see the old hungry kid. So what is six kids on welfare? Well hell, you taking my money bill in the ballroom, you're taking my money doing dumb crap. And let me just say this, they've been doing this for years. Years. The congress have been doing this for years. Taking all money, making their lives better. But one thing I can say, I've never seen a president that take that took like the doing the he doing. Now you had your little racist president but they still were going to trick her down and get a little black folks they little helping here and there. And not only that, you cut our program to help people with they, with their electricity. You cut our program to help people with their lights. Do you know how? And people's like well how is it affecting you? I might live in a 15,000 square foot house and I might. It had not hit me and it hadn't hit you and it hadn't hit you and it probably had hit you. But it hit the people that I talk to on a daily basis. It hit my friends when they cannot pay their bills and I'm the only friend that they can call and say can you give me a little bit of help? It hit my, it hit my family. You know how many people I had to go help since this crap has been going on? And I don't put that on social media because it's none of your damn business. I don't do it for, for likes. I do it because I love the people that I'm happy. But so many of my friends are struggling behind this and some of them don't even get snapped. Some of them don't lost their jobs. Those are the things that you got to think about when you out here Celebrating on this. Yeah. Because let me tell you something. It's coming to all dough next.

[C]

That's right.

[B]

It's coming to all don't next. It's not. I can walk in the grocery store, I'm blessed and not look twice at a price. I'm okay.

[A]

Right.

[B]

But in the last week I've been looking like damn buttercups this much. Let me go back to cute. I literally say I gotta go back to couponing because I got so many people that needs my help.

[C]

Hey, what about when you walk out the grocery store and somebody try to rob you for your groceries? It's gonna come to that.

[H]

It's gonna understand that.

[B]

Let me say this to you. When, when you take from the poor they, they, they go to the next place. One way or another they gonna get it. I've been that person.

[C]

That's right.

[B]

I've been that person that ran out of the store with Looker. I've been that person that ran out of stuff with baloney and, and the other stuff. You think they still in now you think they still in there? You see I don't know if y' all noticed this morning Walmart telling Congress turn snap back on because they get, they get a tax break and they, and they revenue with 8 point some billion dollars a month a year or some that they get from people using snapping Walmart. So it's not just affecting us, it's affecting them too because that was free money they was getting.

[H]

I also hope that the Democrats don't cave.

[B]

I do hope.

[H]

Have you seen those healthcare health care prices?

[C]

But they're going up anyway. So they're going up anyway.

[H]

But what's going to happen is because.

[C]

Of the big beautiful building they're going up anyway.

[H]

But I feel like but if they.

[B]

Don'T cave is it still going to go up?

[C]

Yes, they go up anyway because of the big, the big beautiful bill hole.

[H]

They go up the same, they go up the same prices.

[C]

Yes they are. They've already spiked in some places.

[H]

One lady said she had to pay. She was paying like 350amonth and now she got to pay 2000amonth for healthcare.

[B]

I want to ask you that. How do you, how do you so you, do you choose health care? Do you choose to eat?

[I]

You choose to eat.

[B]

You choose to eat. You know what's going to happen?

[H]

They not going to take health care and then they only going to go to the doctor when they, when it's.

[B]

Something when they die have to go.

[H]

For when they die. I feel like they going have to do home remedies.

[C]

Yes. The healthcare is going to go up anyway because the big beautiful bill didn't include the extension of the tax credits to keeps the cost down. So it's, it's going up anyway.

[B]

Trying to get. That's what they. Trying to get the extension. That's the whole hold up.

[C]

So it's going up anyway.

[B]

So what I'm saying, if, if they get it, it won't go up.

[C]

What you mean?

[H]

I mean if they, if the Democrats don't cave.

[B]

If the Democrats don't cave because of.

[C]

The big beautiful building it. It didn' extension of the tax credit.

[B]

Aren't they fighting for them to put the extension in the big beauty.

[C]

The premiums hold for a year. Like it goes up and it's going to hold for a year up until the election.

[B]

This is from saying that.

[C]

Right?

[H]

And people, I'm still telling you, he going, that man is going to make everything fall on itself.

[C]

The premiums are set for a year at this point. So it's like right now, what are Democrats holding on for? Because next year is the 2026 election.

[H]

But I feel like if it's this, then it's going to be something else. It's going to be something else. It's going to be something else. He's always going to find a way to manipulate so that everybody gives up whatever it is that makes that's. But there's so many people. That's not getting.

[C]

But it is a choice. I saw Hakeem Jeffries on with Jake Tapper the other day. Jake Tapper asked him a simple question. He said, you're acknowledging that it's a choice between healthcare and people not being able to take care of their immediate needs right now. Right now, yeah.

[H]

But that's exactly what he wanted the choice to be so that then we would get rid of healthcare. Then it's gonna be something else. Then it's gonna be something else, then it's gonna be something else. So that we could always have to make the choice. Gotta make the choice. Gotta. That's how dictators work.

[B]

But this is all to kill the people poor too. I mean, this is to just to kill the poor, you know, make it. I guess they just want to wipe it white. And I keep asking, I even ask my white friends, I said, can you tell your white relative if this country were all white, well, what y' all gonna eat? Stadium hot dogs? White people ain't got no food.

[H]

That's the only food culture they got.

[B]

They got no food. I mean, but you know what really pisses me off? When I see them sitting in Mexican restaurants when I and I be want to ask them, is this how you feel? I mean, tell me how you feel. You sitting up here eating all this good seasoned ass meat, you know, you can't get at house. And I be want to ask them that they couldn't come in my room.

[H]

The same way they used to hate and then listen to a Nat King Cole album. It's the same thing.

[B]

They couldn't dance to it.

[C]

Same way they passed the entire LGBTQ legislation, but all got secret boyfriends.

[H]

That part. That part.

[C]

This the one I join when you write.

[A]

Right.

[C]

Especially for somebody like Ms. Pat. Just in general, because I love D. No more. I don't know why that's still not on Broadway right now, but are you trying to entertain Hill or make people feel. Feel uncomfortable?

[H]

All of the above.

[A]

Oh.

[B]

Oh, yeah. He wants you to feel uncomfortable. He wants you to cry. And he. If you. If you another race, he wants you to get upset. He wants you to think. He always wants you to think. And if you watch this, this season of the Ms. Pat show, this is where I bust out around it.

[H]

Oh, see you talking about the season that's not out yet.

[B]

Yeah. Oh, yeah, yeah. So, like, he would be in my ear, and he would keep pushing me and pushing me, and my. My thing is that, you know, I had kids really young, been through a lot, and he would just keep pushing me until I break down. Because my. My mama is one of the biggest people in my life. I can say that did me like shit. Did not protect me, you know, let me get molested. Just treated me like and thought I made me think I was not loved. And he know that that's my trigger point. And he would be in my ear just going on about my mama Mildred to the point where this season, when it comes out, you know, season four.

[H]

That was season four.

[B]

Okay, well, season four, when your mama.

[H]

Comes back as a ghost.

[B]

I hate her. And I had never said I hated my mama out loud. I've forgiven my mama because I realized it was a generational curse. You know, everything that happened to my mama, she allowed to happen to me. And so I forgive her because she didn't know no better. But I still have to live with the things that she allowed to happen to me that I didn't allow to happen to my kids.

[I]

Yeah.

[B]

I don't know why my daughter gay.

[C]

And it's like something is wrong.

[B]

What do you even know what Your problem? She.

[H]

Does she know it's undiagnosed?

[C]

It's undiagnosed with anything?

[H]

No, but that's the, that's, that's the crux of, like, everything that I do. And whenever I'm writing, I never, like, try to write from a place of like, oh, I got a message that I want to get out. It's usually because I have questions within myself that I got to figure out within myself. Like, even with this new play, oh, Happy Day, it was really, like, it took me seven years to write it because I had to grow. Sometimes I feel like as artists, we're given things that we're not yet mature enough to give out into the earth. Which is why I'm like, I can't do that microwave art. Sometimes you got do that crock pot art where it's falling off the bone. You know what I mean? And I feel like I had to learn through a happy day that happiness was a choice that took forever for me to learn. The idea that, like, it was up to me to choose.

[I]

Yeah.

[B]

Don't forget, season four of the Court show is out. Yes, yes. It's come, it's out. So. And that was me and Jordan ideal. And we teamed up with 495 and we made it happen. So. Nice.

[C]

Yeah, Well, I gotta go back to what Jordan just said. So, Joe, what does radical black joy look like to you right. Right now? And how do you protect it in a business that profits off black pain?

[H]

Ooh, come on. Right now it looks like protecting ourselves. It looks like discovering radical spaces for us to actually gather and actually have joy. Because right now I feel like we're in a time where everybody wants to do everything on social media, but we forget that the people who own social media were at the inauguration. The people who own these platforms were at the inauguration. So they're like kind of rooting for our downfall. So we have to go back to creating gathering spaces for ourselves. It looks like, you know, dancing by yourself and looking at yourself in the mirror and say, damn, I'm fine. You know what I mean? It looks like a Soul Train line. It looks like a cookout with some good ass potato salad and some good ass fried chicken. It looks like all of us coming together and reminding ourselves of our worth and our power and a time when we're being told that we are worthless. You know, the 50s, the 40s, literally.

[B]

Because it's like we cared about each other.

[H]

That's it. Sometimes I ain't gonna hold you Sometimes when I feel bad about what's going on right now. I go back and forth and watch Roots, I'd be like, damn, at least we, at least we ain't there. And then, and then we want that, that power, whatever that strength is that they had. Because I always get pissed off whenever people are like, I'm not my ancestors, I beat your ass. I'm not as weak as them, but actually way stronger. They were the strongest of the strong to make it over on the middle passage and to get through months and months of starvation and rape and beatings and you had to be literally the physically the strongest of the strongest. So that's who we are descendants of. And we have to remind ourselves of that. In moments like this, in a dark moment in our country where it seems like not thing is coming for us, the future is bleak. We have to remind us ourselves that all that's built in us, we already have it, you know, and as far as protecting it in these kind of situations or the Hollywood of it all, it's really just like writing from an authentic place and knowing that the audience that will get it will get it. Like even with oh Happy Day right now was. It was the same thing with Ain't no Mo was like, it's a very specific play for a very specific audience, you know, a very specific black audience. But they don't always know when a play is happening. You know what I mean? Like you said, I didn't know that was happening. They don't always know when it's happening. So then what happens is we write this black ass material and the seats are filled with mainly white people and all the jokes and all the things and everything just goes over their head. So it's like it's important for us to find gathering spaces like that as well.

[C]

So, yeah, I think the only people that can say Broadway is black people. I go to a lot of Broadway plays, you know what I'm saying? But the energy that was around Hamilton, there ain't no Moore's. Even the Outsiders right now that got black cast in it. Wicked. Like stuff like it gotta be diversity on Broadway.

[H]

Got to.

[B]

I'm not gonna watch anything if my people is not in it. Not even a TV show. I need at least one person that represents me. And when, if it's an all white show, I just. It. I'm not, I'm not interested because I won't. Because if you support those things and those shows continue to do well, they're never going to give all actors any work. Yeah, they're gonna say well, this is what, like when we was little, they told you, hey, this is how American family is. The brand Brady Bunch. Well, we weren't growing up like no Brady Bunch. That one real. Then the Jefferson. I mean, then the good times come along. You're. Oh, somebody who represent where I come from. So, you know, I just. I don't. If you. If you don't have anything to represent me in there, my people, I don't watch it.

[C]

But I don't understand either, though. And we had these conversations about TV and film. We had all of that in the 90s and it was super successful.

[B]

What the happened?

[H]

They built it on our backs and then they got rid of us.

[B]

That's what it was.

[H]

Just like they did with a lot of what, living single and then you got friends and then. You know. You know what I mean? It's like a lot of times, it's like they want us to be the ones to build it up and then they get rid of us like this. I don't know if you watching TV right now, but it's white, it's white. I don't wanna see. It is whiter than white. And I think it has a lot to do.

[B]

A lot of black shows for real.

[H]

And I think it has a lot to do with the political. They wanna move to wherever the political climate is. So we have to be the ones once again making sure that we're protecting our black joy in our safe spaces that support black. Black art.

[C]

Yeah, that's the key too, man. Black people don't be supporting like they should. Yeah, well, they.

[B]

They talk about it, you know, and I. I had to tell people this. When Ms. Pat show came out, they was like, oh, my God, this is not a representation of my family. And then Jordan would get mad at me because I would go online. I said, look, I don't know you. If this. If this don't click with you, then move the on, because I'm going for people who gets me.

[H]

And.

[B]

And then eventually by the second seat. Oh, my God, I love this show. But I was like, you never see white people online beating down white shows. If they don't like them, they don. But we quick to tell you we don't like something that black people create. And I tell people, I said, you black people listening today, y' all never go to Louis Vuitton or Gucci and say you don't like that crap. You just don't buy it or you can't afford to buy. But as soon as a black person put out a Product, you kills it. You kill. Instead of just saying or inboxing the person, telling them what you don't like about, you go public and want to destroy the black person. From all from insider. I never complain about black product. If you sell me something that I don't like, I keep mouth shut. One, you're black. Two, I hope you succeed. Three, I ain't gonna buy your no more. But I'm not gonna talk about you publicly because white people don't do that. You never see white people online dogging out white shows. But let a black show come along. Even if I don't like a black show, I would let it play in the black background because you black.

[H]

I wanna. I wanna say this one thing about the MissPass show and why Ms. Pat is so revolutionary in that sitcom, too, is because, like, when we shot that pilot, that, like, we said, that's not something that you normally see on tv. When we shot that pilot, we shot it in la and we shot it on the same sound stage as Julia. I don't know if y' all know what Julia is, but that was. That was a Diane Carroll show in. In the 60s, and that was the first time that a black woman was on television where she wasn't playing a maid, she was actually playing a nurse. And she was a single mother. She had a son, and my mom had a Julia doll. That was a big deal. We shot on the exact same soundstage as Julia. And Diane Carroll was known for saying that she wasn't a fan of that show in the 60s because she felt like she had to play a woman, white Negro. She felt like she had to play a palatable black woman for this audience. So I remember that we were on. Debbie Allen directed our pilot. And I remember she was like, jordan, you want to go to work with me one day? And I was like, yeah. She was like, well, on the way there, I got to go. I got to stop and go say goodbye to Diane Carroll. I was like, goodbye to Darryn Carroll. And she stopped in front of this apartment building, and she went upstairs and she came down, little tears in her eyes, and said, all right, let's go to work. I realized that Diane Carroll was passing. Passing away, and we were going to work on the same soundstage as Julia, and we were doing the complete opposite of this palatable black woman.

[B]

Wow.

[C]

Wow.

[B]

Yeah.

[H]

And that just felt, like, so cosmic in a really beautiful way. So I feel like I'm proud of the work that we. Five seasons is crazy.

[I]

But I'm very proud of Jordan. Yo, you're so young, doing this, doing what you do. I think this is dope. And I'm glad that you did not let anybody steal your joy on your way, you know, during your journey, because you're too young, because you're what they call, what they call it, green in the industry. They feel like, you know, I love that.

[H]

Thank you.

[B]

You gotta learn to stick to. And I know envy. You gotta get home and see about your family. Cause you keep trying to go. But I love this conversation. Did y' all eat today?

[H]

Did y' all eat today? Did y' all eat today?

[C]

Asking Ms. Pat if she ate today.

[B]

Me?

[I]

No, I was. I was talking.

[H]

She said, attacking. You go ahead, Ms. Pat.

[B]

I forgot what the I was gonna say, cuz I got menopause. No, we was not talking.

[H]

We not talk about being green.

[C]

You said you used to go hungry. At some point you started eating and couldn't stop after that. What happened?

[B]

She didn't say that. Kiss my ass from the front. How about kiss my ass from the front is crazy? I don't know what I was.

[H]

No, he was asking about season five.

[C]

I think that's. No, she was talking about Jordan.

[H]

You were talking about being green and.

[B]

Oh, yeah. Look, I don't know. But, you know, Jordan has been awesome, and I just. I love him, you know, And I don't know if we will ever do another project together, but Jordan has gotten me over so many mental humps where I thought I couldn't do it. And he put it in me that I could do it. I mean, I couldn't act well, and he never said you couldn't act, but he's like, you need some help, you know? And it was. It was. It was such a joy working with somebody who don't judge you, who, instead of putting you down, they was. They. He came along and fixed the things that were broken with me, and he understood me from the front, from the beginning, and that is hard to do. And you want. You want to know something crazy? Every time I get a project, I want Jordan on it. But I know I can't have Jordan on it because we. He don't need to be on it. You know, we. We've learned from each other, and we can go off onto the world and make our own. Own thing, but he's my comfort zone.

[I]

Yeah.

[B]

And every time it be like, well, who you want to write? In my mind, go, Jordan. I like, leave Jordan alone. He. He, He. He's. He's creating gay plays and all of this other.

[C]

But Think about the duo. Think about Ryan. Think about Ryan. Cougar, Michael B. Jordan.

[B]

And I. I try to tell him, what's the Scorsesian? No, what's the White. Yes. What's the guy named? What I loved about Alexander, he put on his Adam sound, whatever. You know, I'm talking to Shay. What I love about him, he put everybody on. And every time he got a project, he continued to put his friends on and they all got rich together. And that's what I be telling Jordan. I said, even though if you don't come back and use me, use those writers that we start with use though, because they understand you. So keep your people close that understand you and continue to build. And that's. That's the only thing I ever asked him for. I said, I know I be trying to tell you, you need to let me be executive producer. And I don't show up and just help me get a check. But he was like, hell no. Everybody else do it. Everybody else how they kids, I call them people who have show put my kids on. They be like, put your kids on. And they won't even put my kids on. If you ask me to put somebody on, I'm gonna put them on.

[H]

Because, well, if they good at their job, you're not just giving random. Random people. Because one time we did that and we had to. You remember, we had to let somebody go that same day.

[B]

But. Oh, yeah, but. But he was on.

[C]

That's all that count.

[B]

But we, as we in this industry, we gotta start looking out for each other. Because so many times you go on these sets and they white. When people come to me like, God damn, your set is black, gay Puerto Rico.

[H]

All kind of people, black cameramen, women, camera. You know what I mean? I don't play.

[B]

Hey, I do not. I hand pick them and join get on me. Be like, you be in every damn department. You would not watch the Ms. Pat show in a wig is done wrong. Cause Ms. Pat don't walk around there and touch that wig. Hey, more glue mo jail. More something. Because I care about everybody. On this season, we had an episode about ice and the. The Mexican lady. And they just threw the makeup on her. And they. I was like, why she greasy? And they was like, well, that's how I said that's not how they look. She pretty. And I talk to makeup people, I say, you gonna feel fix her face. And they fixed it. Cause why am I looking good and background not looking good. Not on my show. Everybody gonna get fed and everybody gonna look good. And everybody gonna work.

[C]

Y' all. Craft service is popping, I bet.

[B]

Yes, it is. You got them, right? It is. Yes, it is. Hey, baby, It's a buffet over there.

[C]

Damn.

[B]

Now, it ain't none of that messy, baby. They barbecue every day in the back of that set.

[C]

Why the black makeup artist thought Mexicans was greasy.

[B]

I don't know.

[H]

I think it was the. It was the problem because a lot of times with camera makeup, it looks good off camera, but then when you get on camera, you'd be like, whoa.

[B]

Yes. And so to me, like, I don't think they saw it off camera, but when. When you put them lights on, she was very greasy. And I was like, why you got her looking like that? They was like, what? I said, no. I said, come on, baby. And she was a backup. I said, come on, baby. We're gonna fix this. And I never told her she would grease. I said, they need to touch you up.

[I]

Did she speak English?

[B]

Yeah, she spoke English. But then what? You weren't gonna make her look like that. Yeah, because every. I want everybody to look good. I want everybody to. To look back on my show and be happy about how they look. I care about everybody.

[A]

Yeah.

[C]

What's the next episode about? Oh, I can't.

[H]

We can't. We can't tell you. But it's crazy. It's so crazy that we didn't know if they was gonna let us air it.

[B]

No, it is hilarious.

[H]

It's. It's wild.

[C]

Well, thank you so much for joining us this morning.

[B]

I love you, Charlemagne.

[D]

I do.

[B]

When you gonna get into Congress? We need you.

[C]

What?

[B]

When you gonna become a congressman?

[C]

When I'm 50 something years old.

[B]

Well, we need you, Charlamagne. You're very intelligent. You smart. If I had half the knowledge that you had, I would be out there, like, jam a Crockett. Cutting them, cutting edge.

[C]

You do have it.

[B]

No, I don't.

[C]

From a street perspective, and that's the best perspective.

[B]

Yeah, but I ain't got time. See, I'm not.

[C]

Ms. Pat does tell me that. Like, she texts me all the time. Be like, I told you, you the next nigga Andrew Gillum.

[B]

I think she right.

[H]

I think she right. I think.

[B]

I think you'll get great politics out the ass. Ladies and gentlemen, Jordan E. I'm coming.

[C]

To see Old Happy Day. You say this last week.

[H]

Yep, last week.

[C]

I'm coming this week.

[B]

Can I give a shout out to somebody I know? Give a shout out. So can I give a shout out to Carlos Miller from 85 for doing up my husband old school's 1970 Chevelle. I'm coming to your damn car show. Carlos don't hook. We got a 70 and a 72 and Carlos redid them. Oh, I don't know what color it is. Brown and one white stripe and other white with the brown. That is bad. Carlos Miller, hook my two cars up for my husband and we coming to life Light skin car show.

[H]

I love it.

[B]

Yes we are.

[H]

It's the Breakfast Club. Good morning.

[C]

Every day I wake up.

[B]

Wake your ass up.

[H]

The Breakfast Club.

[D]

On the podcast Health Stuff, we are tackling all the health questions that keep you up at night.

[E]

I'm Dr. Priyanka Wali, a double board certified physician.

[D]

And I'm Hari Kundabolu, a comedian and someone who once googled do I have scurvy at the 3am and on our show we're talking about health in a different way. Like our episode where we look at.

[E]

Diabetes in the United states. I mean 50% of Americans are pre diabetic.

[D]

How preventable is type 2?

[E]

Extremely. Listen to Health Stuff on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts.

[F]

The murder of an 18 year old girl in Graves County, Kentucky went unsolved for years until a local housewife, a journalist and a handful of girls came forward with a story.

[B]

America, y' all better wake the hell up. Bad things happens to good people in small towns.

[F]

Listen to Graves county on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts. And to binge the entire season ad free. Subscribe to Lava for Good plus on Apple Podcasts.

[J]

Michael Lewis here. My bestselling book the Big Short tells the story of the buildup and burst of the US housing market back in 2008. A decade ago, the Big Short was made into an Academy Award winning movie. And now I'm bringing it to you for the time first first time as an audiobook narrated by yours truly. The Big Short story. What it means to bet against the market and who really pays for an unchecked financial system is as relevant today as it's ever been. Get the Big Short now at Pushkin FM audiobooks or wherever audiobooks are sold.

[B]

I'm Eva Longoria.

[G]

And I'm Maite Gomez Rajon. And this week on our podcast Hungry for History, we talk oysters. Plus the Miambi two chief stops by.

[D]

If you're not an oyster lover, don't.

[C]

Even talk to me.

[G]

Ancient Athenians used to scratch names onto oyster shells to vote politicians into exile. So our word ostracize is related to the word oyster.

[B]

No way. Bring back the ostracon.

[G]

Listen to Hungry for history on the iHeartRadio app, Apple Podcast, or wherever you get your podcasts.

[A]

Welcome to Decoding Women's Health. I'm Dr. Elizabeth Poynter, Chair of Women's Health and Gynecology at the Atria Health in New York City. I'll be talking to top researchers and clinicians and bringing vital information about midlife women's health directly to you.

[H]

100% of women go through menopause.

[B]

Even if it's natural, why should we suffer through it?

[A]

Listen to Decoding Women's Health with Dr. Elizabeth Poynter on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

[B]

This is an iHeart podcast.