Julio Torres Makes Everything Funny—Including Color Theory

Summary

Podcast Episode Summary

The New Yorker Radio Hour

Episode: Julio Torres Makes Everything Funny—Including Color Theory
Date: March 24, 2026
Host: David Remnick (WNYC Studios & The New Yorker)
Guest: Julio Torres
Interviewer: Michael Shulman

---

Episode Overview

In this episode, David Remnick introduces a conversation with Julio Torres—an innovative comedian, writer, and director renowned for his surreal, visually-oriented humor. Staff writer Michael Shulman sits down with Torres to discuss his new HBO special, Color Theories, a unique exploration of how colors can explain human behavior, institutions, and social systems through Torres’s distinct worldview. The conversation spans his comedic process, the emotional resonance of colors, growing up in El Salvador, and a playful field trip to a Manhattan dollar store.

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Key Discussion Points & Insights

Julio Torres' Creative Mindset and Color Theories

(01:51 – 02:53)

• Shulman describes Torres as someone whose comedy is "not a straightforward setup, joke, setup joke. It's more like he's a guest lecturer at an art school," focused on visual storytelling and the inner lives of objects.
• The HBO special Color Theories categorizes behaviors and systems using color as the analytic tool.

Assigning Colors to People and Concepts

• Dwayne "The Rock" Johnson is Orange:
  (03:09 – 03:15)

  "Because orange is the midpoint between joy and rage. Joy being yellow, rage being red… An action movie star, I think, is inherently orange because it's dangerous, but it's also fun. And it's not scary. It's exciting."
  — Julio Torres

• On Magnetic "Orange" People:
  (03:40 – 03:46)
  "I like orange. Yeah, yeah, yeah. I mean, orange people are so magnetic."
  — Julio Torres

• Catholicism as Deep Purple:
  (03:47 – 04:15)
  Purple is chosen "because it is mysterious. It's a little baroque… a combination between the fiery passion of red… and the rigidity of an organized religion, which I would say is navy blue."
  — Julio Torres
  "There's a lot of blood imagery and Catholicism. There's a lot of depiction of violence in Catholicism."
  — Michael Shulman

Bureaucracy and the Color Navy Blue

(04:33 – 05:25)

• Navy blue embodies bureaucracy:

  "A color of logic, math… But then systems and bureaucracy are navy blue because there's darkness in there. And by that, I don't necessarily mean darkness in the good and evil sense. I mean, like, unknowns."
  — Julio Torres

• Any complex, bureaucratic system (from the US immigration system to the wedding registry site Zola) becomes “deeply navy blue.”

Corporate Masking and the Rise of “Beige”

(06:58 – 07:45)

• Companies use pastel and beige tones to mask their true nature:
  "Kind, soft, welcoming, inoffensive, sweet. …Kindness, wink, wink, sells. So everything got soft and pastel and smooshy."
  — Julio Torres
• Greenwashing:
  "Green. Like natural, healthy. Of the earth.… BP logo… Corporations love presenting themselves as green."
  — Michael Shulman & Julio Torres

The Essence of Green—and Who Gets to Be Green

(08:27 – 09:20)

• Green is "being at peace… following your instincts… combination between yellow, which is joy, and blue, which is logic and order."
  — Julio Torres
• True “green” people wouldn’t be celebrities:
  "If you're truly green, you don't have a publicist. You're just living your life and being happy."
  (09:14 – 09:20)

Childhood, Creativity, and the Inner Life of Objects

(11:14 – 13:47)

• Everyone starts out with an intuitive sense for inanimate objects and colors:
  "I think we all do and then we forget about it like every kid does... The instinct is quickly squashed or put aside."
  — Julio Torres

• Growing up over his mother’s dress shop in San Salvador, Torres spent much time alone, drawing, doodling, and story-making.

• That childhood space felt “green… there was order, and we were happy.”
  (12:25 – 12:32)

• Shulman points out Color Theories feels like inviting audiences into Julio’s creative “green zone,” a companion to his previous special, My Favorite Shapes.

Cultural Color Differences & Objects

(13:47 – 14:16)

• Torres associates distinctive plastic colors in El Salvador (such as orange and fuchsia straws) with home—colors less dominant in the US.

Synesthesia and Color Association

(14:16 – 14:55)

• While often asked if he has synesthesia, Torres feels most people could develop color associations if prompted:
  "If you had a worksheet in front of you, and you were like, forced to do it. You'd have associations. I think they should put this in school curriculums."

Dollar Store Field Trip — Finding Comedy in Everyday Color

(15:25 – 19:52)

• The hosts tour a Manhattan dollar store, analyzing the color logic of ordinary items:
  • Camouflage: Torres is uneasy about its trendiness (“the queerification of camo”), joking, "Oh, like gay people can kill too."
  • Glitter Glue Colors: The green label "cosmic" evokes “space and aliens.”
  • Novelty in Clear Number Candles:
    "Clear is your favorite color, and I've never seen clear be represented in a birthday cake."
    — Julio Torres

• Lilac and Lavender as “Motherhood” Colors:

  "Lilac is a mom. Purple is a stepmother."
  — Julio Torres (18:48)
  • A lavender mug with motherly motifs becomes a perfect illustration:
    "This mug itself is a color theory."
    — Michael Shulman (19:41)
  • The mug is purchased for Torres, expensed to The New Yorker, as a running in-joke.

---

Notable Quotes & Memorable Moments

• On color associations as universal habit:
  "I think we all do and then we forget about it like every kid does... The instinct is quickly squashed or put aside." (11:26 – Julio Torres)

• On how “kindness sells” in branding:
  "Because the world has gotten so harsh, corporations realize, oh, kindness, wink, wink, sells." (07:45 – Julio Torres)

• On the question mark birthday candle:
  "Maybe that's a better tradition than singing happy birthday around a cake is asking questions but not receiving any answers." (17:22 – Julio Torres)

• Color and family associations:
  "Lilac is a mom. Purple is a stepmother." (18:48 – Julio Torres)
  "This mug itself is a color theory…" (19:41 – Michael Shulman)

---

Important Segment Timestamps

• Julio Torres's comedic style and origin of Color Theories: 01:51 – 03:09
• Assigning colors to concepts (The Rock, Catholicism, systems): 03:09 – 05:25
• Corporate color manipulation: beige and green: 06:58 – 08:40
• The essence of “green” and celebrities: 08:48 – 09:20
• On childhood creativity and the “green zone”: 11:14 – 13:47
• Dollar store excursion—color in consumer goods: 15:25 – 19:52

---

Tone & Language

The episode blends playful, surreal association with thoughtful critique of systems and social norms. Torres’s style is gentle, whimsical, and insightful, bringing humor and lightness to complex questions about society, color, and creativity.

---

Summary for New Listeners

Even without the audio, this episode vividly transports listeners into the mind of Julio Torres and his delightfully unusual approach to comedy, art, and the semiotics of everyday colors. From color commentary on celebrities and religion to childhood stories and an impromptu dollar store field trip, Torres and Shulman explore how colors reflect, mask, and shape both our individual experience and larger social realities—with warmth, originality, and distinctive comic flair.

Transcript

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[Julio Torres]

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[Narrator/Host]

This is the New Yorker Radio Hour, a co production of WNYC Studios and the New Yorker.

[David Remnick]

This is the New Yorker Radio Hour. I'm David Remnick. Julio Torres is one of the most original minds working in comedy right now. He first made his name as a writer on Saturday Night Live, and then he went on to make two shows for HBO that remain cult favorites, Los Espukis and Fantasmas. Torres also wrote and directed the film Problemista, about a toy designer who's facing deportation. There's a really unique surrealism to his humor, and when staff writer Michael Shulman profiled Julio Torres for the New Yorker, the piece ran under the headline Extraordinary Alien.

[Michael Shulman]

You know, of all the people that I've profiled for the magazine, Julio's one of those people where I just don't think his mind works quite like anyone else's. His comedy is not a straightforward setup, joke, setup joke. It's more like he's a guest lecturer at an art school or something. And he's laying out his very particular way of seeing the world. He's very design and visual oriented. He's very in tune with the inner life of objects. His new HBO special, which comes out this month, is called Color Theories. And the way he sees colors is quite different from the way that you and I see colors. We met in the East Village of Manhattan on one of the first warm, sunny days of the year, and we sat in the park. So I want to, without giving too much away about color theories, maybe give people like a little bit of A taste, because the theories are. It's not literal. You have to sort of open your mind to how Julio sees the world.

[Julio Torres]

It is an attempt to explain people behaviors and systems using color as a categorizing tool.

[Michael Shulman]

So to give just an example from the show, why is Dwayne the Rock Johnson orange?

[Julio Torres]

Because orange is the midpoint between joy and rage. Joy being yellow, rage being red. An action movie star, I think, is inherently orange because it's dangerous, but it's also fun. And it's not scary. It's exciting.

[Michael Shulman]

Yes, yes. And you're really into orange.

[Julio Torres]

I like orange. Yeah, yeah, yeah. I mean, orange people are so magnetic.

[Michael Shulman]

Like the rock.

[Julio Torres]

Like the rock.

[Michael Shulman]

Yeah. Why is Catholicism purple?

[Julio Torres]

Because it is mysterious. It's a little baroque. Right. It is, I think, a deep, dark purple because it is a combination between, like, the. Like, fiery passion of red. You know, there's a lot of blood imagery and Catholicism.

[Michael Shulman]

Yeah.

[Julio Torres]

There's a lot of depiction of violence in Catholicism.

[Michael Shulman]

Yeah. Very, very bloody.

[Julio Torres]

And the combination of that and the rigidity of an organized religion, which I would say is navy blue.

[Michael Shulman]

And blue is like organization. Right.

[Julio Torres]

It's a system. Primary blue is a color of logic, math. Right. Things that you can't really argue with. Two plus two is four. But then systems and bureaucracy are navy blue because there's darkness in there. And by that, I don't necessarily mean darkness in the good and evil sense. I mean, like, unknowns.

[Michael Shulman]

Yeah. Black is the color of unknown, you say? Yeah. I mean, navy blue seems to be a big subject for you. It's sort of the star of the show, but, like, the villain of the show, because you call it this. The color that runs the.

[Julio Torres]

It's the preoccupation of the show.

[Michael Shulman]

Yeah.

[Julio Torres]

Neither the star nor the villain.

[Michael Shulman]

You have made a lot of really interesting art about the immigration system, like your movie Problemista and your show Fantasmas. Is it safe to say that the U.S. immigration system is deeply navy blue?

[Julio Torres]

Yeah. I mean, any bureaucratic system, I think is navy blue. You don't have to go that overreaching and complex. Ask the immigration system to find navy blue. I think that, like, Zola, the wedding registry website is navy blue.

[Michael Shulman]

Zola, the wedding website is also navy blue. Why?

[Julio Torres]

Why are you involving tech in your love? Why is tech now? We have to create a password to get married.

[Michael Shulman]

Right.

[Julio Torres]

To invite Nana. She has to, like, what, like, download something. No.

[Michael Shulman]

How long have you been working on these color theories?

[Julio Torres]

I think I was just compiling a list for a long time, and then I thought, oh, wait, all these thoughts can be a show.

[Michael Shulman]

Was there a color you started with?

[Julio Torres]

I think actually it might have been navy blue.

[Michael Shulman]

Yeah.

[Julio Torres]

Yeah, because it's. I think it helped me put a name to the thing that I was displeased with, and it addresses the. The frequent lie coming from navy blue, which is I'm just blue. Because any bureaucratic system is going to say, this is just logic. It's just how it is. It's like, it's perfectly reasonable. It's perfectly logical. But no, there's something hidden there, and that's hidden in black.

[Michael Shulman]

There's a lot of pretense in your color theories. It's like the color on the outside often doesn't match.

[Julio Torres]

No, no, of course not.

[Michael Shulman]

Yeah. It's tricky.

[Julio Torres]

Well, Sola does something that a lot of navy blue companies love doing, which is presenting itself as beige.

[Michael Shulman]

Okay, wait. Define the terms here. Beige. Meaning?

[Julio Torres]

Meaning kind, soft, welcoming, inoffensive, sweet. Okay, now we're getting into, like, AP level color theory. Pastels are beige.

[Michael Shulman]

Pastels are beige.

[Julio Torres]

The hues of pastels is beige.

[Michael Shulman]

Right? Yeah. I mean, this is when you really have to go galaxy brain and be

[Julio Torres]

like, there's a beige intention to selecting pastels.

[Michael Shulman]

Right.

[Julio Torres]

Baby showers are beige.

[Michael Shulman]

Okay, yeah. So there's the literal color of the thing, but you're saying beige is like the essence.

[Julio Torres]

Yes, and that essence is used as a mask for companies because kindness emerged as a profitable concept. Like, it used to be. Like, when I was growing up, you'd hear the phrase, like, sex sells. Sex sells. Right. And then I think now, because the world has gotten so harsh, corporations realize, oh, kindness, wink, wink, sells. So everything got like, soft and pastel and smooshy and. Or green. Green was a green corporation's love presenting itself as green.

[Michael Shulman]

Okay, well, we haven't talked about green, so let's. I mean, like, find the terms.

[Julio Torres]

The BP logo.

[Michael Shulman]

Oh, yeah.

[Julio Torres]

Green. Like natural, healthy. Of the earth.

[Michael Shulman]

Yeah. But green you also talk about in a more abstract way, too. Green is sort of following your instincts, you say?

[Julio Torres]

I think. Yeah. I think green is being at peace. Green is following your instincts, being at peace. It's the combination between yellow, which is joy, and blue, which is logic and order. So people that exude green are in control, but they're happy.

[Michael Shulman]

Who's like a green celebrity?

[Julio Torres]

See, that's tough, because I think if you're truly green, you wouldn't be a celebrity.

[Michael Shulman]

Oh, wow.

[Julio Torres]

If you're truly green, you don't have a publicist. You're just living your life and like being happy.

[Michael Shulman]

Okay?

[David Remnick]

Julio Torres, speaking with the New Yorker's Michael Shulman. More in a moment.

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[Michael Shulman]

It seems like you've always had this intuition about the inner lives of inanimate objects and concept and like abstract concepts like colors and and numbers. Do you feel like you've just had that your whole life?

[Julio Torres]

I think we all do and then we forget about it like every kid does.

[Michael Shulman]

Yeah.

[Julio Torres]

And then you just sort of like are like taught to let that go or something. The instinct is like quickly squashed or put aside.

[Michael Shulman]

Can we talk a little bit about when you were growing up? You've told me about how your your family originally lived above your mother's dress shop.

[Julio Torres]

Yes.

[Michael Shulman]

And that was this sort of like pre lapsarian time for you.

[Julio Torres]

Yeah.

[Michael Shulman]

Can you tell me a little bit like what you would be up to up there?

[Julio Torres]

Like a lot of, a lot of playing by myself. Lot of alone time. I'VE always craved alone time. A lot of. Yeah. Like, coming up with little stories, drawing a lot of. Drawing a lot of doodling.

[Michael Shulman]

When you think about sort of that. That place. What color was it? Oh, like your original apartment.

[Julio Torres]

Oh, that felt green to me. Yeah. There was order, and we were happy.

[Michael Shulman]

Yeah.

[Julio Torres]

Yeah.

[Michael Shulman]

We were talking a couple years ago about your first special, My Favorite Shapes.

[Julio Torres]

Yeah.

[Michael Shulman]

Which I really, really, really love. And I think Color Theories is a wonderful kind of companion piece to it. You kind of talked about making that special sort of, like your attempt to return to this, like, idyllic childhood above the dress shop where you had, like, seamstresses, like, working for you, making Barbie houses.

[Julio Torres]

Yes.

[Michael Shulman]

And it just. It seems like so much of your comedy is, like, still in that space of, like, being in the green zone, of, like, getting to just sort of let your mind wander and explaining. Like, sometimes in Color Theories, I feel like you're. You're sort of like someone has come into your childhood bedroom, and you're, like, just sort of explaining what was on your mind, you know?

[Julio Torres]

Oh, no, they come into my classroom, right into my. Into my lab. But, yeah, I feel like every. Like, the way that I approach my creative life, I hope for it to be green, and I. I hope that people leave feeling like that, and I hope that people that work on them feel like that and, like. Yeah. Like, joyful and relaxed.

[Michael Shulman]

Yeah. Are there colors that you associate with San Salvador that aren't here?

[Julio Torres]

Oh, that's interesting. That aren't here.

[Michael Shulman]

Or more or less dominant here?

[Julio Torres]

Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. I think there's certain shades of plastic. For whatever reason, orange straws is coming to mind.

[Michael Shulman]

Orange straws?

[Julio Torres]

Yeah. And, like, blue straw. Like, straws of every color. Like fuchsia. I feel like there's a lot of fuchsia.

[Michael Shulman]

You know, I've been meaning to ask you something. Do you. Do you have synesthesia? I don't really know if I understand what that is.

[Julio Torres]

Okay. I don't think I. I'm also unclear on what that is, and I think we all have it.

[Michael Shulman]

Okay.

[Julio Torres]

Associating colors to concepts or, like, feelings to colors or, like. Like sounds and colors.

[Michael Shulman]

I guess it's like you see colors in music or. But we don't have that, do we? Yeah, because, like, you come out and you say that, like, uppercase R is like a purple letter. Like, I don't think that would occur to most people.

[Julio Torres]

Well, but if you had a worksheet in front of you, and you were like. And you were like, forced to do it. You'd have associations. I think they should put this in school curriculums.

[Michael Shulman]

Should.

[Julio Torres]

Yeah.

[Michael Shulman]

Every classroom in America should be studying this. So you wanted to go visit a dollar store. Should we go? Yeah, let's go look at some colors.

[Julio Torres]

Yeah, yeah.

[Michael Shulman]

We are at the 3rd Avenue dollar and more dollar store, dollar and more dollar and more.

[Julio Torres]

Meaning things are a dollar or more. We just entered. And I should say I love dollar stores as a genre. I just love as a genre of stores. We have a lot of great hoodies, backpacks.

[Michael Shulman]

How do you feel about camouflage? Because we're looking at.

[Julio Torres]

I don't. I don't, I don't, I don't.

[Michael Shulman]

We have a camouflage backpack.

[Julio Torres]

Yeah. I don't like camo as a genre. I feel a little weirded out about the. The queerification of camo. Like. Oh, like gay people can kill too. Is that the right.

[Michael Shulman]

Right.

[Julio Torres]

Okay. This is fantastic glitter glue. That's so fun. Doesn't it make you just want to go glue something?

[Michael Shulman]

Yeah, yeah. I want to do a project.

[Julio Torres]

Okay. So they have silver color, iridescent color, cosmic.

[Michael Shulman]

That's what that actually says.

[Julio Torres]

Yes.

[Michael Shulman]

The green one is cosmic. Why?

[Julio Torres]

Well, because it. It evokes space and aliens and that kind of thing, I think. And then silver is just silver.

[Michael Shulman]

I thought those were just your words for.

[Julio Torres]

No, no, they're actually being iridescent color. This is perfect.

[Michael Shulman]

Okay, so we're in the birthday section.

[Julio Torres]

We're in the birthday section. And it's like, where else are you gonna go and find number candles? Like, around the corner from you. See, like, this is why I like the dollar store is like all the junk that people are impulsively just being like, oh, just get it off Amazon. Just walk three blocks and you'll find it in New York. Wait. Okay, I want to direct your attention to clear candle numbers. We have 1, 2, 3, 4, 5, 6, 7, 8, and 9, all in clear. Clear is your favorite color, and I've never seen clear be represented in a birthday cake.

[Michael Shulman]

That's brilliant. Never, never, never. This is like breaking ground in birthday cakes.

[Julio Torres]

Okay. And the other one is a candle shaped like a question mark. I love the candle is shaped like a question mark. Also, it's glittery. What I really love about it is, I mean, obviously I love questions. What I don't like about it is that if you put it on a birthday cake, it's like, oh, ha ha. Because we can't say how old you are. Haha. But it's like, to me, the question is bigger than. Than how old the person is. Right. It's not about hiding your. Like, what. What else don't we know? What are we keeping from each other? Maybe that's a better tradition than singing happy birthday around a cake is asking questions but not receiving any answers. Around the cake, a coffee mug, mostly white. There's a little title that reads beautiful lavender. It's in cursive with illustrations of a birdhouse, an envelope. And what is this flower called? Lavender. And a letter and a butterfly. So now this is, I think, very important because I've talked about how lilac has been anointed the color of motherhood.

[Michael Shulman]

This is actually my favorite line in Color Theories, which is. Can you just say what it is? Because I don't want to mangle it. Lilac.

[Julio Torres]

Lilac is a mom. Purple is a stepmother.

[Michael Shulman]

Yes. So much truth in that.

[Julio Torres]

So this mug is, I mean, first of all, backing up the thesis.

[Michael Shulman]

Okay.

[Julio Torres]

And it's a mug that celebrates the concept of a color, that celebrates the association of a color to a concept.

[Michael Shulman]

What would you say is the concept of lavender?

[Julio Torres]

Motherhood. Look at it. It's all like, mommy lady stuff.

[Michael Shulman]

Yeah. Yeah.

[Julio Torres]

Or like grandmother maybe.

[Michael Shulman]

They're like comforting, friendly things that you might find in lavender. Yeah. Like, you could get this for your mom for Mother's Day.

[Julio Torres]

Like, the equivalent would be finding, like a. Like a boy's backpack that just said like, orange, exclamation point.

[Michael Shulman]

Yeah. This mug itself is a color theory.

[Julio Torres]

This mug itself is a color theory.

[Michael Shulman]

Like you.

[Julio Torres]

This is obsessively merch.

[Michael Shulman]

Speaking your language.

[Julio Torres]

Yeah.

[Michael Shulman]

Julio, would you want this lavender mug? Because I feel like you should have it if you want.

[Julio Torres]

I think I should have it.

[Michael Shulman]

Yeah. Can we. Can the New Yorker purchase this for you?

[Julio Torres]

Yeah. Do you want to expense it to the New Yorker?

[Michael Shulman]

Yeah, I would love to expense a lavender mug from a dollar store.

[David Remnick]

The New Yorker's Michael Shulman with Julio Torres on location at 3rd Avenue dollar and more.

[Michael Shulman]

Hi, I would like to

[David Remnick]

Color Theories is Julio Torres new HBO special and it begins streaming later this week. That's it for the program today. Thanks for joining us and I hope you'll join us next time.

[Narrator/Host]

The new yorker radio hour is a co production of wnyc studios and the new yorker. Our theme music was composed and performed by meryl garbus of tune yards, with additional music by louis mitchell and jared paul. This episode was produced by max balton, adam howard, david krasnow, jeffrey masters, louis mitchell, jared paul and ursula sommer, with guidance from emily bottin. And assistance from michael may, david gable, alex barsch, victor guan, and alejandra deckett. The new yorker radio hour is supported in part by the cherina endowment fund.

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