B (1:17)

Okay. So, Leela, I want these. Perfect.

A (1:21)

So thank you, my love.

C (1:22)

This is a vibe. Yeah. This is a sunny vibe.

B (1:24)

Thank you.

A (1:25)

Oh, no.

B (1:25)

He is such a soothing voice.

A (1:26)

I know. Let's match your energy.

C (1:28)

I know. I'm Cal. Welcome to Taurus Life.

A (1:31)

That's grounded. I recently just read my birth chart. I know nothing about it, but I know I have a tourist placement.

C (1:36)

Let's go. I'm a tourist.

A (1:41)

Welcome, welcome.

B (1:42)

I thought you were a tourist.

C (1:43)

Yeah, I like to tour around.

B (1:45)

He's a tourist.

C (1:46)

Act like I've never seen nothing before.

B (1:51)

That's your sign.

C (1:52)

Of course.

A (1:53)

A tourist.

C (1:54)

It's so nice to meet y'. All.

B (1:56)

It is. So thank you for coming on our little humble show.

A (1:58)

Oh, man, I smell a boat.

C (2:00)

Come on, man. We all got to start from somewhere.

A (2:02)

We were shocked that you said yes, if I'm going to be honest, because you're obviously, you're the homie, and we know that you're cool, but you are certainly at this echelon in your career that is really exciting to have.

C (2:12)

Thank you very much. But, yeah, I'm trying to make sure. I, like, definitely, like, answer the ones that I can for sure. You Know what I'm saying? And the ones that are definitely in proximity that I know I really can get done for sure. As opposed to zooming, I feel like zooming needs to go away. It's time to get back to the office, you know what I'm saying?

B (2:33)

Zooming needs to go away.

A (2:34)

It's got to go.

C (2:35)

Because it was never quality, you know what I mean? Yeah. It just was something that we used to keep things going. But I think the quality is in the energy, you know what I'm saying? And, like, it's tough when people's angles be wrong or the cameras be out of date, you know what I'm saying? You know what I mean? All of that, it can just ruin the thing. So trying to get better at, like, showing up, like, for real.

B (2:58)

Oh, you're showing up.

C (3:00)

You showed up.

A (3:02)

Get up, get up.

B (3:03)

Come on. No, it's so funny because, like, we obviously grew up on your comedy. And as an up and coming. Do I call myself an up and coming.

A (3:13)

I wouldn't say. I say you.

B (3:14)

I'm a certain. I'm not a down and leaving comedian.

C (3:16)

No, no, that's you, definitely as a.

B (3:18)

Non down and leaving comedian, I'd love.

C (3:20)

To leave it down and come, you.

B (3:21)

Know, like, for me, you were one of my first comedic influences. And so I've just loved, like, my brothers. Can't believe that I'm talking to you today. So fantastic. Yeah, y'. All.

C (3:30)

Yeah, that's right.

B (3:31)

Don't sleep on me.

C (3:31)

Don't sleep. Don't sleep on me.

B (3:32)

You guys thought I had a made up job. Guess what?

A (3:35)

She's working.

B (3:35)

It's a little real today.

C (3:36)

She's real.

B (3:39)

Shit is real.

C (3:40)

Shit is real out here, man. We really sitting here.

B (3:43)

No, the first time me and Tiff ever saw you in person, you didn't see us, but we saw you.

A (3:48)

We saw you.

B (3:48)

We were in the nosebleeds at a Knicks game.

C (3:50)

Yeah. Oh, fantastic.

B (3:51)

And you were on the Jumbotron.

C (3:53)

Yeah, they like to do that.

B (3:54)

Yeah, it was a vibe.

A (3:55)

Do y' all like, when that happens? Are you really there? Incognito? And then they put.

B (3:58)

And you're like, oh, God.

C (4:00)

No. I mean, I think you know that that's the trade off. You know what I'm saying? Like, if you're getting invited over there, they need something from you, whether it's a photo op or, you know. But I think the jumbotron is. It's kind of like become part of it. Like, I think. I think the Lakers started that, you know, What I'm saying, shout out to the Lakers because, you know, it's a way for me to go to the game without having to, like, pay out the wazoo and have nice.

B (4:22)

So wait.

C (4:22)

The least I can do is let a camera be.

A (4:25)

It's a. I had no idea.

C (4:27)

I don't even know if I'm supposed to be telling, but, like, I didn't think it was a secret. It ain't no secret.

B (4:32)

They just told us.

C (4:32)

You know what I mean? But some people actually have season tickets. Like, Spike Lee is like, a lifelong season ticket holder and stuff like that.

A (4:40)

That ticket will live on past you.

C (4:41)

Yeah, yeah, I'm a little different. Like, I like to just, you know, pick up the phone and be like, hey. You know what I'm saying? Just scoot on in there.

A (4:52)

Slap it in so you can see the two.

C (4:54)

I buy the chicken fingers. I got that part.

B (4:57)

A little something. Just a little something.

A (4:59)

Something small.

B (4:59)

Something small.

A (5:00)

Something small.

C (5:00)

But I like a lot of sports, so, you know, it can get expensive, especially with little ones in tow, you.

A (5:06)

Know what I'm saying? I think you had one of your daughters there at the game.

C (5:09)

Yeah, I take them both.

B (5:10)

You take them both? You had both your daughters there. And we were in the stands discussing, like, when the jumbotron hits a celebrity. Now, for me, if I'm out on the jumbotron, I don't care. I'm gonna be like. But it's like a thing that celebrities. You have such a. I hope you don't mind me calling you a celebrity. You are one to me.

C (5:26)

Well, I appreciate it, but. Yes, My name is Kenan.

B (5:29)

Kenan, in general. Of your ilk. It's a thing where it's like, there's a very calm. There's a calmness to. It's like a small nod to the jumbotron. Like, ah, no, no, no. I'm all right in the car right there. Like, this is what I'm going to do in the jumbo.

C (5:43)

Yeah. I'm saying, let me practice my jumbotron.

A (5:44)

Correct.

B (5:45)

Do you.

C (5:47)

It depends. I mean, a lot of the time you don't want to be, like, doing a lot. Like, yeah, let me hear you. And then nobody responds. You know what I'm saying? That's when it's like, that's uncomfortable. That' what it said. Like, yeah, number one. You know what I'm saying? And everybody just, like, mad quiet.

A (6:01)

Correct.

B (6:02)

Right. Fair enough.

C (6:03)

So I. I usually let them lead. Like, if they hype, I'll get hype. You know what I'm saying. And they hype. It's kind of a trade off kind of thing.

A (6:09)

But you know who's really good at that? Kevin Hart.

C (6:11)

Oh yeah.

A (6:12)

Kevin goes crazy on the jumbo natural.

C (6:15)

You know what I mean? He's just a natural, high energy, fun loving. It kills fun, fun guy, you know. So yeah, he's very funny at it. And then I've stolen people's bits. Like people start like the empty your cup bit, you know what I'm saying? While you on the camera. So I'm like, all right, if I'm next, I'm gonna empty my cup. And then people go crazy or crazy. Like I can get into it like that.

A (6:33)

It's a whole culture.

B (6:34)

I love to be.

A (6:35)

That would be us. I'd build on any bit that you create in vice versa for sure.

B (6:38)

We have to plan that out.

A (6:39)

We gotta get this ready.

B (6:40)

We have to get it ready.

A (6:41)

We recently encountered, you know, like the black things. Or you just like, you know, like that's it. Like that's a hello. That counts as something significant. Would that be us?

C (6:49)

When did this take off?

A (6:50)

What they doing? What? Oh, my brother.

B (6:52)

It's a shoulder pack.

C (6:53)

My bro handshake. And now. You know what I mean? Like we always mad gracious and like.

B (6:58)

My king still a little something 100.

C (7:00)

And it's. It's every day, all day. Now all of a sudden. And I'm like, I love it. But I'm wondering like when exactly? Because it used to just be the dap and it was that, you know what I mean? But maybe it was Covid maybe cuz you can't touch. So we're just like making gestures kind of thing.

A (7:14)

It's like Wakanda F. But it kind of.

C (7:16)

It's kind of like it's everywhere. It's everything. Yeah. Every strange person just like either like in vocal, like I see you king, you know what I'm saying? Or.

B (7:28)

I have to practice that watch.

C (7:31)

Now you gonna notice like, watch the brothers, like they all like.

A (7:33)

I always panic.

B (7:34)

I was at the event yesterday. I was at. We were leaving the temple and there was all these really cool, very well dressed black men. And the man put his hand out and I took his hand and I panicked because he was holding mine, I was holding his and I was like in my mind, I was like, I'm supposed to do the slide and the dab and instead I squeezed his hand and his hand went limp in mine.

A (7:51)

Like this.

B (7:52)

It was.

C (7:53)

And I went.

B (7:53)

I squeezed it and then I went. I'm sorry.

C (7:56)

I'm a little clammy. I apologize.

B (7:58)

I said, I'm so sorry. My aunt. I'm not bad. My hands are a little sweaty.

C (8:04)

I apologize, my brother. And then I lied.

B (8:06)

I said, I just washed my hands.

A (8:08)

You're outside the club.

B (8:09)

That was a lie. I didn't just wash my hands. My hands are just. I'm a sweaty person. I don't give a fuck. Whatever.

C (8:14)

Hey, it's all good.

A (8:15)

It's a hard, unspoken.

C (8:15)

We all got our burdens, man. Look, you know what I'm saying? Look, at least.

A (8:21)

Easy, especially if you got nails, because if you try to dap somebody with a nail, you're going in like.

B (8:27)

So I'm gonna start doing this from now on, just so.

A (8:30)

That's our jumbotron thing. Forgive us. We're gonna steal that.

C (8:32)

Yeah.

B (8:33)

When you see us on the trunk piece and you look up and it's just tearing it. Ready?

C (8:40)

Shout out to Chadwick, man. It might have been in that area too, you know, it might have been up in there. Yeah.

B (8:46)

Now, speaking of your two daughters, I am curious, like, thinking back to that. They were just so sweet and smiling on the jumbotron. I cannot imagine it's already hard enough to parent. But parenting in the public eye, how have you approached that? It seems a major challenge.

C (9:04)

I mean, I just. I feel like New York teaches you to just keep it moving kind of thing. So, like, whatever parts of life you're experiencing, you know, especially for someone who's, like, in the eye kind of thing, it's like, it's gonna be out there. You know what I'm saying? So you might as well just keep it pushing and put your best foot forward or your best representation of what's really the truth. Forward kind of thing.

B (9:25)

Yeah.

C (9:26)

And then just, like, acknowledge the love. Cause it's, you know, I'm lucky it's love. You know what I mean? So, like, I'm very lucky that, you know, people shout me out on the street and they don't, like, shout out, like, crazy taglines that, like, a villain would have said in the movie that became famous. You know what I mean? That might not be appropriate for children's ears because, like, I'm with my kids a lot, so, you know, like, they just started a new school, so the kids around there are really kind of tripping that I'm there.

B (9:52)

Yeah.

C (9:53)

So I'm hearing, like, a whole lot of, like. Because my big girl's in middle school now, that's when kids start to really, you know, start to show Out? Yeah, a little bit. They start to become like, they think they grown basically, for sure, you know. So I'm hearing a whole lot of, like, chanting my name or chanting the Good Burger stuff and stuff like that, blah, blah, blah. And, you know, it's gonna take them a while to get over the fact that I'm there, like, every day, you.

B (10:14)

Know what I'm saying?

C (10:14)

Because, like, all of a sudden, and they probably been going to that school for a while, but my kids just started, so now all of a sudden, I'm just in their face all the time.

B (10:22)

Does your daughter mind?

C (10:24)

Yeah, she hasn't said anything yet, you know what I mean? But I don't think they mind necessarily because the kids are doing all that shouting before they come out to school, you know what I mean? They just see me outside waiting, just can't process, like, what are you doing? Just, just in my, my world all.

A (10:41)

The time, like, why are you here? Very skeptical.

C (10:44)

So, yeah, that's been really cute, you know what I'm saying? Because like I said, like, I've done a lot of family friendly material in my life. So, like, you know, the reference points are usually pretty sweet.

A (10:55)

It is. I was talking to my grandparents prior to me getting here and told them that we would be in conversation with you. Why was my nana most excited? She's quoting Good Burgers.

C (11:04)

How old is she?

A (11:05)

My nana is going on 70. She's turning 70 this year.

C (11:08)

Let's go.

A (11:08)

Which is so I'm like, her generation still identifies with your comedy as being sweet.

C (11:13)

Let's go. Four. Quadrant.

A (11:14)

Come on, Quadrant. Come on, quadrant.

C (11:16)

Yeah.

A (11:17)

But then it's interesting that your daughter's peers also know this very specific reference. Like, what is that like for you as an entertainer in terms of longevity in your career, but also the subject matter that you deal in?

C (11:29)

I'm forever grateful. Like, I'm always on the, like, perspective side of things because Jaleel is a good friend of mine, you know what I mean? And like, you know, he's been doing it, you know, I have other friends, you know what I mean? But I think he's the one that became the most famous in one specific thing and then wasn't able to, like, really shake up out of it, like, super successfully and continue being the actor that he wants to be, you know what I mean? He's a really good actor, you know, and like, that showed when he was a child, but he just blew up into this thing that. And, you know, I'd be watching people, like, comment about it or Whatever. Like, Jamie Lee Curtis was on the Late show, and she was just, like, crying, laughing, because Colbert asked her, did she ever get a celebrity's autograph? And she was laughing so hard she couldn't get the words out. And we were all waiting to see, like, well, who is this? Who is this that's just tickling you so hard? And she was like, Urkel. You know what I mean? And it's like, this is September 2025. And, you know, that's still how he's known to her or to a lot of people kind of thing. Nothing against her. It's more of a point that is the struggle for him, you know what I'm saying? So, like, him being a dear friend of mine, for me, I'm like, I'm just very lucky. I'm lucky that I've been able to do a bunch of different things and a bunch of different kinds of things that have different audiences, for sure. And now kind of, it's like a good little melting pot where people can just dive back in and remind themselves of all the different kinds of things.

A (13:01)

You know what I mean?

C (13:01)

It's like Mighty Ducks over here. It's Heavyweights over there. It's all that. It's this. It's Good Burger, Fat Albert. You know what I mean? Barbershop, too.

A (13:08)

Like, now you're doing voice acting.

C (13:09)

Snakes on the Plate.

B (13:10)

Yeah, voice acting in the memoir as well.

C (13:12)

Books, you know what I mean? Yeah. I got a children's book coming in January.

B (13:16)

Congratulations.

C (13:19)

Creative, of course. Yeah. It's called the Unfunny Bunny. You know what I mean? Check it out. And it is a very sweet little story.

A (13:28)

Well, but of course, it's called Unfunny Bunny.

C (13:31)

And you know, it's going to be about a couple. Few jokes in there. I. I love dad jokes and bad jokes. So it's a book filled with those. It's a bunny that thinks he's funny, but then discovers that he's not and then has to learn how to be so funny.

A (13:46)

Bunny, Bunny. We get that. I love that.

B (13:50)

That's so exciting. So, yeah. And I feel like for you, was there ever. I think so many people, especially artistic people, creative people, they are called in many directions. I come across this a lot, even not even just within myself, with my peers. There's so.

A (14:04)

You do.

B (14:04)

There's so many things you want to do and explore, but I do feel like there's this fear of, like. But what if, like that thing. Right? And I know it's easy to say, who cares? What people think. But I think when you're in an industry where it is based on the people like your work. So how have you sort of bridged that obstacle or that fear of, like, what if it flops? What people don't like this new thing, this change?

C (14:26)

I think having a bunch of different things going, like a bunch of irons in the fire lets you kind of like, relax on any one specific outcome, you know what I'm saying?

B (14:35)

I like that.

A (14:35)

Relax on a specific outcome.

C (14:37)

Yeah. You know, so, like, whatever happens kind of happens. But each iron, you know, I have a lot of faith in. In general, like, you hope it works because it's got good people around it. You know, I mean, we thought it was a good idea. You know, we're working with good people.

B (14:50)

Yeah.

C (14:51)

So hopefully this team can get that thing, and then you got this thing over here and you got in same kind of, you know, whether it's me acting, me producing, you know, me writing, or. Or kind of podcasting, you know, I mean, when we podcasting with my buddy, like, you just try to, like, surrounded with good folks that you want to work with, number one, you know, especially at this point, like, that's kind of the bigger goal in the business. Like, you get to a point where you really want to just work with the people you want to work with kind of thing. But yeah, you know, and you hope for the best, and you also hold other people's feet to the fire. Like, if things don't work, it's like, all right, well, who dropped the ball? You know what I'm saying? Did we not push it enough? Did we not target market enough kind of thing? Like, what can we do better for the. The other projects that might be completely different, but there could be a lesson learned, you know, I mean, like, a movie is a movie, so if you dropping on a date, nobody knows about it. You know, what happened there? You know what I'm saying?

A (15:47)

Yeah.

C (15:48)

Or you do drop it, and people aren't interested. It's like, all right, well what happened there? Like, and they. They do a lot of like, you know, test screenings and stuff like that with, you know, test audiences and stuff. But it's really any given Sunday kind of, you know what I'm saying? So I think the ownership in the creators is what echoes the most on people, you know what I'm saying? Like, when a movie like Poor things comes around, you sit back and be like, oh, they really, like, took swings on this whole, like, somebody saw this vision completely. You know what I'm Saying. Because there's no way you can explain all of that.

B (16:22)

You know what I mean?

C (16:23)

Yeah. Like, confidently, and make people actually really see it. You just have to, like, have faith in that director and that DP and that cast, you know what I mean? And that idea and see what happens. And there you have it. So, like, there's a reason why, you know, people have the reputation that they have because they do crazy good stuff, whether it's, you know, shooters or performers.

B (16:46)

Has there been a project out or around that when you saw it come out, you were like, damn, I actually would have liked to be part of that.

A (16:52)

I love this question.

C (16:53)

Forget about it. Like, I was rolling all through it. I didn't mean I wasn't Fat Albert at first, you know what I'm saying? Like, I did audition and failed.

A (17:01)

Really? What?

C (17:02)

Yeah, it was, you know, two different directors. But the first time I auditioned, like, I didn't get it. And my other buddy got it. My buddy Omar. He's the big dude in Sinners. He's a brilliant actor. But that project at the time fell apart, and then they got a different director, and then I auditioned again and got it. So things go how they go. But, like, I've seen a lot of things that I've auditioned for or had the idea for and be like, see, man. You know what I'm saying?

A (17:33)

Yeah. There's a saying that energy is. Damn it. I always mess up a saying.

C (17:37)

Come on, come on, come on, now.

B (17:39)

Come on.

A (17:39)

I'm gonna get it. Give me a moment.

C (17:42)

Energy is.

A (17:44)

It can't be destroyed. It can only be recycled. I didn't need the hell. Hell, we brought that in.

B (17:54)

No way.

C (17:54)

She made it through. You made it through.

A (17:56)

But on that same leg of what you just said, like, do you ever. How do you handle those moments where you're like, God dang it, like, if I had it just done or did. Is there any regret or.

C (18:07)

A lot easier said than done. But you try to use it as a reminder not to be inactive on the next one kind of thing. You know what I mean? The next thing that strikes you, like, yo, I really want. Then, you know, go down that road and see what happens kind of thing, you know what I mean? Like, push it as far as you can, you know, don't forget. Don't go to sleep and forget to do it the next day. And then by the time you remember, it's out, and you're like, oh, man, I had that. I had it. You know what I'm saying?

B (18:32)

So had it.

C (18:34)

I Had it.

B (18:37)

That's me in the frigging senior center.

C (18:40)

I had it and now it's gone. My friends. My friends are gonna pick me up soon.

A (18:49)

I feel like that's great advice for the young creator, because that's.

C (18:52)

And try to, like, write things down. There's a whole lot of, like, power in writing for some reason, as the Bible says.

A (18:59)

Make it plain.

C (19:00)

Yeah.

A (19:01)

Remember the Bible?

C (19:02)

You remember the Bible?

A (19:02)

Remember the Bible?

C (19:03)

Yeah. The Bible was out. The Bible's out for a long time.

B (19:07)

It's done well.

A (19:08)

It's done well.

B (19:09)

I'll give it that. You know, it's a long read.

C (19:11)

It is verbose. Yeah. Start slow. That's the problem. Start slow.

A (19:16)

I can't make it past Genesis. I never do.

C (19:18)

Genesis is wild.

A (19:19)

It's book one.

C (19:20)

Well, it's the Commandments. Well, it's the Creation, but, yeah, then it just gets the names for it. There's a lot of names.

A (19:26)

Leviticus is all names.

C (19:28)

I think that's wild.

A (19:29)

I can't make it.

C (19:29)

Yeah, that's tough. I never do name by name by name. And how do they know?

A (19:35)

See? And that's how I think when I read the Bible.

C (19:38)

You know what I'm saying?

A (19:38)

Like, now, how did we know that Roaldell and Albustine was cousins?

C (19:41)

Albustine? Come on now, Rodell.

B (19:44)

Albustine. Now.

A (19:45)

They were sisters.

B (19:48)

That would make you my first cousin.

C (19:51)

Correct.

B (19:52)

Anyhow, on that note. Wait. I lost it.

A (19:55)

I had it. I had it. Okay. This was mine. As I was thinking through what you were just saying, did you imagine that so much of your success would be in sketch comedy in this way? Like, all that, obviously, is everything that. It is SNL now.

C (20:08)

Thank you. No, I. Not really. I mean, I started so young being an actor. Like, it's kind of the only job I've ever had. So I didn't know which way it was going to go. I kind of always enjoyed being a performer that makes people smile, whether I was a cute little gingerbread boy or playing a dog in the Wiz. Cause all the adult roles went to the adults, you know what I'm saying? And there was no kid roles, so I was like, I could play the dog.

A (20:37)

Wait, you were actually in the Wiz?

C (20:38)

Yeah, I played Toto.

A (20:40)

Such a deep Wiz. I hate that. I didn't know that.

B (20:42)

Oh, we did research, and it did not come up.

C (20:44)

We did because it's just a local Atlanta thing, but we did the Wiz at church when I was like, oh, at church. Seven years old, you know, What? I mean, eight years old, whatever it was, you know, early on in the church times. When the church was still in the original building. Correct. Before the building fund kicked in for the new building.

A (21:01)

Before they took up a collection for the larger location.

C (21:04)

And I played the dog. And I got a standing ovation.

A (21:07)

Period.

C (21:08)

No lines.

B (21:09)

No lines. So good.

A (21:10)

Very alive.

B (21:11)

I talk about this all the time, but, you know, my first role is I played a rock in Narnia.

C (21:16)

It's real. Look. And that's real.

B (21:18)

I don't know why you're fucking laughing.

C (21:20)

There's rocks, there's trees, there's ovens.

B (21:22)

I was rock number three. I told you this. Then I've mentioned this at least four times, maybe. Anyways, I was a rock. My family came. Somebody in my family won't name names. They were like, why did we come? Because you told us that you had a big part. I said, excuse me, Uncle Roy. I was on stage the whole time.

C (21:41)

The whole time. And if you can perform knowing that it's such a piece of a larger puzzle.

B (21:50)

A mosaic. Correct.

C (21:51)

You know what I mean? Then I think you can have the right mindset. It's like the dude that played a million hectares, like, he's played, like 16 hectares, really? And, like, it's hyper racist, but he's embraced it and it's given him, you know, a career. It's given him probably finances and this, that and the other. But, like, it's like it was either eight or 16 roles that. That he was named Hector.

A (22:13)

That is so funny.

C (22:14)

The dude from Fast and Furious. Oh.

B (22:18)

I wasn't sure what was going on, and then I locked in. And now I know exactly what you're talking about.

C (22:23)

Fast and Furious, Training Day, Bruce Almighty. You know what I mean? They didn't even call his name in Bruce Almighty, but he was still Hector.

A (22:29)

But he was Hector. The spirit of Hector was in the room at that time. That is so funny.

C (22:34)

You just gotta, like, you know, embrace the journey of an actor being a long, you know, and sometimes unrewarding kind of a thing. You know what I'm saying? And then sometimes it could be the spotlight is too bright, so, you know, you just take it as it comes.

B (22:49)

I auditioned for a show that I didn't get, and. But I found out that it was a murder show. So I reached back out to my agents and I was like, do they need a dead body?

A (23:01)

I could be there.

B (23:02)

Didn't get that either. What the fuck?

A (23:04)

That's all right.

B (23:04)

Come on.

A (23:05)

They'll come back around.

C (23:06)

It's a journey.

B (23:07)

It's a journey.

C (23:07)

It is a journey. And I feel like casting directors are under sung for people that don't know, you know what I'm saying? Like, people focus on like, oh, I really want to work with that director. I really want to work with this, you know, producer or, or this, you know, actor or whatever, blah, blah, blah. But the real, like, I don't want to call them gatekeepers, but like the real, you know, people that. Whose radar you should be on if you want to actually be in the industry are casting directors, man. Because they are the ones that, that the good ones, they have a vision, you know what I mean? They can see who can go where kind of thing. And if you're not right for this, you know, if you show the dedication, then you'll be on their radar for something else kind of thing. And that's just. And I have kind of how it goes.

B (23:52)

I love watching something where the whole time I'm thinking, oh my God, this was perfectly cast. That feels so good.

C (23:59)

It really does.

B (24:00)

How could this person, how could this, this character be played by anybody but this person?

A (24:06)

And I love those stories where casting is going months and months and months looking for the perfect and the person is a random, like someone who's never done anything, who barely has any training, and then like, we just knew the moment they walked in the door that it was theirs.

C (24:18)

Yep. There's a lot of those stories where it's just like this person was a real person, you know what I mean, in life, who wanted to be, but like never worked on like maybe some stage in high school, whatever kind of thing, and then wound up being a very specific famous thing in another thing finally. Because they just happened to do an open call. And the one person they picked out of like, I'm referencing the Sopranos open call right now, where they found Jenny Sacrimone. And she was a very specific looking woman and she had a headshot. So that means that she had been trying to do something, you know what I'm saying? But she had never become or done, you know what I mean? That was her first thing, but it was like she represented that culture, whatever they were trying to do, very well, you know what I'm saying? And she was the one person out of. Of thousands, thousands, thousands of mafia wannabe people that went out there. Yeah. Showed up that they had to shut the town down, you know what I mean? Kind of thing. And they found. That's who. Who they found in that one search kind of thing.

A (25:24)

Yeah.

C (25:24)

So it does Happen.

B (25:26)

It does happen.

C (25:26)

And then you have other versions of it where people emerge so much later, you know what I mean? Like, now that we have like Colman Domingo and we all know his name and he's on such display, start going backwards and you'll see he been right there for years. Years and years and years. Just like right next to the main actor in whatever movie kind of thing working, you know what I mean? For a long time. And now all of a sudden, it's like we all know who Colman Domingo is. But, yeah, he's been putting in work for a while. So nothing is necessarily guaranteed, but it's not impossible either. You know what I'm saying?

B (26:01)

I like that mindset. Nothing is guaranteed. But also in the same vein, it's just as true that nothing's impossible.

A (26:06)

Nothing's impossible.

B (26:07)

I like that. I do too. Energy. Energy is never done.

C (26:10)

Hold on, let's go back to come now.

A (26:12)

We got to get this together.

B (26:14)

Energy never dies.

A (26:16)

And it can't be created either.

C (26:19)

It can only be transferred, recycled, brought back.

A (26:23)

Oh, shit.

B (26:23)

Recycled.

A (26:24)

Thank you. Because you know the quote better than I do.

C (26:27)

Because it struck me. That was a good one.

A (26:28)

Damn it. I gotta get it right the next time it comes around.

C (26:30)

Leviticus. Leviticus.

A (26:31)

Remember the Bible.

B (26:35)

So. So one thing that you said on the scene, you were like, really? Acting, performing is the only job you've ever had as a father, I am very curious. Do your daughters, when they want to grow up, is this something they're interested in? And the secondary to that is, would you encourage or discourage them from doing the entertainment industry? What's your take on that?

C (26:54)

I mean, I encourage, you know, I think the biggest thing is that families stay close. If you have someone in the industry kind of thing, especially for like, like girls, I think. Yeah, but it could, you know, for anybody. I think anybody that's out there floating, you know, can be pounced upon. And you just don't. You don't want that kind of, like scent on the child. You know what I mean? You don't want them to seeming like they don't have no. No people behind them or around them, watching them or anything like that. Even if, like, they're not a child, if they're an adult, you know what I mean? You don't want people seeming like they're alone out here kind of thing. Because I think that's when. And, you know, wolves come around or people come around and try to take advantage in different ways financially or whatever kind of thing. The industry can be predatory yeah. And I think there's something to starting early on things, you know what I'm saying? Especially if you're really passionate about it. So if I see that passion and that want, you know, like, my big girl, she's a sports fanatic, so.

B (27:52)

Oh, I love that.

C (27:53)

You know what I mean? I don't think she's gonna be an actor. She plays soccer furiously in, like, every other sport too.

A (27:58)

Good for her.

C (27:59)

So my little one, though, is a performer, you know what I mean? So she's the ham.

A (28:05)

So cute.

C (28:06)

I see that sparkle in her. But at the same time, it needs to be a passion. There's a difference between, like, you know, performing for family and then, like, when you get in front of audiences, it makes you uncomfortable kind of thing.

A (28:18)

Yeah.

C (28:18)

So, like, if I start to see that she doesn't really like performing in front of crowds, then I wouldn't necessarily push her and be like, you gotta keep up the family name.

A (28:28)

You know, I'm passing the torch.

C (28:30)

I gotta pass the torch on somebody. But, yeah, you wanted to just be healthy, man. You know, These are the days of mental health, you know what I'm saying? So we try to, you know, focus and keep everything as positive as possible, because it is. It's rough out here.

A (28:47)

Did you have the spark that. Obviously you had the spark, but did you have the passion as a kid, or did you have to develop into that?

C (28:55)

I did have the passion because I really wanted to be on tv specifically. Like, I didn't really know about, like, movies and, like, how that actually worked, but, like. Like, me and the TV were close.

A (29:04)

Got it. We were locked in.

C (29:06)

Yeah, we were locked in. I was fascinated by it early, and I just thought it was a. Everything that was going on on the TV seemed fun, you know what I'm saying? Because everything was, like, much shorter formats, like, movies was like adult world, it seemed like. Because it's like storytelling and this, that and the other kind of stuff, but, like, Price is Right cracking news, not.

A (29:26)

Price is Right cracking.

C (29:27)

You know what I'm saying? Price is Right Cracking Bob Barker.

A (29:30)

That's what I was trying.

C (29:31)

I was like, bob, that skinny microphone. It was like, man, what they. Giving away money and cars, period.

A (29:36)

Bob had black households on Locked, let me tell you.

C (29:39)

Super locked.

A (29:40)

That is so cool.

C (29:41)

It was the best. So, yeah, I was intrigued by the tv, and then I also enjoyed making people smile, you know what I'm saying? Like, I wasn't necessarily a joke teller. My dad's a joke teller.

A (29:53)

Really?

C (29:53)

For real?

A (29:53)

For real. Like a Knock, knock. Joker, like, always has a punchline.

C (29:56)

He has jokes, yes. Like, he has. Like, hey, let me tell you, you heard this. And I can never retain them. I've heard thousands of them and I can't keep them, you know what I'm saying? Because that's not my personality kind of thing. And I don't, like, seek out that kind of room, attention kind of thing. Like, I'd much rather if we all know each other, we're all chatting and it's natural kind of whatever kind of thing, for sure. But I'm never like, hey, everybody, gather round.

A (30:22)

Here's a new one.

B (30:23)

Wait till you get there.

C (30:24)

Oh, my God.

A (30:25)

It's a lost art. People don't do that no more. Like, tell jokes.

C (30:28)

It is real. Like, there's real ones. Like, Bernie Mac was a great joke teller. You know what I mean? Like, a joke teller, an actual joke teller. So, like, the ones that, like, focus on it and do it correctly, you know what I mean? It's a real art form, you know, I like to celebrate those, but I just. I know personally, that's not me.

A (30:46)

It ain't your speed, and that's okay.

C (30:49)

That's all right.

A (30:49)

Yeah, I think there's something to be said, too, about the fact that you came up when. In a time where black people were on TV a lot. The Cosbys, A Different World, like Martin, all of that. That hasn't happened since then, I would say. I mean, black ish. And all of those shows are out now, which is wonderful. But we really did grow up in a time where we saw black people be funny and be in community and have impact on network television and prime time slots for years. Do you think that had something to do with the fact that you felt so comfortable, like, going into TV specifically?

C (31:23)

I mean, yeah, probably.

A (31:24)

Yeah.

C (31:25)

I mean, not. It didn't seem like an impossible obstacle, you know what I mean? Because, like. Yeah, it just seemed like it was trajecting upwards. And then by the time, like, we started getting it going, it was really cracking with Wayne's Brothers and Steve Harvey and. You know what I mean? Like, sister, sister. And, you know, what was Brandy's show called?

A (31:44)

Moesha.

C (31:45)

Moesha.

A (31:46)

The Parkers.

C (31:47)

Lord Parkers. Like, it was on fire, you know what I mean? So it just felt like. Like we were, like, happy to be on the train that was going kind of thing.

A (31:56)

Yeah.

C (31:56)

And when I was growing up, I was wondering, like, where the train station was. And then I finally found that they have a bunch of different stations. Like, Atlanta is A place, you know, where you can audition for things and wind up doing stuff. You know what I mean? So I started sending tapes from there once I found an agent. Like learn how the business kind of goes and like. Like who makes what phone calls for, you know, when they're looking for somebody in the Kroger aisle or somebody like pretending to be a cashier at Publix. Like I've done all of those things. Got that covered.

A (32:28)

That is too funny.

B (32:29)

When I was growing up, I was always, for whatever reason, I was under the impression, like, I'm gonna be discovered specifically at the mall. Because it seemed like everybody was getting discovered at the mall. Everyone's story, they were at the mall. And some random guy with veneers was like, hey kid.

C (32:46)

I was like.

B (32:47)

I was like, I need some slicked up, crumped up.

A (32:51)

So scrumped up.

C (32:52)

You're a kid at the mall. I needed to be a movie star.

B (32:55)

Hey kid, you gotta get got. And I was so mad, by the time I was 16, I'm just at South Center Mall every weekend, sitting at the mall.

C (33:04)

Where was this? Did you grow up?

B (33:06)

I'm from Seattle.

C (33:07)

Seattle.

B (33:07)

What was the Westfield.

A (33:09)

The Westfield?

B (33:09)

Yeah, we had Westfield.

A (33:10)

We were a Simon Mall group. I grew up in South Florida.

B (33:14)

Simon Mall. We used to mall walk. Did you mall walk?

A (33:17)

Absolutely. The mall walks were the time of my life. But my mom didn't let me do it till I was older. So I missed out on like the 13 year old, 14 year old.

B (33:24)

Your mom drops you off and you just walk around the mall.

A (33:26)

So I had to drive myself to the mall. I was that old, see? Yeah. Lanita says, sit your ass down. You will be in this house.

C (33:33)

I'm going to the mall.

B (33:34)

I was like. I'd get there and then I'd be like, you guys head on off. Did Limited too. I'm going to Auntie An's and I'm waiting for the guy with the veneers. I'm gonna be famous. I would go to the Mac counter, I'd have somebody do my makeup. I look like shit. I looked awful shade with the all black smokey eye. And I'm 14.

C (33:54)

Maybe. Maybe the guy saw you and just walked.

A (33:57)

He was there.

C (33:58)

He was there. He might have been there.

A (33:59)

He was having them all. Not her.

B (34:03)

He was like, I have got to stay out of sight.

A (34:06)

He knew that you were looking for him.

B (34:08)

Actually, I'm in a tracksuit. Cuts all over my legs. Cause I shaved for the first time in the dark so my mom wouldn't.

A (34:13)

See, he saw you coming and veered off. But it all worked out.

B (34:18)

I'd say it all worked out.

A (34:21)

That's funny.

B (34:22)

Okay.

A (34:23)

Eddie Murphy has been doing interviews and he is quoted saying that Norbit is one of the movies that he like. I love Norbit. I can't not laugh as I'm asking this question because, Norbit, it is so hilarious to me.

C (34:34)

You see, I started laughing immediately.

A (34:35)

See? Right. Okay.

B (34:36)

Although I feel like it couldn't be made today. It's one of those movies.

A (34:40)

Oh, absolutely.

B (34:41)

It's in the context of within which it exists.

C (34:43)

Yes.

A (34:43)

That was it.

B (34:45)

No, that's the Nutty Professor.

A (34:48)

It's okay, Trey.

B (34:49)

But also couldn't be made today.

A (34:51)

Could not be made today.

C (34:52)

No way.

A (34:54)

This episode is brought to you by State Farm. Checking off the boxes on your to do list is a great failing. And when it comes to checking off coverage, a State Farm agent can help you choose an option that's right for you. Whether you prefer talking in person on the phone or using the award winning app, it's nice knowing you have help finding coverage that best fits your needs. Like a good neighbor, State Farm is there. And now a message from McAfee. Your package couldn't be delivered.

C (35:24)

You owe thousands in unpaid toll.

B (35:28)

You won a free gift. If texts like these sound familiar, McAfee can help.

A (35:33)

McAfee automatically identifies text and email scams as well as AI generated audio to help you stay safe. If they're faking it, they're not making it past us. Get award winning scam detection today. McAfee.com keepitreal but Norbit is one of Eddie's, like, favorite movies and he's like, I don't give a damn. That movie is funny and it is what it is. Even though it wasn't critically received, critics absolutely despised it. And he won, like, awards for it being absolutely horrific. Critically, yes. Do you have a work that you think is viewed in the same way or no.

B (36:05)

You're like, I don't care.

A (36:06)

I love it. Like, who cares?

C (36:07)

This was it then I'm in denial about. No, I don't think so.

B (36:10)

Everything you've done is great.

A (36:11)

It's great.

C (36:11)

No, no, no, no. If people thank you not lying, there's, you know, opinions about things that, you know, I feel like I usually just sway with the majority kind of thing. You know what I mean? Like, if most people are saying this, then the critics I'll listen to, but I won't necessarily side with if they're just like, completely against where everybody else Is like the full wave is going this way, where everybody's like, yo, it's funny, it's good, it's a solid movie, whatever. These people trying to tear the pieces, the worst thing I've ever seen, blah, blah, blah. I'm like, I don't really. I don't really agree with that, you know what I mean, Kind of thing. But I'm also. I try not to be naive, you know what I mean? I feel like Eddie's a little naive on that one just because Number One is a bad title. Number two, his accent when he's playing himself is distracting. And then everything else works, you know what I'm saying? So there's like a couple big elements that aren't working.

A (37:04)

Yeah.

C (37:04)

And then there's the rest of it that's just like, well, yeah, it's funny to see Eddie in a fat costume. It's funny to see.

A (37:10)

It's problematic. Hilarious.

C (37:12)

Yeah. The way he's like to say, how you doing? It's like he discovered that and it made him laugh. So it's making us laugh kind of thing. Like, that was kind of obvious and that kind of stuff. You know what I mean? And, like, in attempt, I think the overall concept, what they were trying to say, what if a skinny. You know how, you know, a lot of skinny dudes have larger women kind of thing, whatever. Kind of like all that thought process that they were doing to make that movie, you know, like, there was. Some of it was funny.

A (37:37)

It landed in an interesting place.

C (37:39)

Terrible title, man.

B (37:40)

I haven't. I have not seen it. I'll be actually honest, the more you're talking about it, I don't. I remember seeing it in theaters, and that was a long time ago. I don't think I've seen it since.

A (37:50)

Oh, girl. I watched it last week. Norbit went. It was critical in my household back there. It is hysterical to me. It's really. I mean, it's a crazy ass movie. It is, but it is pure comedy to me.

C (38:01)

It is a very silly movie.

A (38:02)

Very silly.

C (38:03)

And I, you know, there's few people that make you laugh that hard the first time you see something kind of thing. So the first time I saw Rasputia without her wig coming down the hallway in a menacing sort of way, had me crying, laughing. I'm like, yo, he's brilliant. Like, that is a brilliant visual capture. Capture that they accomplished there because it was like, he's saying a lot. Like, number one, you know, there's a lot of wigs going on in the world.

A (38:30)

There's a lot of wigs out there.

C (38:31)

The first time you see it, when they mad at you, it can be, like, very scary or whatever kind of thing. And then, like, it's still very funny because he has such exaggerated features kind of thing. So, like, the whole movie is pretty exaggerated, basically, and just doesn't seem very realistic. But it's a. It's a comedy. It's supposed to, like, be an escape kind of silly kind of thing.

A (38:52)

I think I did it.

C (38:53)

Usually he shines in those moments, like when he does a dolomite, you know what I'm saying? Like, he really gets that. Or Jimmy early, you know, I mean, from. From Dream Girls. Yeah. His character work is. It's. You know, it's pretty unmatched. Like, his character work is strong, strong, strong.

A (39:08)

Yeah.

C (39:09)

You know what I mean? When he locks in. So I'm a. Yeah, I'm a big fan, but I know he's living in another stratosphere sometimes because he is the first black movie star, you know what I'm saying? Like, for real. For real. And, like, comes from an era where, man, you just had a lot of perks, probably, that went along with that, you know what I mean? For years and years and years and.

A (39:33)

Years with being the one for years.

C (39:36)

And years and, like, standing the test of time against the ones that have come behind them still and still being goaded, you know what I mean?

B (39:43)

So he really is a goat. I saw an interview where he was talking about how he said. He said in the interview, I think I might be one of the only people in Hollywood who's ever. Who's only ever done one audition ever.

C (39:53)

Yeah, all that, kind of.

B (39:54)

And he's like, I've never had to audition since then.

C (39:56)

Detachment. That's a detachment from reality.

B (40:00)

I can't even get Dead Body Number Five.

A (40:02)

He's like the Jay Z and Beyonce black comedy.

C (40:06)

It's like, it sounds good in theory, but then when you say it out loud compared to what other people have to go through, it's like.

B (40:14)

But if it's true for him, I mean, it's true.

C (40:16)

It is his truth. And that's why he's a special person. So you give him that grace kind of thing. But still, it's like, hey, man, you know what I mean? Like, at the same time, like, producer movies that you're not in maybe sometimes, you know what I'm saying? Like, where's that part of it? You know what I'm saying?

B (40:32)

I'm so frightened. Frightened. Eddie, listen, all right.

C (40:38)

This Me time.

B (40:38)

This ain't them, Eddie.

C (40:40)

This all me.

A (40:40)

This is not me. My brother. We do the I'm sorry, my brother.

B (40:44)

Listen, I'm sorry, my brother. I want you to know if you, you won't watch this. He won't watch this.

A (40:49)

He'll watch this makes it to his desk.

C (40:51)

His life is his life to be lived. You know what I mean? And it's going according to how he wants it to happen. And he deserves all of that. But it's just like, I would love to be that purse, that fly on the wall that's just a little bit of reality and be like, hey, you know, just so you know, like, for 99% of the rest of the world, it's not like that. So when you make statements like that, be prepared for it not to be taken with like applause every single time.

B (41:21)

I feel like he's probably like, yeah, so this is my cause again. When I saw him say it, my knee jerk reaction was. Was like, man, must be nice. And then my second reaction was like, at least you're honest. I think there is also a level of. For me, I find it really refreshing when absolute honesty, especially in a world in which sometimes it also feels like people are saying things that their publicated. Make sure you say it just like this. And so there is a level of like, you know what? At least you're not pulling any punches.

A (41:49)

His publicist somewhere punching a wall. Not a talking maybe, maybe.

B (41:55)

I think he's very honest. Oh, I'm thinking of White Chicks is another great example of a comedy that I truly love. Feel like it could be made now, but I think you made a really good point about. There's a level. Nobody actually believes that those two look just like that. Those women. And they would. Everybody, right? It just worked.

C (42:11)

That's the beauty of escapism.

B (42:13)

Escapism. If it's escapism, it works.

C (42:15)

You let certain things slide just to enjoy the movie. Just like when you audition for roles and you don't get it and you have to go watch the movie that somebody else is doing, it's like, I gotta let that go because I'm probably the only person in here watching it with that lens of like resentment kind of thing. So, like, if you get past it and you just watch it as a fan, then you can have the real experience of what they trying to do. Again, way easier said than done, you know what I'm saying? Because, like, the first few years I was heated. I'm like, man, they're not better than me. You Know what I'm saying? Right. I would have done that different with a notepad. And every movie you watch, having just done a movie and then watch other movies and being like, man, why. You know, why they do that shot? Or why'd they cut off of that and just start, like, really critiquing, like, just breaking movies down for no reason, as opposed to just, like, taking it for what it is and enjoying it. Yeah. So, yeah, I try to keep that kind of lens on where it's just, like, take it for what it is and, like, remove yourself from it. If you have any sort of, like, resentment towards it.

B (43:14)

Well, on that, no. If you're in something, this is another question I have. I sometimes find it difficult to watch myself back, although I'm proud. It's this weird two emotions. I went, I am proud because, like, that's cool. I did that. But then I'm also like, oh, God, I could have done that so much better. Do you have that feeling ever for.

C (43:31)

Anything you've done, or are you removed 100%? I used to not watch myself at all for a long time, especially on snl. Like, the first several. Like, five, six, probably seven, eight years maybe. You know what I mean?

B (43:43)

He didn't watch anything back.

A (43:45)

Wow.

C (43:46)

No. And, like, that's my problem with Idris right now. Like, he really broke my heart when he told me, like, what he didn't tell me. He just said, on Amy Poehler's podcast, shout out to podcasts. Shout out to podcast.

B (44:00)

Our producer, her favorite podcast.

C (44:02)

Second favorite or even.

A (44:06)

No, no, no. As we're sitting there, it's okay, it's okay.

C (44:10)

He said he never watched a Wire, and I'm like, come on. Oh, really? Like, how are you? Like, you're not on the same. You're not on the same page as everybody. You know what I'm saying? Like, we are all not necessarily pigeonholing you as Stringer Bell, but we are putting you on a. A level of praise for that performance. You know what I'm saying? And we want you to know why, you know what I mean? And if you've never watched it, I don't know if you really engage the. The why we love it so much kind of thing for you. It's just like, oh, I was there, I performed it, I did that, and blah, blah, blah. So in my first SNL years, it was kind of a lot of that, mainly because it was hard for me to associate the show as the same show with me on it now. You know what I'm Saying it was like a legendary show. Now all of a sudden, like I'm on it, coming in and out and doing this and I was like, man, it's the same show. Am I ruining it? Is it? Wow.

B (44:58)

But it's crazy because you've added to it. Like when I think of how legendary SNL is, you're one of the first names that comes to your mind.

A (45:03)

You're a part of that legacy.

B (45:04)

You're in like almost like so many of my all time favorite bits. That's you.

C (45:09)

Thank you.

B (45:10)

But that must. For you. It's very, for you. I get it. Like you're seeing it from a different lens.

C (45:14)

It was for a long time and then I, I, I came to the realization that I was missing out on a lot of the party, you know what I'm saying? I was missing out on a lot of, you know, people would come up and like throw references at me and sketches that I was fully in saying words and I would have no memory of, you know what I'm saying? Just because there's so much going on and there's so much like disassociating that happens so that I can perform without fear kind of thing. Absolutely. That I end up not remembering what's going on once it's done kind of thing.

A (45:45)

That's you, me, and we just joke that I have a memory problem, but I think I'm disassociating intentionally to protect myself. Yeah, yeah, exactly. Because I don't see myself as a comedian in the same way that maybe an obvious comedian would. So it's like weird to be in the space and I'm like, oh, shit. I guess I did just do what comedians do.

C (46:01)

Yeah. You have a natural comedic ability. But there's a bunch of different ways of doing comedy, if you will. There's standup, there's improv, there's, there's just talking, you know what I mean? And just being fun and having fun and you know, there's like whatever else. Like, you know, television is kind of things, sitcoms and like that kind of stuff.

B (46:21)

There's a lot of vehicles.

C (46:22)

Yeah. You know, so it's easy to like put up some shields, you know what I mean? Because never let them see you sweat. Show em what's go on. You know, you gotta be professional. All these things can like just give you instant stress before you even get a chance to say nothing. You know what I'm saying? Like, it's tough when you do a performance and it's almost perfect.

B (46:42)

Yeah.

C (46:43)

You know what I'M saying, like, one little stutter or a little thing. You know what I'm saying? And if you don't acknowledge it, it just. That's just what it. And that happens a lot on snl. Cause it's live.

A (46:50)

It's all live.

C (46:51)

So. Yeah, that's the stress of that.

A (46:54)

Yeah. So would you say. Oh, go ahead.

B (46:55)

No, no, please. Dear God.

C (46:57)

Thanks.

B (46:58)

God, you're just. You're a genius.

C (47:00)

Don't forget what you. Hold on to yours.

A (47:02)

Yes, please.

B (47:02)

Cause I will.

C (47:03)

No. Cause.

B (47:04)

Hold on, hold on. I can't lose my seat.

A (47:09)

Shit, I forgot the question.

B (47:10)

You done?

C (47:11)

Damn it.

A (47:15)

We had to move quicker than that. No, I'm not lying. And I know you forgot. Go ahead.

B (47:20)

God damn it.

A (47:22)

Go ahead and hit that.

C (47:23)

God damn it. I forgot the question.

A (47:24)

Go ahead and hit that. That's all you, my boy.

B (47:26)

Can't remember mine. No, I had one I was just gonna ask further about. I'm really interested in. I'm very interested in you talking about the disassociation at one point, having been part of your process. Process. And for you, it sounds like you're not. That's in the past. You're not doing that anymore. Do you still kind of do it?

C (47:42)

No, I don't. I don't disassociate anymore.

B (47:45)

How did you get over that?

C (47:45)

Yeah, I think it was just pulling the band aid off and just watching and then being like. I had watched myself before, but it was just, like, repeating watching. Like, I'm not just gonna, like, tune in on this one episode. Like, I'm gonna continue. Like, once we do a show, I'm gonna watch it and, like, actually study kind of thing. And then, like. Yeah, and then, like, it started to, like, continue to help me grow in a way. You know what I'm saying? I was like, oh, I was holding myself back by not doing my homework kind of stuff just because I felt awkward and looking at myself. I was like, no, just get past yourself and, like, look at, you know, the work, if you will, kind of thing. And then the work calls for certain. Certain things. It calls for, you know, concentration and education and articulation and, you know, this kind of the other. And, like. And, like, you know, physicalities and, like, all kinds of shit. So, you know, you notice when you slipping and you notice when you sharp. And, like, I like the sharp ones because that feels like the full service. When I'm half assing, it feels like maybe I should give half the money back or some shit like that.

A (48:47)

Not give them the paycheck.

C (48:48)

You know, give them just like a little slice.

A (48:50)

Let's give you something off the back.

C (48:51)

Cause, like, I wasn't really my best or whatever kind of thing, but. No, that's not how it goes.

A (48:55)

Yeah.

B (48:55)

But it's like, refreshing to hear you at point that the echelon you're at still admit that you're still hard on yourself. And, like, it's not. You're not like, oh, no. Everything I do's like, if I was, I put myself for 24 hours in your shoes, I'd walk around like, yeah, so I'm fucking hilarious. So, you know, that's me. So, like, to hear that you have the same thoughts as somebody, like, all different folks that are, again, creative in a way in which you can watch it back. You can look back at your art. Whatever you. Whatever you. Whatever it is that you do. This is something I found that almost everyone I know know. I have people that are like, I never watch myself back at all. Or more like me, if I edited it. Well, I watched it a ton already. I've seen it so much because I had to edit it myself. Yeah. But if somebody else edited. Depends. I'll watch it a couple times. And then if I. That third watch is when I start picking it apart and I make myself stop because I'm like, yeah, I'm like, I gotta stop.

A (49:51)

This isn't productive anymore. Yeah.

B (49:53)

So I guess that's the line. When is. Is it. When am I pushing myself to be better and when am I just tearing myself apart? And I don't really know the line. I'm not there yet. I don't know the difference.

C (50:02)

Yeah. And like, it's. It's. It's so, like after the fact that it shouldn't matter. You know what I'm saying? Because it's like, if it's not helping me the next time around that I start something that I have a new checklist for kind of thing that you just like, what are you doing? You just, like, tearing yourself down to be like, just tearing yourself down basically for the sake of it. Because that performance is out there. Like, there is no getting it back kind of thing or whatever. So, like, I try to make new checkpoint. Like, if I notice, like, oh, snap, like, I forgot to do this or I forgot to do that, then it's like, all right, next time I shoot something, I'll make sure that I won't forget to, you know, this, that, like, cover those corners or whatever.

A (50:44)

Yeah.

C (50:44)

And that's kind of like where I have to leave it. Honestly, like. Because if it's off or like my voice cracks in one of the lines, it's like, God damn it, you know, I mean, there goes the perfect sketch, you know what I'm saying? But I can't control it. And, like, the sketch went overall well past that point, kind of, you know what I'm saying? So you just, like, take the wins as they come kind of thing.

B (51:04)

Take the wins as they.

A (51:05)

Comedy feels like an ego death every time you go out and do something because it's so involved. And, like, comedians are so involved in their craft, obviously. Like, like dramatic actors, I would say you can put on and go and do. And so much of comedy is you and what you find funny and what you want to give to the world. So I could only.

B (51:25)

That they received the gift, corrected them to receive it.

A (51:28)

Correct. It's so. So. I can't imagine doing that on snl, like, night after night after night after night and still coming out, loving what you do and being able to sit and talk with comedians who are on a different level than you and still still be so positive about it.

C (51:42)

Yeah, and thank God for that, man. Like, but I also, like, leave work at work and I let. I let people do their job, you know what I'm saying? Like, I don't pretend to be a writer, you know what I mean? Like, I let writers write. I didn't go to creative workshop classes. Like, I went to Santa Monica City College, period. And I didn't get to my arts courses. Like, you know, I mean, I didn't get to creative writing workshops and shit like that. Yeah, we was doing macroeconomics. That has nothing to do with comedy writing.

A (52:11)

That's when they lost me.

C (52:12)

That's when they lost me, too. And then I was working at the time, but, you know, I was working at Nickelodeon, so they were writing for us because we were kids, kind of. Yeah, whatever. So then to go from that to basically, like, SNL basically, you know, with just a couple jobs in between, I didn't really have a chance to learn how to write, basically. You know what I mean? I kind of learned by watching and, like, I can write now, but in the beginning, it took me a while to, like, do it right, you know what I mean? There's a certain way to write. There's a way to write for snl. There's a way to, like, write for, stand up, whatever it is, like theaters and stuff, you know what I mean? Like, they don't even write. They just come off the top of their head with improv or whatever. But a lot of that would turn into sketch ideas that they would then transfer to the show. Like Fred was the greatest at taking hallway bits and turning them into actual sketches, you know what I mean? Like the Californians was just, just us around in the hallways being. Because some people go to LA in the hiatus and like, like don't. You know, in la, like everybody's just telling you like what streets to take.

A (53:16)

That's the one with the traffic.

C (53:17)

Right. In New York is Super easy. Like 78th and 3rd, you know what I'm saying? Like get there kind of thing.

A (53:22)

Yeah.

C (53:22)

And like he would. We would laugh so hard about just the concept of like, yeah, you gotta do it, you gotta put your seatbelt on, you know what I mean? Blah, blah, blah. And he would turn that into the Californians kind of thing, you know what I mean? So like he was brilliant at that, kind of observing life and writing about it. And I wanted to find what I was good at. And a lot of it in the beginning was just going off of what I grew up loving black culture wise, you know what I mean? In a lot of 70s and funk and old guys with kind of receding afros, you know what I mean? That kind of stuff. That wraparound bald headed afro is the greatest look, I think in the history of looks.

A (54:06)

And they hold on to it too. Cause not let that hair go.

B (54:09)

Sideburn, a mutton chop.

C (54:11)

A lot of hair everywhere. Except for just right here, right on the dome. Just polished dome.

B (54:18)

It's like a milk dung.

A (54:19)

Exactly.

C (54:20)

Yeah. Once you kind of empty the drawer on that, then it's like, all right, well what can I write that is kind of more universal, if you will, kind of stuff. And I think when that maturation process comes, but for me it took a long time. Mm, long time.

A (54:35)

Would you say that Black Jeopardy was one that came as a result of maturation?

C (54:41)

Well, as far as me contributing to it. But that wasn't my idea. That was Brian Tucker, who I write a lot with, you know, what's up with that and stuff. And Michael Ch.

B (54:54)

I'm gonna get licensed.

C (54:55)

That's all right. That's all right. He just. That was. She was just saying it. Saying she was saying it.

B (55:03)

Yeah. There's a lawyer that was tasked with watching this episode.

C (55:08)

Wait a minute. How much was that? How much was that? God damn it.

A (55:13)

He wiped his face.

C (55:15)

God damn it. How much was that?

A (55:17)

You can't afford it or served immediately.

C (55:20)

But yeah, but yeah, Michael Che, brilliant writer, you know what I mean? Like, I don't know if Che went to writing school necessarily. He's a standup, which is a writing school, you know what I'm saying? Such a brilliant standup. So he can put. Put thought to world very well kind of thing. Like, you know, thought to paper or whatever, but, you know, stand ups, just speaking to the mic. But they're able to transfer what they think is funny back to us kind of thing to where we can celebrate that. That. That whole thing. They were able to, like, break it down from where it starts to. To the end kind of thing.

B (55:51)

Yeah.

C (55:52)

For me, it's like I have to really focus on remembering what made me laugh, you know what I mean? And then trace it backwards kind of thing.

B (56:00)

Okay. Yes.

C (56:01)

And like, I think for, like, real writers, they just kind of, like, see subjects and then think of punch lines kind of stuff or whatever.

B (56:07)

Yeah, you're like that, my boy. I was gonna say, like, what? Because, I mean, what we do is so different, right? Our skits live only on social media. We're not. We're not social media and YouTube and just online. We're not on TV yet.

C (56:23)

Take a moment.

B (56:24)

Let him cook. Yeah. Anyway, play this back in 10 minutes.

C (56:28)

Start the countdown clock now.

B (56:30)

Got it. But so much of. I feel like I didn't go to school for any of this at all. I didn't learn to write. But when we started doing skits and people just really liked them was because we would hang out and we would just be pissing ourselves. Just something was so funny. And then it was like, why is that so funny? Why is it so funny that. That this is how women gossip. It's just so funny. And so then trying to put it on camera. And Tiffany is the master of. I can write. Put out a line like, say it like this, and you will say it funnier than me every time. And I really mean that. Like, I'm a silly goose.

C (57:08)

You're a funny girl.

B (57:10)

I specifically like. And so you've taught me a lot. I feel like my writing school and education has 100% been with you because I've gotten to write something, hear you say it, and then you say it, say it better. And I'm like that. That's exactly. I couldn't have done it like that.

C (57:25)

I love that.

B (57:25)

So I like that.

C (57:26)

That's the sign of a great writer.

A (57:27)

That's what I was gonna say. I'm reading the writers back on your ass.

C (57:30)

A great writer is happy to write.

A (57:32)

For in Uno Reverse, my boy.

B (57:34)

Oh, my God. It's true. Kenan Thompson just said that I'm a great writer.

A (57:38)

Not lie.

B (57:39)

Thank you so much.

C (57:40)

I think that is a sign of a great writer. You know what I mean? That can just, like, give to others for sure.

A (57:46)

And you do.

B (57:47)

I just like. I like writing and Olivia, too. We have another friend that we. That we. And I just love that you guys are so down to act and, like, play the script out and see what happens. Anyways, I just. I think it's. It's like a magic that's so fun. And so that another reason why I, like, really like watching your work is because I'm imagining sometimes when I watch, like, what's up with that? Not singing? It is a great example of. When I watched that the first time, my first thought was, I wonder what that looked like in rehearsal. Like, I wonder what that looked like. And then my second question was like, did you come up with the two? Did you sing that? Or did they say, this is what it sounds like, and then you sing to it and you made it better? Like, how does that work with improv mixing with writing?

A (58:24)

Yeah.

C (58:24)

So what's up with that specifically was an inkling of an idea that I had, and then I brought it in to Brian, and I was like, all right, I think it'd be funny if I had a talk show and I didn't let people talk. That's where we started. So then he was like, all right, so tell me more. And I was like, like, you know, it feels like, you know, kind of like maybe like, you know, like an ongoing theme song. Because I saw Forte do a bit in a sketch where he just. I think he was on, like, a news morning show or something, but he was just supposed to sing one little snippet of a song. But it went on and on and on and on. And it was like an innocent morning show that just got, like, real crazy with him taking his shirt off and, like, drinking whiskey and like. Like a falcon came or whatever.

B (59:08)

I don't know.

C (59:09)

It was just this never ending thing. And I was like, that's funny. But then I was like, all right, well, what if it was like, a talk show that just didn't let people talk? It's like, well, how. It's like, maybe he just keeps singing the theme song over and over again. It's like, all right, cool. Like, let's. Let's figure out what the theme song is. And then we started just, like, writing out, like, hops, humming stuff, you know, I mean, like, ooh wee. And then we started like, huh? Like, like, what's the name of it. Like. Like, I had watched 25th hour a whole, like. And that moment when they find in the dope in the couch and the guys, they're telling him about his life and he's like, yeah, so in private school, you got thrown out for, like, selling drugs to your friends. What up with that?

A (59:50)

What up with that?

C (59:51)

I love that moment so much. I was like, let's call it what's up with that? You know what I mean? That was just echoing in my ear. Just because. Shout out to Spike.

A (59:59)

We love you, Spike.

B (60:01)

We love you, Spike.

C (60:01)

Another person who believes in. In brilliant casts, you know what I mean? Like, he's always casting, like, real actors. So that actor in the 25th hour probably has three lines or whatever, but that one deliverance was real. And he was with the guy that says she all the time.

A (60:17)

Correct. Which is, well, his side.

C (60:20)

So, you know, acting, you know, even if it's one line or two, you never know. Like, it can resonate with people kind of thing.

B (60:27)

And it is always surprising, at least for us. Like, I think something's gonna be so funny, nobody even notices the line that I thought was gonna be so funny. And then they're randomly picked. Like, they've really latched on. They're pointing back to us. This one thing that you said or whatever. Correct.

C (60:40)

That was the other thing I was gonna say about, like, things being so hilarious to you in the moment. And then you're trying to, like, recreate it, so then you have to be aware of the reference material, you know what I'm saying? So it's like, all right, we're laughing based on our knowledge of or like, whatever is the, like, core underneath. Like, you know, it's kind of like the soul of this joke or this moment of laughter for us, you know what I'm saying? So when you're writing, you got to make sure everybody knows, you know what I'm saying? Like, all right, well, if you didn't see Dead Presidents, it's a crazy ass movie about the. You know what I mean? Blah, blah, blah, blah. And it's one of the things that is in the Black Zeitgeist. And you just got to have it, you know what I mean, kind of thing or whatever. But you have to make sure when you're writing sketches that everybody's on the same page from beginning to end, like, contextually. Yeah, man, that's one.

B (61:23)

Now, how often, and this is something I've come across, I feel like it's okay to say that. How often do you get a script and whatever it's. Cause you're auditioning for or somebody showing it to you, doesn't matter. And it's supposed to be funny. And you're like, damn, this is like, really not funny. Like, I don't. I. And even the way you're trying to like, deliver the line, you're like, it's still not. It's not working. Does you receive something that is not working for you? Are you somebody who, when you read that, it excites you to be like, oh, I want to make this funny? Or is it like, ah, I. I don't want to deal with this. It's. It's too. It's. How can I make this work? I can't make it work.

C (61:56)

See, I have such faith in actors that I don't know if it's going to work or not until I hear it. You know what I'm saying? Like, just reading and reading, the words are just dots on the page, you.

B (62:06)

Know what I'm saying?

C (62:07)

Like, I know mine and I know the context. But like, we comb through so many ideas and subject matters and things like that at the show that it's hard to tell what's gonna be funny unless you're already kind of aware of something. Like, you're aware of the performer, you're aware of that character. You've heard that. You know what I mean, or something, or you know that that performer does that impression or something. Without that, I can't tell you that this, like, pizza sketch in this store is gonna be hilarious or not. Because I don't really know what the punch kind of is going to be because I didn't write it, you know what I'm saying? So I wasn't in the, like, creative session knowing that this is the big explosive moment that they're trying to build towards. And in the writing, it. It just. It's not that obvious on paper, you know what I'm saying?

B (62:54)

You have to read through it out loud.

C (62:55)

I gotta. You know what I mean? Like, I'm not gonna know if anything is gonna work until I hear it out loud. So when people, like, pitch movie ideas, I'm like, great, let's try it. You know what I'm saying? Like, I don't really know what to tell you.

B (63:05)

Instead of shooting something down after the first page, I mean, like, it won't work.

A (63:08)

Because we've certainly heard interviews and stories where people are making immediately. Like, no, it's just not it.

C (63:13)

Well, some things are obvious. Like, some things are just like, oh, you're like. You're not up on your PC knowledge, you know, I mean, this is not, you know, an educated approach or anything like that. When that's. Those things are, like, base kind of obvious or whatever.

A (63:26)

Yeah.

C (63:26)

But when it's checking all the boxes and it's coming from whoever it's coming from, it's pretty much, you know, take a swing at it. You know what I'm saying? Like, I can't tell you. Like, once I hear it and then I hear Everybody hears it at the same time. Like, we all hear it every. We're enjoying this, so it's worth building from there. And that's kind of how our table reads. Go.

A (63:45)

Yeah. Okay. I'm so curious. When you guys break on the show, it's hysterical and you're laughing in the moment. You've obviously done this skit multiple times over in rehearsal. What's different on the live show that still you cannot get past the laughter?

B (63:58)

That's a great question.

C (63:59)

I love those moments. Well, the live show is when everything comes together. So that's our first day of seeing the real vision. You know what I'm saying? So, like, Beavis and Butthead, for example, was like, the biggest, most recent. You know what I mean? It's the biggest, most recent break that we've had. And that was like, you know, the first time we actually saw them in the looks kind of thing. And it was breaking everybody. And, like, Ryan is a big breaker. Like, he, for some reason, like, he's one of the greatest dramatic actors, but he cannot hold it together on the show.

A (64:29)

I love that.

C (64:30)

He loves to laugh at the jokes, and he loves to just be in the moment, I guess. And it's tickling him in the moment. So I'm like, that's legit. Cause I like that, too. When I find it funny, I'm gonna laugh. I laughed hard, real hard, at dress rehearsal, you know what I'm saying? Because I always enjoyed the idea and the concept and stuff, you know, because I was a Beavis and Butthead fan or whatever.

A (64:52)

TP for my bunghole.

C (64:53)

You know, I'm a Mikey Day fan. Cause I've known him for forever. We had the same manager for years. And, like, we've always just been close since he came onto the show. Cause he was season one wilding out. Like, Mike is a real one. You know what I mean? And then, like, you know, I know Ryan is cool. You know what I mean? Like, and Ryan is just down to, like, try or whatever. So when we saw that they were, like, spitting image. I was like, damn, this is going to be really good. And then there was just a moment that struck me really funny as just a person listening to the sketch. Like, damn, that's a funny moment. But then I was stuck because I was fighting, laughing, not bad. Trying not to laugh stuff. But, like, I was quit, like, literally shaking, and I couldn't say my next line.

A (65:36)

Yeah.

C (65:36)

So, like, now I'm throwing the timing off.

A (65:38)

Oh.

C (65:38)

You know what I'm saying? Yeah, I'm starting to, like, throw off. So then I started panicking. Like, that's really not professional. Whatever, kind of. So I scared myself straight, I think, for the live one. So, like, the whole live. I'm just the only one that's kind of, like, locked in, not smirking at it at all, kind of. And just, like, really acting it kind of shit. So that one, I actually pat myself on the back because I was, like, holding it down. It's really. It's hard to not break. Yeah. And then.

B (66:05)

Oh, God.

C (66:06)

Other times it's like, you know, break for the sake of we living life. You know what I mean? And we doing a comedy show, and like, Eddie Murphy's over here acting like Tracy Morgan. Like.

A (66:14)

Correct.

C (66:15)

Let's celebrate that. That's hilarious. You know what I mean? So I'll usually smirk, but I won't necessarily, like, fall to pieces, necessarily, because. Because there's a lot going on there, you know, and the more things get drawn out past the timing of the show, the more the sketches toward the end of the show have a bigger chance of getting cut kind of thing, you know what I mean? Because we'll be running out of time. So that's when it's like, yes, we're having fun, but you could be making it a hard night for somebody else, you know what I mean? Which is, like, it's tough to keep that in mindset and not still enjoy the moment kind of thing or whatever. But that's why. Yeah, I try to just leave it at a smirk.

A (66:57)

I love the breaks. Bill Hader's breaks kill me so good. I can't watch him laugh and not laugh. I don't know how you do.

C (67:04)

Was the best.

B (67:04)

Oh, my God, he's so good.

C (67:06)

It is the best.

A (67:07)

Don't know how y'.

C (67:08)

All. I think it's, you know, infectious. Like. Yeah, that's the most. Like, this is live. This is special for us that are watching in this moment kind of thing. And it just. It just makes it that much more special because. Because it belongs to us in that moment. You know what I'm saying? Like, it can belong to the world as a perfect clip to be lived and showed whenever kind of thing. But when someone breaks characters, like if you were there when that moment happened, that's what makes SNL pretty special, I think.

A (67:36)

The joy of the ensemble.

B (67:38)

And I think it's also for us at home. I remember literally growing up watching SNL as a kid. I was watching because I wanted to see a brain who. Not because you want it to go wrong, because it's just so. So it's so fun to see human beings be humans. And then also you're in this, you know, imaginary escapist world skit that's not real. But at the same time, the laughing makes it very real. Very real. I just think it's great.

A (68:02)

I have a question, if that's all right. Oh, please ask it for me, though.

B (68:06)

Yeah, you ask it and no, now you gotta ask. This isn't your favorite show your first night?

A (68:13)

First snl. Because you're the longest serving snl. Yes. Which. Flowers. Flowers, Flowers.

C (68:19)

Thank you, thank you, thank you.

A (68:20)

Incredible first night. You're just about to go on.

B (68:24)

Did you vomit or pee or like, how nervous? Or were you like, I'm just.

A (68:29)

I'm gonna. I'm busting like a Ferrari parent in the garage. Ready to go.

C (68:34)

Yeah. And it hasn't changed much, but it's always just counting backwards, basically. Like, we're just counting down, like, all right, now I have 11 hours until the show. Now I have 10 hours into the show. Now there's nine. Nine. Now there's eight. Now there's 45 minutes. Now there's 30 minutes. You know what I mean? Kind of like the whole day, but also that whole week, you know, like my first week, I was super lost because I didn't know that they spent the first half of the week writing the show. Like, I had never had that responsibility. So I was just like, hanging around, you know what I mean? Like, anybody want to tell me what to do? You know, until Wednesday? And that was when started, like, the performers actually go to work that I'm familiar with or whatever. And then Thursday, Friday, Saturday. But yeah, that first Saturday I remember. Cause I didn't have much to do. I was in Jack Black's monologue. And then a moment in Update where I played Bill Cosby.

A (69:28)

Your first.

C (69:29)

I was waiting on that because, like, that I felt strongly about. Cause I had done that impression a lot, and it always made me laugh. And I was proud that I had Engaged in the creative side of the show. And. And thank you to Maya Rudolph. Cause she pulled me in her office and showed me that awkward moment between Wanda, who's hosting the Emmys that year, and Bill Cosby in the audience. Like, Wanda went out in the crowd and did some crowd work, and Bill Cosby was just giving her nothing. Like, just giving her nothing back. And we were like, man, he's such a fucking. He was just so weird, you know? It was just like, man, that was strange. So then we recreated that moment, and it got big last laughs. And, like, the first line that I wrote. You know what I mean? Gotta laugh, you know, because I was like, get out of my face. Because that sounded like something that he would say in my mind. You know what I mean? Get out of my face. And people laugh. I was like, wow. You know what I mean? That was such a. That was a high. So.

A (70:25)

Oh, wow.

C (70:27)

Remembering, like, the rest of the day. I think I was just wandering around, like, in and out of my dressing room, you know, in and out of wardrobe, you know, for the moments. Or whatever. But, yeah, just pacing around, waiting.

B (70:42)

Just a lot of waiting.

A (70:47)

I know.

C (70:48)

Yeah. That's why a lot. A lot of people think, you know, we talk about how much time we spend together. You know, we really do. You know what I mean? Like, distract each other from things or, you know, lean on me type moments. You know what I'm saying? And you pass the time together.

B (71:05)

And you said some great names as you spoke in. Maya Rudolph being one of them, who I would love to meet Maya. She's a legend. How is somebody in the industry that you really look to as a mentor? You'd refer to as a mentor?

C (71:16)

Yeah, Maya, man. My sister's at the show. I started in a great era, I think, for me personally, to have big sisters in the game, because they're Maya Rudolph, Amy, Tina.

A (71:27)

We were saying that just before you.

C (71:29)

Rachel.

B (71:29)

We were just talking about. We love all them.

C (71:31)

Yeah. So, like, they all kept our game, like, really fucking. Like, don't come in here with no bullshit. You know what I'm saying? Because they would come in swinging week after week after week. And then Tina was constantly with a pencil in her back pocket, like, new joke, new joke, new joke. For whatever sketch. She was head writer. So, like, she was all business, you know what I'm saying? So for me, being, like, 25 years old, I saw that and I was like, oh, this is not a playground at all kind of thing.

B (72:00)

Sure.

C (72:00)

And I hadn't read the book. Like, they Gave me the book to read, but it was like, this thick. I was like, I ain't reading that. You know what I'm saying? I'm just gonna go have my own experience, whatever. But, yeah, they definitely showed me that it is not a game.

B (72:13)

You've had some people that you look up to as a mentor, of course. Is it surreal to now be the mentor to people?

C (72:20)

Yeah. Yeah. But it's also such a cool thing, too, you know what I mean? Cause me and Marcelo have that relationship. Like, he's always calling me big bro. Yeah. He's so good. And he's so, like, a loving, good person. On top of taking comedy very seriously. On top of taking, like, his pursuit of it very, like, all of it, he takes very seriously. You know what I mean? And, like, his journey is, you know, fast and furious, but he's still grounded, which is just beautiful to see. And he's just forever like, yo, you my big bro. I'll never forget. You know what I mean? You never, you know, when I knocked, you answered kind of, you know, kind of whatever. And, like, all I did was say, come in.

A (72:57)

You know, All I did was say, yeah, come on.

C (72:59)

Yeah. He came in and asked questions about this, that and the other, blah, blah. And just doing what I feel like a human being would do is just sharing knowledge or sharing, you know, compassion or tidbits of, you know, critiques, if I had noticed anything.

A (73:14)

Yeah.

C (73:14)

I mean, so I try to do that for anybody that would ask kind of, you know, and even if they don't ask ass. And, like, if I'm in a sketch and I see shots that I think should be different, you know, I mean, like, I'll speak on it kind of stuff or whatever. But past that, like, I'm pretty chill. So. Yeah, to be somebody else's mentor is always, like, that's. That's a heavy thing.

B (73:37)

Yeah, I think. And I can see, though, what you're touching on and is making mentorship in so many ways is just human kindness. Of course we should help the person behind you if you can, if you're able to. And.

C (73:48)

And.

B (73:48)

But. But not everybody is that way. And that's.

C (73:50)

Which is wild. Like, I hear that a lot. It's like, man, you're such a breath of fresh air. And I'm like, by being nice.

A (73:55)

Yeah, but you are very kind, especially.

B (73:58)

In you have an energy about you that is very welcoming and kind and calm.

A (74:03)

My God, I feel like I'm yelling at you.

B (74:04)

This is like, our listeners win the test. This is like, the calmest show we've had.

A (74:07)

Yeah, for sure.

B (74:09)

Yeah. But you have. You just have such a great energy, and you obviously are so interested in being in community with other people, which is very.

C (74:18)

I'm very ensemble minded. Yes. I like ensembles. Like, I never enjoyed solo moments, you know what I mean? Kind of things. I always enjoyed when the ensembles, like, going back to what I said with that. Speaking of the rehearsal process for it, the first time we rehearsed it, Sudeikis was sweating harder than I was. That's when I was like, oh, this is gonna be special because. Because it's not about me necessarily. It's like all of us giving hard to this specific idea. And that is going to work for an audience, like, when everybody is just, like, in your face, like, this is great. You probably gonna be like, this is pretty great. You know what I mean?

B (74:54)

Yes.

C (74:54)

And that's what it was. It was all like. Everybody was hyper dedicated. And it was so flattering because it was my second idea, you know what I mean? That was generated from what I think is funny. That made it on the show kind of thing, and it just was, like, very personal to see the professionalism come towards, you know, one of my little baby ideas.

A (75:19)

That's not so baby at all.

B (75:21)

It's crazy.

A (75:22)

I had a quote from your book that I wanted to pull up because I want to round it with. For your girl. Okay.

C (75:28)

Okay.

A (75:28)

Okay. I think this may round it out now.

B (75:31)

This is a great. Go ahead, Tiff. You're so small. I had it. I had to get it. You're doing such a good job.

A (75:35)

And I was gonna try to remember, but I couldn't do it on my own. You're a superstar, and you're so super. I tried. Okay, so this is from the book. And you say, by the way, anyone who says women aren't funny are brain dead. And I think this is funny. It's interesting because you just mentioned all of your mentors, and many of them are women. I think that's very special in the context of this show as well, of course, because the foundation of it, obviously, is womenhood and sisterhood and friendship and community and all of that. You are one of our girls, I would say, as you are. Come on, D Vo. Come on, Deebo.

C (76:05)

Hollaback.

A (76:06)

Hollaback.

C (76:09)

But I feel you. It's hyper dismissive and, like, it's just. It's like. It sounds piggish, you know what I mean?

B (76:15)

For every time I got that comment.

C (76:17)

Who do you think you are to. To tell anybody what's funny. Like, comedy is the most subjective thing on the planet.

A (76:24)

It's true.

C (76:24)

You know what I'm saying? Like, horror. Everybody's scared. You know what I mean? It makes sense. It's jump scared for everybody. Comedy is like, you know, if you think it's funny and you get the joke, some people don't, you know what I mean? And like, drama is like, yeah, it's heartbreaking when people break up. Like, duh. You know what I'm saying? There's a lot of duh moments in drama, but comedy, bro, that's why it's so hard and complex, because it's hard to get the big room reaction, you know what I'm saying? To say that women aren't funny is. It's kind of like Margot Robbie is like, you got to watch those guys that just love the Wolf of Wall street, you know what I'm saying? Like, if you love the Wolf of Wall street, like, you probably want to watch those dudes. And I really enjoyed the movie.

A (77:14)

It wasn't that great.

C (77:15)

I get it. Like, it's just Scorsese, you know what I mean? It's whatever. It's a crazy story. Blah, blah, blah. Cool. Leave it there. It's a good movie.

A (77:22)

Yeah.

C (77:22)

You know what I'm saying? Saying, blah, blah, blah. But when you get into the point where it's just like, yo, Wolf of Wall street, bro, greatest movie ever.

A (77:29)

I've dated some dudes like that.

C (77:30)

You know what I mean? And how did that work out?

A (77:32)

Horribly.

C (77:32)

Exactly. Horribly.

A (77:34)

They know who they are.

C (77:35)

That's all I'll say to just to be so, like, final with your words is that's just crazy, in my opinion.

A (77:43)

Yeah. And here you are amongst two female comedians. So thank you.

C (77:47)

Yeah. And like, also, like, there's no valid. Where are you getting this from? You know what I'm saying? What is your basis exactly? Because there's been several. Several several hundred, thousands probably, you know what I mean? Of funny women.

A (78:00)

Yeah.

C (78:01)

Through time, like, famously so. You know what I mean? And like, so I'm like, where are you? What is the source of this information that you're just quoting these. You want to be facts. Women aren't funny. Like, what are you talking about?

B (78:13)

I think the weirdest thing for me that I've started to notice it is just in every day, like, we meet somebody and they go, this is Taryn and she's a comedian. People are like, oh, shit, I'm funny. And you're like, ah, shit. I don't know. I can never do it on that. I hate that. I can never do it. But if you're in a group of people, I found a lot of the time, like a cocktail party industry thing, whatever, the men are actually actively trying. Not all of them. Not all of them. But sometimes. Sometimes I can see the men are horrible, trying not to laugh. And I pointed it out multiple times where I go, not you holding back a smile. Why are you trying to not let this be funny? Why can't you accept it? Let me in.

A (78:51)

I'm funny. Let me in.

C (78:53)

It's the patriarchy, man. It is. We can't give it up. We can't give up our position in society, man.

A (78:59)

That's true.

B (78:59)

What's up with that? So I appreciate anyone, man or woman, no matter whoever, but especially I love men that laugh easily instead of trying to make you earn it.

A (79:07)

Correct. That can just hold court with funny people and let people be funny and be like, like.

C (79:12)

But she's a woman.

B (79:13)

I can't.

A (79:14)

I can't possibly. Like, what the fuck?

B (79:17)

Come on.

A (79:18)

My gosh.

B (79:18)

Well, yeah, anyway, so I appreciate that about you. I love that you have an easy way about. About your laughter. I think it's great.

A (79:25)

It's true. That struck me.

C (79:26)

Yeah. And, like, I don't just laugh just for the sake of, like, supporting women, you know what I'm saying? Like, if I find it funny, it's funny. And, like, I've had very, like, front row seats to. And I. I also study comedy, you know what I mean? Like, I watch a whole lot of standup, you know what? So I'm very aware of who's trying to do what. And the ones that are seasoned performers, it's obvious. And the ones that are greener and kind of doing subject matter that, you know, kind of everybody else kind of does or whatever, that's obvious too, you know what I'm saying? So there's no reason to be so harsh. Why be so harsh? You know what I mean? Like, wait a minute. You would never say such a thing. Like, you wouldn't even say so much of a thing as, like, black men and like, and get more specific, you know what I mean? And try to, like, put it on a smaller group or anything. Like, black men ain't funny or anything like that. Like, women ain't funny. It's crazy, you know? I mean, that's a crazy concept, homie.

A (80:19)

Yeah.

C (80:19)

Like, the world is much bigger and more beautiful than closing doors like that, you know what I mean? Like, coming from a place that we had to kick doors open, you know, I mean, I don't like that kind of mindset.

A (80:31)

That's true. Like, absolutely.

B (80:33)

There's space for. I think there's space for everybody.

C (80:36)

Yeah. I mean, if anybody focused on doing for you, by the way, making you laugh, but you know what I mean, I'm entertaining you, so. Yeah, don't. Don't be so close minded.

B (80:48)

All right, Keenan, thank you so much for coming on the show. You've been so lovely.

C (80:54)

Thank you.

B (80:55)

And the next time, funny man.

A (80:58)

Sorry, sorry, sorry.

B (81:00)

Rap sounds about.

A (81:01)

You heard that, Nana?

B (81:04)

Rat sounds of validation. Yeah. Next time we see you on a jumbotron, just know we're watching. We're watching.

C (81:14)

I'm doing rat sounds of validation.

A (81:16)

Thank you.

C (81:18)

I'm a jumbo chime.

A (81:19)

Yeah.

B (81:21)

All right, well, we have to do a trivia diva. Oh, I don't have a drink.

A (81:26)

So when I don't have a drink, I just fake clink.

C (81:28)

Yeah, you know you fake clink.

B (81:29)

You know what? I'm gonna join the group and have a known drink.

C (81:32)

There you go. I can't stay in the group.

A (81:33)

There you go. Stay in the group.

B (81:35)

I like an ensemble as well. Thanks for coming on the show. We're going to trava with you. On the count of three. One, two, three.

A (81:42)

Diva.

B (81:43)

And remember, we're girls.

C (81:45)

You remember that?

A (81:46)

Yep.

B (81:47)

Forever.

A (81:47)

Uhhuh.

B (81:48)

And the lawyer from SNL watching this. Listen, it's. No, look at him. Oh, damn. Spilled.

C (81:55)

Spilled all down. It's all right. The mister.

A (81:58)

Don't even worry about it.

C (81:59)

I'm trying.

A (81:59)

Yeah. What are you drinking, man?

C (82:02)

It's nice and cold.

A (82:04)

You can't let it touch your teeth. The ice burn.

C (82:07)

Yeah, just the top teeth.

A (82:08)

There you go. The top teeth. Thank you, Ken.

C (82:13)

Y', all, man, it's such a pleasure.

B (82:18)

Cause we're your girl.

A (82:21)

Hey. Cause I like I do.

B (82:25)

Warrior Girls is hosted and executive produced by Taryn Delaney Smith and Tiffany Singleton management by social media. Produced by good mess media. Follow us on all platforms at Warrior girlspod abc Wednesday.

C (82:38)

Shifting Gears is back.

A (82:39)

He has arisen.

C (82:40)

Tim Allen and Kat Dennings return in television's number one new comedy.

A (82:44)

What? What?

B (82:45)

With a star studded premiere including Jenna.

C (82:48)

Elfman, Nancy Travis and.

B (82:51)

Hey, buddy.

C (82:52)

A big home improvement reunion.

B (82:55)

Welcome.

C (82:56)

Oh, boy.

B (82:57)

That guy's a tool.

C (82:59)

Shifting Gears season premiere Wednesday, 8, 7.

A (83:02)

Central on ABC and stream on Hulu.