Funny Bones ft. Wyatt Cenac

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S1: Hi, Nicole.

S2: Hi, Ben.

S3: How are you? I’m good. How are you? I am delighted. I feel like that’s the only way to kind of navigate.

S2: Time and space now to walk out with like a, you know, a little village of delights. Yeah. And I hope that life finds me right. You know, let the smile fortify you. There you go. Come on. Poetry.

S4: Yes. Yes. I was my. Fortify me. Yes, I understand that. I understand that. I’m excited about today. Yeah. Yeah. Ah, this episode is. It’s a little different from what we’re used to. Yeah.

S2: Well, getting a little engagingly academic. I like that. Thank you. Thank you.

S5: I’m not a poet, but I do have a facility with words.

S4: Yeah. Yeah.

S6: You know, on the show we like to delve into what makes thirst. Thirst. Right. We talk about all the different elements and all of that. And today we’re gonna focus on one particular elements called Huemer.

S2: Love a bit of humor. Delightful. Yes. It’s it’s a good time. Yeah. It’s basically the bit of that I think might be the most intangible. But, you know, you can spot a forum, right. You can see that someone is kind by the actions that they do, but. Right. Humor is so subjective. Yeah, it really is. It really is. So we’re gonna try and dig deep as to how humor affects the way that we actually desire.

S6: So this week, because we’re doing something different because because we’re getting to humor and all that that entails, we’re not going to have a redacted. No. That that usually opens our episodes. And unfortunately, we’re not going to have any travels. That’s okay. They can go. Yeah. I think they’ll they’ll be fine. Because instead we have an incredible guest in the studio today, Mr. Wyatt Cenac.

S7: Hello. Thanks for having me. You’re welcome.

S6: For our listeners out there who may be unfamiliar with Wyatt and, you know, maybe crawl out from under a rock will let you know that. Why? It was a writer on King of the Hill corresponded on The Daily Show with Jon Stewart. He starred in Barry Jenkins first full-length feature film, Medicine for Melancholy, which is one of my favorite movies of all time. Say it’s not a lot of humor in it, but we will definitely talk about it because I love that movie that he has starred in his own standup specials, one of which Wyatt Cenac Brooklyn was nominated in 2015 for a Grammy for best comedy album. And you know, he’s done voice work on such shows like BoJack Horseman, Archer, Bob’s Burgers and more. So obviously this man is an expert. He knows he’s funny.

S8: So we’ll get into all of that after this message.

S5: Is that you want to do that, right? Yes. That a good. Now we’ll use it. Well, I like it.

S9: Wyatt? Yes. I have a very basic question. OK. Comedic skills. Right. Is that something that can be taught or is it just kind of like you have it? Are you don’t.

S8: That feels like that’s kind of the age old question. I think it can be taught. I think there are people who are naturally funny, but I also think that there are certain there are enough places around the world that are teaching people comedy, whether it’s improv, comedy or standup or sketch that. You can learn certain things as far as timing or those types of things. I think it’s similar to music. Like you can learn comedic theory, just like you could learn musical theory.

S6: You mentioned comedic theory. Sounds very academic. Like, are there courses that someone can take in college, at a community college or something like that? Or like, you know, empty nesters can go, if you like. You know, my kids gone. Let me go find it funny. Yeah. Yeah. Are there things that will teach that?

S8: Oh, yeah. I mean, there are a lot of places like I started out in L.A. and so in L.A., you had schools like The Groundlings, Improv, Olympic. The second city had opened up out there. Acme, there were all these places that were offering like improv comedy. And I remember when I started when I first moved out to L.A., I took classes at the Improv Olympic out there and many of the people in my classes were I like people who were just trying to break out of their shells like they weren’t even they didn’t even have an interest in comedy as a career.

S7: There were those people who were there. Oh, yeah, I want to get on SNL. And I heard that there’s a pathway to that. And then there were people who were just like, yeah, I work in the corporate world. And every now and again, I have to sort of get up in front of people and talk. And I’m hoping this could help me feel a little bit more confident doing that, but also maybe a little looser.

S8: So I you know, I might not be able to go on stage and do an improv show, but maybe in the moment, if, you know, the projector goes down, I can sort of roll with it as opposed to as opposed to, you know, seizing up. I can maybe make a joke and lighten the mood or do something like that. And so there are those places, I think what what happened as you know, there was a comedy boom of the last 15, 20 years. And I think what you’ve seen sort of in the wake of that is a lot of those people who are signing up for those classes when they were just like, oh, I just want help public speaking. Those people got replaced with people from modeling agencies who were told, like my agent said, I should come here so I can learn how to, like land a joke because I’m beautiful. If I’m beautiful and I can, you know, not look disgusted when a fart comes out, I’ll get all the jabs.

S10: That’s the requirement for Hollywood.

S11: That was I mean, that was I would say like the early 2000s. It was.

S8: Are you a hot person? And if if someone makes a fart noise, are can you effectively roll with it and be the hot person farting?

S2: Wow. That’s insight into the industry at the time. Yeah.

S7: I mean, I feel like so much of the late 90s, early 2000s, comedy was like find the hottest people you can and make farts come out of them.

S12: That’s how you make money in America. Yeah, I think about all those fairly brother movies.

S7: Was just like, let’s get attractive people and like put bodily fluids on them and make fart noises come out of them.

S13: And then I thought about it like this. And now that’s all I’m thinking of. Yeah, it’s you.

S7: And if you spend a career doing that, then you can make the ultimate comedy of all the Green Book.

S14: So you mentioned that comedy is something that can be taught people who are already funny.

S15: You can get better at it. People who aren’t can be like an Lemba. The mechanics of it wasn’t a point in your childhood that you thought, Oh, it turns out I’m the funny guy. Was there a moment where you understood without a shadow of a doubt that you could make people laugh?

S8: Kind of, I think for a long time I always appreciated comedy and I always wanted to be funny. I always wanted to be funny. And I would always look at like whether it was cartoons or TV shows. And I would try to tell jokes and I would try to try to tell jokes. My mother, she would never laugh at me. I had a friend, my friend Brian Vaughan. He was the funniest person I knew as a child. And he always had me in stitches.

S16: And I remember one summer he had moved to Cleveland, Ohio.

S8: And so then in the summertime, I would spend part of my summer in Cleveland with him and his family. And there was a day where I remember his friend Mary Shaughnessy was laughing at everything I was saying. And it was this moment of the heart.

S17: I figured it out.

S11: I was so just. Oh, okay. It’s possible you can do it. And prior to that, it was just, oh, O’BRIEN is the funniest person I know.

S8: And I would I would always laugh at everything he said. And I would just kind of watch with this a certain amount of envy of, oh, wow, I wish I could be as as funny as him.

S6: And was it also the moment that you realized, oh, funny gets the girl? Cause I mean, it kind of sounds like maybe she had a crush on you as well.

S5: Not to say that you weren’t being funny, but that Sarah was laughing.

S18: But was she laughed, you know, so rude. I love it out of the question.

S8: No, because I think even after that, I I don’t think that I equated sense of humor and attractiveness as as those things that if you’re funny, somebody finds you attractive. I think as I got older and went to junior high and high school, I people would find me funny. Like the girls that I knew in my world at that time would say, oh, you’re very funny. But there was also this like you’re a friend to us. And so there was oh, you’re just kind of like a funny friend and funny never got me over the hump in that way as far as like, oh, OK, you’re funny. And that’s what we will look past your nearsightedness and braces and and we’ll kiss you. So those two things never seemed connected to me in that in that way, it always seemed like, no, no. You know, the very handsome people were the ones that the girls were were attracted to. And and then I was just kind of like the weirdo who would do stupid shit.

S9: Like what?

S7: Well, I’m just because as we’re talking about this, I’m thinking about when I was when I was a kid, my my mother put me and my brother and Jack and Jill for a little while and I didn’t know Jack and Jill.

S12: OK.

S8: So Jack and Jill is this organization for black parents who is really for black parents who want to hang out with other black parents, but they kind of put like they they the whole thing is about like black black youth getting together, the talented tenth of black youth all hanging out and networking and socializing. And what was weird was I grew up in Dallas. And so there is a Dallas Jack and Jill chapter, which is the very upwardly mobile Jack and Jill families. And then there was North Dallas, which was like the sort of suburbs outside of the city. And that was like all the Jack and Jill, all the Jack and Jill families. You were either like from single parent households or like just like Middle-Class, but like a struggling middle class.

S11: And so there weren’t like many doctors, doctors or lawyers in our Jack and Jill chapter. We were the poor Jack and Jill chapping, basically.

S8: And so and I only say that because we had to do every year, there would be like a teen conference thing where all the Jack and Jill chapters of a region would all get together and they’d stay in a hotel in like I remember we went to Louisiana or something like that. And so then you’re supposed to do these like different like different events. And one of the things is like a fashion show. And for. Hours. We just had to use the clothes we had and we had to do we to do. And it was summertime. So was like swimsuits were a part of it. And somehow I got in there and I remember there were these two guys who were in our Jack and Jill chapter. These guys, Quincy and Dale, who were cousins. And they did the swimsuits.

S7: And every like every girl in the crowd is like losing their stuff in Quincy.

S12: Quincy was one of those guys who had like a perfect box where it was just like it looked like a racer, like it just had that.

S8: And he was like he was this really dark, chiseled guy. And like, he steps out there with like his swim trunks and Meg walks out and and the girls are just like and Dale was also like he was like this handsome guy who was more like peanut butter complected.

S7: He actually went on he left and joined the Mickey Mouse Club.

S17: Classy, but classic Dale. Yeah, that’s a Dale movie. But he came on the girls later.

S7: And then I came out and I had on like swim trunks. I had on a pair of Reebok pump sneakers that weren’t even mine.

S17: But my friend Cameron handed down to me because I could never get Reebok pumps on my own. So I got his that had no tread on them. So because he had worn them out playing basketball.

S19: And so I had those and some swim trunks and like some prescription sunglasses on. And I walk out and I feel like people just laughed. And I think somebody said, Burgess and I just like. And there was nobody like there was nothing on the back end of that where some girl came up to me. It was like, you know what? Your brain. And you’re funny and I want to plant kisses on you. It was. It was. Get out of the way. Where’s Quincy? And I need to catch Dale before he goes. Mickey Mouse out of the way.

S20: Birds. Yes.

S18: How old were you at this time? I was probably like 16. Oh, plus, that’s the thing. Sixteen year. So it’s it’s in the hippocampus for. Oh yeah. No Elin’s. That one stuck there. Yeah. Yeah. Yeah. But just you won’t know this.

S21: But on the show, Nicole has professed a preference for a bird chest. In fact, she calls it a strong bird chest.

S4: Yes. So I you know, slim man, I don’t have a problem with that. So if we had been if I had been in Dallas at Jack and Jill, well, I probably would not have been because I’m not light enough.

S6: And that’s my exposure to Jack and Jill when I was a young. Young. I really like a paper bag test. Yes. It was very much a boogy fair skinned black kind of thing.

S13: I will say that we did not expect to get into a discussion about colorism.

S5: And I am delighted that we. I personally love a bit of a colorism debate. Okay. But if I had been there, I would have like met one of my girlfriends and been like, no, you to pay attention to him.

S22: And I never could get like a good box, like I never had that. So, like, my hair just is like a texture thing. Yeah, it’s just like it isn’t that dense in that way. But it’s not like I couldn’t do the other thing where I where it’s like super like Loose and Curly was just like this weird in-between thing. So it’s also just like the hair is a mess to try it. Like it’s like you’re just watching. It’s just a lot of effort. That’s that’s. That was that was me as a model. All effort.

S5: Louise. Oh, that’s a that’s a motto. Oh, no, no. He’s. Yeah. That’s a guarantee.

S17: There’s a there’s a talent scout that’s just watching and they’re like. Mm hmm. He makes it look like a lot of work. You. That’s what you want from a model, right.

S6: Okay. So first is the performance of desire. And more often than that, it has to have humor in it in order to make it work. How do you think or why do you think humor is what keeps that kind of desire from being creepy? And, you know, crossing lines.

S23: That’s a good question. I mean, I guess the I would sort of. Pose the question back to you when you when you’re sort of thinking about that relationship between Thurston humor. Who specifically are you thinking about or like. Are there types of people because. Is it if it’s somebody who’s very attractive? I feel like humor plays this role of making them seem relatable, which is different than somebody who we don’t consider as attractive.

S24: Humor is humor. It winds up being this sort of asset that gives them a certain amount of attractiveness because they seem smarter. They seem like like humor to humor. And an attractive person makes them seem more human. Human to a person that is considered average, makes them seem somehow smarter. And so that to me feels like that’s sort of the the difference that we that we like. If you see if you see a super attractive person who’s also funny. It’s not that you want them to seem like, oh, they’re super attractive and they’re brilliant and they’re like, you hate them for that new. But it feels like when they’re funny, it’s almost like, oh, OK. They’re slightly more relatable. They can make fun of themselves.

S8: They they in a weird way, it’s almost like acknowledgment of privilege or something like that that they’re willing to kind of like make themselves look silly for to make themselves seem more relatable.

S14: Like you were saying before, the model faulting like this idea of I’m able to laugh at myself, I’m so stunning. But also I’m just like you guys.

S18: Yeah, yeah, I get that.

S8: But I think when you then think about like people like somebody like, you know, Red Fox who wasn’t considered like a traditionally handsome person, I think humor makes him seem more attractive because, oh, look at how sharp and fast and quick his mind is. And I bet wherever he goes, he’s going to be the funniest person in the room. And there’s almost a power that comes with that, that, oh, he can command a stage, but he could also command a party and a room full of people. And that feels somehow but that feels somehow different than the like the model whom make somebody laugh.

S6: Hmm. I like that connection of humor and intelligence because I guess it’s not something that we normally think about because you do have to be really sharp and you have to be really quick, particularly if you’re the kind of person who wrote people from the stage or something like that. And I think that also speaks to having this kind of public literacy in order to be able to read the room, figure out who to, you know, what kind of jokes to say are, what kind of jokes. Not to say those kinds of things. So that’s really interesting. Yeah.

S13: And it’s because it speaks to like like you saying about like being aware. It’s like a very important spatial awareness.

S14: Like if I say this, where will it land when it lands? Will it actually land? I think about that all the time. Like whenever there are those scenes where people are kind of bursting. My thought almost every time is I think I’m funny. If I give myself five minutes. But you can’t give yourself five minutes. So much of it is reactive every time someone heckles a standup. And the standup returns something, I’m just like. Jesus Christ. How is your brain doing that? Yeah, because I I’m always kind of like, yeah, oh, crap.

S10: And then you have to kind of come back and then in five minutes I’m like, I’m back to my full strength that I have. Oh, he’s gone. And I feel like that’s that’s where I’m at.

S21: So I’m always I’m always slightly in awe of comedians who kind of do that quick rapid fire kind of like, no, fuck your mom. And then it’s kind of like, okay, now we’re all in this we’re all in this together.

S17: I mean, if you go to is just no, fuck your mom, then I think you’re fine. That’s just. Go to foreverything, dad. That’ll cover you on a stage or on the bus. Thank you.

S8: But I think there is a difference there. Like being on a stage. Because there is a bit of magic that’s at play there that when you’re on stage, you have control of a whole audience of people. And the one person who decides to get unruly and disrupt the show.

S23: There are. Whether you have jokes in your arsenal are ready to deploy or you’re just sort of taking it in the moment, you still have a certain amount of control of that situation.

S8: And often when heckling goes bad, it’s when that sense of control, when the comedian loses that sense of control. And then, you know, even still, most clubs have a security, have have a you know, have security, have a bouncer who will objective rude person or do something like that. But that feels very different to me than if your, you know, in line at the DMV. And, you know, I don’t know. Sometimes I would be curious for every comedian who’s great in that moment onstage at dismantling a heckler. If in the real world. Are they as effective or as adept? Because it’s a different situation. It’s not what it’s not what you’re expecting an honest on stage. You don’t go in hoping that there’s a heckler. But you know that that’s a possibility in life.

S24: You don’t know where the hecklers are going to come from. The heckler could be you tripped on the sidewalk and you fell down or it could be someone, you know, a rude waiter or any of these things. And if you went through your life with your you know, with your guard that far up. But like everything like I’ve got to I’ve got to have a comeback for every year. It would be a slightly more challenging way to live.

S14: That’s true. I want to cross stitch that on a pillow. Life’s gonna throw you some hackles like you. You don’t know. You can’t plan for that. No. Okay. So we were saying when we started doing the show and we were very aware that we wanted to do this show as two straight women thinking about other women. And one of the things that we discovered is that first is highly gendered, especially on the Internet. I think some of my favorite expressions of thirsts, not even some all of my favorite expressions offensive come from women. I think women have learned to be equal parts explicit and disgusting and hilarious in order to kind of soften the idea of female desire, which I think is still kind of seen as sort of scary and a little bit unknown. And so the result of that is incredibly funny, thirsty commentary wherever you go. And there are so many examples. There’s a great video of John Veiga and Oscar Isaac, two very handsome men who are reading some of the first tweets and the inventiveness in some of the first the commentary from these people.

S15: And it’s all sorts of people, lots of women, but other people, too. And it’s just kind of it’s staggeringly funny. Their responses are very funny and whatnot. But sometimes the inventiveness that it takes to just say I like I would like that. But it comes out in these poems of thirst.

S7: I mean, I think to your point, though, I about thirst and it feeling gendered. I wonder on some level if at least on the male side of it. Part of the challenge is that for so long so much of male sexuality was possessive.

S25: And so even the idea of a man writing about a woman in a way that he finds her attractive.

S24: It’s still we still have those cartoon images of like cavemen bonking a lady on the head and dragging her. And that is some of the some of the way that like thirst gets presented for straight men about women still kind of like rooted in some of those same those same kind of notions and ideas.

S21: We’ve spoken about the way like safe ways to express stuff because of the way the world has been ordered.

S13: Some that we think about a lot as well when we’re trying to kind of describe desire and trying to think about it.

S26: And yeah, you know, because a lot of we do get complaints from men who obviously have never listened to our show and they’re like, well, if some guys did this, they would be called sexist.

S6: And, you know, enjoy your double standards, lady. CORNISH Right. But I think men do it. Yes, men do it. You know, they don’t. I mean, I’m sure there’s somebody out there who does it with the nuance that we do. But we’re not just saying, oh, this guy is hot. Let’s talk about his face and his butt and his abs. We’re also talking about people’s work and why they choose these roles and things like that. Like this is actual like cultural criticism that we’re doing. But if it were men, it would just be men. Did you see Scar Joe’s Butt in that Avengers movie? Your man voice is really something special.

S5: I mean, I was like, why? There were two men in the studio. Why didn’t Cogo have to make them sound as stupid as possible?

S6: Because it’s such a dumb complaint. Yeah, it’s super reductive as well.

S14: I haven’t really listened. What I love, in addition to the tweets from these people is their response to it as well. They’re actually exhibiting a really fine sense of humor themselves. They’re kind of laughing.

S13: There’s one tweet where someone says, I want JambaGo to suffocate me between his thighs. Yeah.

S27: And hey, you know what? We all have our thing. And I mean, that also sounds like it’s a cry for help. Yeah. Either way, sweet relief.

S13: And and John kind of loves about an Oscar kind of goes, yeah, that’s possible. I have seen your thighs and then they have a little moment where they both come. Talk about each other’s thighs. You’re really kind of like bro your way, but it’s still really kind of little. They acknowledge stuff and they’re they’re funny as well. Like half of the thing about dealing with first is also having a an open, humorous thought process to it.

S15: Like, it’s funny. The point of this oftentimes is, yes, you’re expressing this desire, but you’re also being funny. I think of some of those tweets as really kind of like a playground to test your funny bone and see just how inventive you can be within these strictures. Like you’re trying to express desire, but you’re also trying to be smart and funny and witty about it. And I really like seeing people, you know, do all of that in like one hundred and eighty characters.

S6: Right. And funny women. The fact that most of the funny ones come from women, I think is very important because we it’s hard for people to let women be funny, period. But especially on the Internet, we get a lot. I know I when I’m being silly, I get all these very earnest replies or people are trying to correct me or they’re trying to teach me something or whatever. And it’s like, just let women be silly on the Internet. It’s OK.

S13: Sometimes they’ll they’ll tell you, oh, that was really funny. You’re like, I know.

S4: I selected the words they try to add onto your joke right now. Just let it breathe. Just let it. I already did it. I made the joke. I’m very funny.

S5: And you end up some like a petulant alive.

S24: The funny one that I mean, I’ve had that just doing standup. You starting out. You do shows. And then someone from the audience after the show was like, I really enjoyed your set and starts offering you like, hey, here’s like you might also want to think about this. And so I think what’s what’s interesting is that that bad judgment has made its way from the clubs and it’s on the Internet now to where somebody somebody feels like, oh, what was it? What would always be great is like, I can never do what you do. And you were really funny.

S17: Also, here’s a joke for you and say, oh, no. That’s a thank you. Yeah.

S18: And goodbye. It’s great to cook something though.

S7: I want to I just something off of what you said in talking about women and their ability to be funny in this way when it comes to thirst. I I also wonder. And I can only think about this from the perspective that I was kind of raised through, which is a masculine one. But I wonder, because so much of masculinity is also tied up in. I want to call it shame, but there’s there’s a strange thing in masculinity that doesn’t allow men to appreciate other men publicly.

S24: So like even as you were talking about like Oscar Isaac and John Boyega sort of talking, making a joke about John Boyega sties, I feel like so much of masculinity that’s rooted in this idea that if you were to even say something like that, you would automatically be you know, someone would mock you or try to suggest that you’re gay or something like that. And then masculinity is just this defensive posture of bich. Masculinity often feels like it’s a defensive posture that takes form because so much of masculinity is rooted in homoeroticism that you’re trying to deny.

S6: Yes. And that’s all it is.

S24: And so I wonder how much of that is like that inability to be comfortable with the fact that, like, oh, you know, whether it’s UFC or football or superheroes, like you’re just watching men in their underwear, like and wishing you could be as strong or as sinewy as any of these men. It’s not just about their strength. It’s about how they look. But you can’t make that comment public.

S28: Yeah. Yeah, I saw a really popular tweet where it was a young black man.

S6: He said that he had told another man that he was beautiful and got a lot of flack for that. So he was like, if it’s OK for men to say another man, it’s ugly. That means you have looked at him and judged an appearance and said that he was this. So if you can say he’s ugly, you can also say that he is not ugly. So why is this such a problem? To say he’s not ugly, to say this man is beautiful. And he you know, he started to talk about how it’s because men don’t know how to compliments without the expectation of something for it. So if you tell a woman, if a man tells a woman you’re beautiful, then you expect her time. You expect her to give you her number. You expect her to give you sex. You expect something, whatever. So if you compliment another man, you’re beautiful, you’re handsome. Then that means you must want the same thing from him. Right. And it’s like, no, what if you’re just saying you look good today and that, you know, it’s very hard for some men to understand that you can just give a compliment for free. You don’t have to feel you’re not trying to fuck everybody that you say is beautiful, you know?

S21: And it’s amazing because every time I receive a compliment from a man and by compliment, I’m being very loose to someone. BUETER And I’m like, come on, come on. But literally on the way in today, some dude like was I was, you know, you can Spaull. Coming up the road, I’m like, this guy’s going to say, Yeah, I think you’re right.

S10: He made eye contact and I was like, fuck you.

S21: Then we kind of walk pause. And he does his whole whatever I need before he begins speaking. He makes like he sounds like he’s eating a meal.

S5: So he does up. And I’m just like, oh, yeah.

S7: It was kind of like was just like when you said sounds like he was eating a man meal.

S19: I was like, crunch, crunch, crunch, crunch. I’m going to die. I just.

S29: That would have been at least original. He would just laugh.

S21: And then he kind of says whatever he says. And I don’t know. And I kind of jammed my headphones in a little bit and they just keep walking.

S30: But I just thought you didn’t have to do any of that. And then every so often I get a compliment from a woman and I’m floating on and feel like I’m again, I’m just kind of like she just meant that, like.

S6: Right. There’s no expectation of following the compliments.

S7: But also, is it the way that compliments happen? Because I feel like I don’t know. I wonder when women compliment each other.

S24: Like, is it much more like, oh, your hair looks great or that jacket? You like that jacket like like that. There’s a little more depth to it. Other than like an s.

S19: Yeah, just crunch, crunch, crunch.

S29: So I think that’s true. I think I’m so I. When a woman compliments me, it’s really beautiful.

S13: It’s always kind of like, oh, my God, love your nails. You love those boots.

S31: I wanted to go back to something you said. What we were talking about with like these compliments from women. Not meaning anything.

S6: And I think that also is why Thirsk tweets and posts on Tumblr work very well, particularly from women, because they’re just putting them out there. They have no expectation that the celebrity is gonna see it and the celebrity is going to show up on their door. I heard you want me to crush your hair with my thighs. It’s a very useless compliment. Like you’re so beautiful. I want you to cause me pain a little bit, but it’s just it’s just a quick little release.

S32: You know, I’m just a little bit of steam from the kettle and then they go on quite the analogy. Yes.

S21: So we have some tweets that we found especially amusing in the context of of this. And you have to comment on these or anything, but we we like them to share a few with you. I’ll I’ll show you a puzzle. All right.

S14: So you can have a look. All right. OK. So this is from one of our former guests on the show, Bulloo. And this is another expression of appreciation for romance dies in this case. Winston Duke Amberleigh says Winston Duke posted a picture of himself on a horse with his thighs out like a real criminal. What will you say on our notes up now that you have killed us?

S4: I love it so much because it also ties in Beyonce’s classic 11:08. Yes. And the way that celebrities use the notes app to apologize. Stuff like that. It just is perfect.

S7: Yeah. Well, I don’t know why Notes app is such a popular thing that I have.

S27: It’s a weird. It’s democratic. Most people have a notes up. Yeah. Yeah, I guess so. The next one, Nicole. Do you want to. Yes.

S6: So I’m going to read it and then you can tell us why this is funny. Why? Matt Damon, I will use your ponytail to steer while you dine upon my lady sandwich. OK.

S20: You know you want to laugh?

S33: I did laugh. I’m there’s the part of me that’s just I’m curious. What was his ponytail from you thinking about?

S10: I am right now.

S7: Well, this is from like 2015. Yeah. And so I’m. So there’s a part of me. It’s kind of like, what movie?

S4: What like what was this person like a samurai movie or something? Was that what that was like, white man in China or something? Yeah. I mean, that’s what it was. I would love to.

S22: I would love. That’s all these movies just got retitled as vague. Yeah. Just any cop movie.

S10: Just like aggressive white guys at work. Yeah, that’s it.

S14: No, I love this one because it uses one of my favorite things in fast which is a needless euphemism. I think we all know what a lady sandwiches is something.

S7: It’s a it’s one of those sandwiches that does it has cut the crust cut off.

S10: Right. You get, you know, cucumbers everywhere.

S21: But what I love about it is that she says that she says to steer, which, you know, takes my mind to the industrial west of the past. I just. All of it is just it’s working for me.

S14: And, you know, she has such a genteel face in an avatar. You think was a nice lady like that. You know, she’s talking about Matt Damon and his paintings. And the lady sandwich. I love that. I love that tweet.

S7: You know, it’s very there’s something about it that also feels very like Jane Austen.

S18: Yes. It’s saysand. Yeah. So it’s a polite.

S34: If there was like a sort of trashy novella, Jane Austen competitor out there, whoever that, you know, the lady who made Twilight, like, whatever that story she just took. What does she take are not 50 Shades of Grey, Twilight or whatever they’re like. I’d like to think that in Jane Austen’s time, there was a another writer who was like basically 50 Shades of Graying Jane Austen. This was one of the ladies in which was her invention.

S6: I would love that.

S26: So this tweet says Traven t Rohde’s is so fine, he has the potential for three equally fine nicknames, Tray von and Tay. This message was sponsored by Trojan bearskin Condoms and a dream.

S20: Goodness, I love it so much.

S18: It’s under a tree. Does help her achieve her dream.

S7: There’s also a part of me that I feel like there is a movie that could be made or just a wacky sitcom episode about like three women who are dating the same guy that know him as Trey.

S33: One knows him as Trey. One knows him as Vahn and one knows him as Taye.

S6: Yeah. There it is. Watch it. Write it, please. Write it.

S21: Yeah, you got it. We’ll help you. Yeah. Yeah. Naturally.

S26: So Devonte Rose worked with Berry Jenkins and Moonlite. You worked with Berry Jenkins in Medicine for Melancholy. We also have if Beale Street could talk with Stephane James, who we recently featured earlier this season.

S9: Barry Jenkins does not play when it comes to handsome black men in his movie. He does not. Would you like to include yourself, do you feel okay, including yourself in the handsome black man that Barry Jenkins elevates through his film?

S8: Selfishly, I’ll take it, but I feel like I was there before there was a budget.

S19: Why? I. I’m budget, handsome. I guess I got a thousand bucks through that movie bug.

S11: That’s so vague. There is. I feel like if you know and a person or a camera who produced Beale Street guitar. I feel like, you know, plan.

S7: Plan B or any of those production companies he works with. They’ve got some money behind them.

S17: I feel like if he was making that movie now and he presented 0 0 Burd-Sharps Magoo over here, they’d be like, let’s let’s keep you know, let’s just keep auditioning people.

S33: I don’t think I would get to the, you know, the final three that we’re looking at.

S21: I will say that you’re entirely wrong because I watch matters of melancholy. When did that movie come out?

S14: Two thousand eight. So I was you know, I was I was younger than I am now.

S30: But like, I watch that movie and I remember thinking to myself after I watched it, I was like, hmm, should I move to San Francisco?

S14: Like other roads paved with, like, black dudes who are thinking about gentrification. Shit, because I’m really into that. So I will say it’s like, yeah, maybe you consider yourself in the grand scheme of things at this point budget handsome. But in 2008, I’m beyond Wyatt. That’s untrue. And I want you to know that I want to leave the studio knowing that.

S17: Well, that was also before the financial collapse. 2008. Yeah. Yeah.

S33: We were all money, you know, we were there. Home loans were being approved that should’ve been approved.

S5: Not to mention I was 90 and it was yeah, it was a different financial state, so.

S33: Yes. Yeah. For 2008. It works when the market crashes. And it was like, no, no, we can only put our resources in the true Vontae roads.

S21: That’s entirely fair. I’m still willing to. What’s to invest in? What was it you just said? But just Magoo. Yeah. Shout out to you. It was a very important film for you. Oh, no. All jokes aside, I really love that movie. Me too. I thought it was just like this, something that you just didn’t see a lot of right back then or even now.

S31: To be honest, yeah, I really like the film and actually it kind of put me on on a particular kind of path when it came to screenwriting and looking at movies as something to study. And I mean, I was an adult obviously when I saw it, but it just gave me a different perspective on how to look at film. And I I love that movie. I bought it, downloaded it. And that’s what I watch sometimes when I’m traveling. If I’m not, my travel movies are medicine for Melancholy Psycho. The Man from Uncle. And Dirty Dancing and House Party. Okay.

S4: An eclectic bunch. Yes. I mean, you know, I just a it depends on my mood. Yeah. Let’s gonna throw you some heckles.

S9: Do you think that you. Would you do another kind of romantic drama film like that? Again, another indie romance kind of film in the future.

S7: So I don’t I’ve never really considered myself an actor like. I haven’t done acting classes. It was always comedy was always the thing that I wanted to do. And I love Barry to death. And I’m so grateful that Barry put me in that film. What was funny was and Barry and I have talked about this.

S24: I was broke when I said yes to do that film. I just needed money. And I remember he had like reached out to me because he saw me. Someone was showing him video of somebody else and I was in the background and he was like, oh, that guy might be interesting. And so the person who had shown on the video was like, oh, I know him.

S8: And like Barry, I meet Barry at some house in L.A. We. I read the scene. We kind of like improvised for a little bit. And he’s like, would you want to do this? And I and I was like, oh, no. And then he was like, it’ll pay you a thousand dollars and you’ll get a place to live for a month. And I was like. Then I’m in.

S7: And but when I did the film, you know, people would always ask when the film came out. Was there. Did you know that it would be like a good thing? And I thought it s it seems like an interesting story, but at the time I didn’t think anyone would see it. I just thought, oh, this would be this cool thing. It’ll probably be on like a blockbuster video shelf and maybe like the.

S24: Whatever the 16, 17 year old version of somebody like me who saw Mattie Rich in the inkwell and, you know, and and thought like, oh, okay, yeah, there’s somebody who’s making films for black, you know, black people that aren’t the, you know, the same formula of films that there is space for that. But I didn’t think that it would have the kind of reach that it did. And I’m utterly like both astounded by it and confused because I like when it comes to those things.

S7: I just don’t have the sort of like I feel like Berry’s true skill as a director was getting somebody like me who did that stuff doesn’t totally come natural for and. He was able to get something out of me that made me seem like a much better actor than I actually am. And so if somebody else were to approach me or something like that, I I feel like I don’t know what it would take for me to say yes, because in that instance it was, well, I’m broke.

S24: And I like if he came to me today with that script and was like, hey, you want to do this? I think my instinct would be, I don’t think I’m the right person for this. And so often, even with like other things I’ve done, people have given me scripts and said, hey, we’d like you for this part. And I have given the script to someone else and said, hey, they reach out to me about this. But I actually think you would be good at this and have like passed things on because I was like, I don’t see like I don’t think I could play this. I think that person could play it. I think they kill it. And so I don’t know that I. I don’t know that it’s something that I would actively seek out. And I would probably need to be either very broke or convinced why I would be the person best suited for it. Because are the director in my brain is like Manono Andre Holland’s pretty great days and he can hit all the marks and he knows all the acting.

S7: Tricks I don’t I I swear whenever I do. Like when I did a TV show, I I even learned my lines. As I walked to set and I never did them twice the same way.

S14: We look forward to seeing whatever you do next. Thank you so much for coming to see you. You have been a pleasure. Thank you. We’re gonna have quite the job editing this.

S19: Oh, I signed up for this thing uncut. I want the moment where I had a coughing fit. When you walk out and then the three of us just kind of awkwardly sit here and you get back.

S20: I wanted that.

S17: I want the moment where for seven minutes straight, I just yelled, pizza, pizza, pizza, pizza needs a pizza, pizza until it became B a rhythmic beat that we all started doing. I want all of it.

S35: First aid kit is a slate production produced by Scherrer, Vincent Van US, Nicole Perkins and them adequately. Our Music is by Tanya Morgan.

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S36: We are now officially in the last month of the year. But that doesn’t mean your first. Let’s take a backseat. Stay warm, stay thirsty. And we will be back next week. Bye bye.

S6: OK. I think maybe we’ll get to one more tweet, but I have a question for you. How familiar are you with the Fanti Makeup Foundation Shade Range?

S7: I mean, as a licensed Fanti dealer, I’m familiar with pretty much everything.

S17: I go door to door because if I sell enough venti, I know I’m going to get a brand Mercedes.

S37: Well, that’s that’s the thing, right?

S19: America. Those pink Cadillacs and reon has got brown Mercedes.