Ted Audio Collective.
You're listening to How to Be a Better Human.
I am your host, Chris Duffy, and today's episode is a little bit of an experiment.
This is a conversation that was recorded live with a remote audience of Ted members asking questions and participating in the interview.
So I think you're going to hear that this is a lot like one of our regular episodes, but also has some surprising differences and twists and turns.
Based on what the audience listening live wanted to know more about.
I think that's all of the context that you need in order for this to make sense and for you to understand what's happening.
And I hope you enjoy the episode.
Here it is. It is so great to be here with all of you for this live conversation.
You know, for a lot of us, the world can feel like a really chaotic place.
There are so many things happening all over the world, all at once.
And with cable news and the Internet and social media, we have access to all of it.
And while there are a lot of good things peppered in there, so much of the information we get can feel big and heavy and weighty.
Which is why, for many of us, the preferred way to consume information about the world is with a dose of humor.
Well, our guest today specializes in just that.
He is a comedian. He's an actor.
He's a journalist and he's an Emmy nominated producer.
Please welcome Roy Wood Jr.
Thank you, Chris. Well, Roy, you know, a lot of people know you as a comedian who sometimes plays a journalist on TV.
But you actually do have a background in journalism, both in terms of your lineage.
Your father was a legendary journalist and your own education.
Can you just start us off?
Maybe tell us more about that background and how it influences the way you define yourself as a comedian and also as a storyteller.
You know, my father was a civil rights journalist.
My father, if it was black and it was strife, he was embedded there.
So we're going all the way back to Soweto riots.
He got shot at by snipers.
He was embedded in Vietnam with predominantly black platoons.
He was part of the civil rights movement.
He was in Rhodesia, now Zimbabwe covering that civil war.
So, you know, my father has always been a person that is just always try to find what's wrong and at least be a bullhorn for what was happening.
And so I grew up watching the local news.
My dad would yell at the news the way people yell at football.
I'm not going to sit here and I like this is the family business.
I mean, I have a lot of journalists in my family, but I wanted to be a firefighter man.
And then I saw Stuart Scott and I wanted to do sports.
I wanted to be funny.
I want to be Jenny Moose.
I want to be Kimi Maine.
Those are the people that I looked up to.
And then once somewhere I got into my 30s, I caught myself yelling at the television.
And I just like, ah, time to change my comedy.
Well, it is true, right?
Like so much of comedy comes from some frustration with the things that are happening in the world, often in a really small, like insignificant way, but it comes from that same.
Why is it like this?
You know, question that other people don't seem to be paying attention to often.
Yeah, and I think that was part of the shift to journalism.
And and then just what happened is that I started standing up when I was 19, so I didn't really have a lot to say.
All my jokes were about buy back and your roommate eating your food.
But once I turned that corner around my late 20s into my early 30s, I started taking a little bit of a more journalistic approach to like what we were taught at Florida A &M was what is the thing you can say about this topic that hasn't been said yet or that you wish could be said?
And so that became kind of the same North Star for me.
I mean, honestly, to me, comedy is journalism.
It's just you're just reporting on either what's happening to you personally or what's happening to all of us collectively.
And I think once you're once you're in a truthful space, then you have an opportunity to truly connect with people.
And that's just what it's been like.
I wish I could tell you that this was some deliberate arc from when I was the first time I saw Sinbad on the HBO Free Preview weekend in the 90s and it like.
No, I just I enjoy getting up in a room full of strangers and just trying to accepting the challenge of trying to make them laugh.
And the things that became of worth to me became very important.
And then I had a child and then it became very serious about, OK, well, what am I trying to say?
What the hell am I talking about?
Let's actually try.
Let's structure something here.
Father, figure and imperfect messenger.
Two of your comedy specials, which are two of my favorite comedy specials of all time, they both open with you talking to your son.
How did having a kid change the way that you think about comedy and change maybe the responsibility of having a platform and people paying attention to you?
A lot of it, if I'm being honest, is just me leaving brick crumbs of knowledge for him for when he's older in case I'm not here.
It's the general public getting to witness me leave messages to my child.
Hmm. That's kind of what my career is starting to turn into.
And I'm perfectly fine with that.
And my father died when I was 16.
And I think that's also part of why I'm wired like this now, because there are certain lessons and things that I just wasn't.
It wasn't time for those conversations when I was a teenager.
So the things that I really hope that he understands about himself in the world, let me start putting that stuff out there in the world now, comedically, a little bit.
And I just think infusing him just a little bit kind of creates that through line of, you know, who it is I'm actually talking to without it being nail on the head.
It's also part of why I stand up.
I don't talk. At least I try not to talk about specific people, you know, for seven years on The Daily Show.
That's what we do. We talk about people.
And I want to talk about issues and feelings because the issues will tend to still be there as the people affecting or disaffecting those issues come and go.
It's always the people trying to change.
The issues are revolving door, but the issue remains the issue.
We're going to be back with more from Roy in just a moment.
But first, we've got a few ads.
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On today's episode, we're talking with Roy Wood Jr.
about comedy, politics and activism.
And this is a special episode where listeners are getting to ask questions live.
So there's a question from one of the audience members, Susan.
How can you use humor as a tool to bring up those difficult issues or questions?
I think that it's about figuring out a way to find the common denominator between people.
So so when I started doing stand up again as a teenager, if you're trying to do comedy every week in the South and I'm from Birmingham, I was in school in Tallahassee.
So those are my two comedy bases.
But if you're in Biloxi, you're at the casinos performing for retirees.
If you're in Florida, down on the Lower East Coast, it's it's Latino heavy.
Redneck heavy on the Gulf Coast side.
You can be doing an urban night in Atlanta.
You can be doing a mainstream night in Nashville.
So what I hated was always having to change up my jokes and change up everything.
Whereas if I could figure out the things that connect us, then I'd never have to change no matter where I am.
Like you can find certain topics that.
And I don't mean that from a divisive versus non -divisive place, but I just mean it for the things that we're passionate about.
If you start in a general place, you know, it's food, it's love, it's entertainment and some sort of form of employment or provision making money.
The thing that emotionally fulfills you.
Right. What I started doing was trying to do material that was rooted in one of those things.
We all love a food.
We all desire emotion or have experienced heartbreak.
We all desire, even if it's not employment, if you just want to go hike, what's the thing you wanted?
So if I share my emotion and my passion for something, then in theory, these people should be connected with me because they have a similar want.
So if you find a way to connect people in the beginning of a conversation, then they are more open to receiving humor.
You can't just joke, joke, joke, joke, joke.
You have to come in from some level and degree of understanding.
I guess maybe to a degree, it's a little bit of sociology.
But I think that for as long as people understand your intentions, then humor is not the tight rope that we think it to be.
You know, especially when people are starting out in comedy, they they try and make these really general jokes that are often kind of overwritten or overthought.
And I find that often the things that make people laugh the most are just the most honest, the truest thing you can say, the most vulnerable.
Yeah. The thing that you're so worried about sharing, actually, is what other people want to hear and will connect with them.
Yeah, the best jokes land in one of two places.
It's either the audience absorbs it as wow, I didn't know that.
I didn't look at it like that.
Or it's that's what I've been trying to say.
Yeah, yeah, yeah, yeah.
You get up in front of a boring room and you acknowledge, hey, yeah, I know this is boring.
Let's go. Let's do it.
Like if you acknowledge that.
So I spoke at the National Association of Black Journalists Conference in Birmingham earlier this year, and it's an average one p .m.
Fluorescent light. Stage circle, to I call it circle table events, the circle table banquet.
Whatever, right. A challenge.
Yes. And it's gigs like that that prepared me for the White House correspondent.
Yeah, which I want to talk about.
You do 20 years of circle tables.
You're ready for the D .C.
circle table, the Super Bowl of circle tables.
But at that event, the first thing I acknowledge was, yeah, thank you all for coming to Birmingham.
I know it sucks because there's no Uber Black, which is a true statement.
Birmingham, my hometown, I can say this.
Uber X is a 20 minute wait.
And if you're coming from L .A., if you're coming from a five minute Uber City, then that's a tough thing to stomach and deal with.
So you acknowledge that.
And then you're able to get into things that are a little tougher and a little harder to digest and often things that a lot of people don't want to laugh at or do not find funny.
Yeah. Lourdes in Mexico saying that comedy is underrated around the world.
But it's truly a tool for mental health.
And something that I've always admired about your comedy from the first time that I saw you is that you are able to talk about really heavy, serious stuff in a way that's hilarious, but you're also not afraid to talk about the light, you know, just goofy, absurd stuff to you.
You have a mix of both.
And that's such a joy to watch on stage.
Comedians, because we are of this craft, we are a little more.
I don't know if encrusted is the word, it's not salmon, but we're hardened.
Calcified. There you go.
We're galvanized emotionally.
So things don't hit us as hard right away.
It's just funny to me.
And it's just it's weird and it's absolutely like I I've been talking about on stage to mixed reviews that I know white people are going through stuff because they're showing up, you know, in full fatigues to protest at Disney World.
Like it's 90 degrees, bro.
There's better attire.
Say what you want about the clan, but at least the robe was nice and breathable.
And so that's it feels pro clan, but it's not.
It's stuff like that where you make that joke.
Now we can get into the deeper topic of white supremacy and now we can get into something a little more weird because, oh, yeah, the clan.
Yeah, they wore loose stuff because they didn't want to die of heat stroke.
So it's fun. To me, it's fun to find those lines and those edges.
There's a question from Gretchen that I think is a really important one, which is how do you create that understanding with the audience when you're making a joke that is on on the line or that could be kind of interpreted in different ways, because it does seem like many times there's a risk of people
kind of filling in the blanks and thinking, you know, as Gretchen put it, that there can be a simplistic assumption about you as a person based on your gender, age, residence, political affiliation.
So how do you how do you get to the real understanding of what your actual intention is with the audience?
I think that comes just in time within the duration of the performance.
I used to watch this show on that geo called Brain Games.
It's more of a game showy thing now with Keegan Michael Key.
But in the earliest iterations of the show, it just showed you how the human mind works.
And so I enjoyed the show because it talked about how something as simple as a smile before you say something versus a smile after you say something and how those change two different.
It literally changes the intention of it.
If you smile first, then say it seems sinister.
But if you say it to feel sinister, then smile at the back end.
It's like, oh, come on, I'm me.
Like, like it there's a way to kind of yo -yo a little bit.
There are ways to sometimes just flat out be bold and just say what it is you're thinking and it might be a smile on the back end.
It might be something a little more.
Like, like there was we were talking about Mike Pence and it was a joke we were thinking about doing for my guest hosting week, where an essentially.
The argument I was trying to make was that.
Of all of the current presidential candidates, Mike Pence is the most confident because he has to get people who try to kill him to vote for him.
And so that could work on stage.
But in the context of television, in the context of structure, there are people who would legitimately believe that what I'm saying is serious.
And there are people who would pull that little bite and put that up on whatever website and go, Roy Wood Jr.
Endorses Mike Pence.
And then on the liberal side, there's people who will see that link or see that headline, not click it and then assume the worst of me.
So a lot of it also comes down to understanding the medium through which you're communicating the thing.
You know, I also think that some of this feels like.
Because you are are very much not in overnight success, right?
It wasn't like one day you were at an open mic and the next day you were on The Daily Show instead.
You had worked your way up through clubs.
You had been on radio.
You had been on television shows.
And then you had this big, huge platform.
You you have to me felt like someone who has a really clear sense of himself and his voice and what he's willing to say or not say.
And I think that really comes across to an audience as well.
Does it feel like that to you internally?
It does now, but it didn't for like 15 years, like you can go back and watch my old Conan O 'Brien sets from 2011 through 24.
There was a stretch in my career where Conan O 'Brien was the only person who would put me on TV.
Every other show said no.
Any other show that I'd already done would not have me back.
For whatever reason, I'm not talking trash, but facts.
Conan O 'Brien was the only person who would book me and put me on television.
And you can see the evolution over those three or four, those four or five years of Conan sets during that time.
Like if you watch the one from 2011 versus watching the one from 2014 and the 2014 one.
And that was kind of where I started turning the corner on talking about race relations in this country.
And that being a little bit more of an integral part of what I wanted to talk about on stage.
And now it's definitely pronounced.
It's clear. I know what I want to do.
The next hour special.
I want it's about all of the men other than my father who influenced me after his death.
This idea of manhood and fatherhood and masculinity.
And then realizing I have a plethora of stories, some funny, some moving, some, you know, I'm a comedian.
I have been very close to comics that have killed themselves.
Many of them I know.
I knew. So this idea of all of these different life lessons.
Where did I get those from?
Well, I want to actually talk about some of my favorite jokes that sound like they're kind of more in the past from from you.
But the highest compliments that I can give to a comedian is that they have a joke that I think about for the rest of my life.
You've changed the way that I will think about seeing an object or being in a situation.
And you have a bunch of these.
You have some of the most secondhand described jokes where we're in a situation and I say, oh, you have to watch this.
Roy Wood, Junior joke about this.
And one of them is I forever now, anytime I see an oversized American flag, I always think about your incredible joke about the math of American flags.
And I don't want to put many American flags equal a Confederate flag.
There's too many flags in one place.
I don't feel comfortable.
It's so funny. And I just constantly think about you describing it.
Like there's the residue of racism that too many American flags you can feel that it has.
It has a different message.
It's not blatantly racist, but I'm watching you.
This is a lot. It's too many different flags.
Yeah. But I mean, like a joke like that, that just comes from driving in the south for half a million miles.
Absolutely. I've driven every freeway in State Road.
I've seen the big garrison flags when you come into town and there's something really good and prideful about it.
And then I've also been in, you know, some corner store where there's a bunch of don't tread on me and all.
Like it's it's interesting.
And that's a joke where in a way, if you love the flag and you're not racist, how can I thread this?
So you'll laugh at it, too, because this isn't about your love of the flag.
This is how when there's too many flags on the same street, how it makes me feel.
And I'm not saying it is racist.
I'm just saying this.
Hmm. Hmm. Like even I think I talked about in Father Figure now about how I like the Confederate flag, I would rather know where you stand in your racism than for you to be covert with it.
Yeah. And it's just a broader statement about society.
It's like the discussion just about, you know, down south racism versus up north racism.
You know, northerners are very prejudiced, but it's not in your face.
We're in the south.
It's just straight up.
No, stay over there.
Don't even this is a sundown town.
And I want you to know that there's no northern sundown town.
That joke from Father Figure is such a perfect way of getting at something that is really nuanced about this conversation around history and symbols.
Of like that you're pro Confederate flag, not because of the memory of the Confederacy, but because it lets you know who feels that way.
You were an executive producer on a documentary called The Neutral Ground.
And that is made by this incredible filmmaker, C .J.
Hunt. And it's about the fight to remove Confederate monuments.
And it looks at a really serious, very sobering issue, but in a hilarious way.
So I'd love to to kind of get into that idea of how humor can be a way to confront history and why it might actually be a powerful way to do that.
I think we are past yelling at each other to get anybody to understand where you're coming from.
If the last eight years of politics have proven nothing more, it is proven that two people screaming at each other is not going to get anything done.
You know, we live in our own information bubbles as well.
But, you know, I think one of the things that made George Carlin so amazing was that he could get you to laugh at something, even if you didn't agree with him.
You know, CJ and I met at The Daily Show, you know, he was a field director.
And before that, he was working over at Robin Peedy.
So he was already in that groove of looking at humor from the rundown with Robin Peedy, which was also like a political satire vehicle over at BET.
And so this idea of if I can get you to laugh at it, then I can get you to listen.
And so you want to find jokes even if they're on yourself or at the if even if the jokes are at the expense of yourself.
And I think the thing that was very what I respected about CJ's approach to the neutral ground was that it didn't come necessarily from a place of attacking the people who believed and defended the monument.
It was simply an exploration into why.
What is it that makes you feel this?
Now, what if I told you this, this and this about history and that everything that you've been everything you've been sold since reconstruction was propaganda and a lie.
The Mothers of the Confederacy spun half of this stuff and got these monuments that like it wasn't even supposed to be like.
So exploring it from that place instead of chastising people who want to defend all of that, you know, and there were still parts of that documentary that got very real for CJ.
You know, he went to Charlottesville and I don't think anyone predicted that Charlottesville would have become, you know, such a lightning ride point because there have been so many Charlottesville's before.
There's just so many other we're going to show up and protest and yell at each other from across the street incidents.
And Charlottesville was one that went off the rails.
And even in that, you sit in the real feelings and the horror of that and you're still able to use humor to come out on the other side.
And, you know, I think that, you know, for the people that are looking at this, especially like in the professional sector, where you're trying to use humor and you're trying to use something lighthearted to go into issues that are serious within your companies or within your personal life, you don't
have to joke on the issue.
The issue itself is not funny.
But how did we get here?
That's funny. The causation.
Who are the people responsible for the causation?
Or who are the people that are fighting to change this?
There's humor in that.
Who are the people fighting against change?
Who are the people fighting for change?
And I think if you if you look in those areas around an issue, you're always going to find fertile ground.
You're always going to find something on the outer rings that is worthy of satire or observation.
And even if it has to wait a day, you wait a day.
But, you know, I look back, you know, you know, and Trevor Noah had the unfortunate task of hosting The Daily Show pretty much every time an unarmed cop killing footage got released.
It was a show week.
This idea of. Figured out where the humor is in that and the humor is not in the tragedy, it's in the bureaucracy around it.
So just you look at it that way, then you're able to find pockets where you can you can jab a joke real quick and get in and get out.
It doesn't have to be hilarious all the way through.
But you definitely want as best you can to try and use humor.
I just think it's I just think it's a better way, you know, doing things.
We're going to take a quick break and then we will be right back with more from Roy.
And we are back for people who are listening who, you know, they see the power of humor, the power of comedy, but they're not professional comedians that they don't necessarily think of themselves that way.
What tips would you give them for trying to successfully land the joke without offending people?
Oh, I think if it's about trying to find humor without offending, I don't think that that place truly exists.
I think that you can try to make it as offense proof as possible.
So the first thing you have to do is let go of the fact that someone is is or isn't going to be offended.
Or you delve in the four, as I call it, the four safety corners.
Like food is never offending it, not to the point of war, maybe on Twitter, if I go on Twitter and go, I hate this food, then a bunch of people.
But you can still show up to work the next day.
You're not going to get sent to HR because you said you didn't like macaroni with breadcrumbs, which, by the way, is not the way to do macaroni.
Please stop the breadcrumbs.
And stop truffling everything.
The comments are going off right now.
People are furious about stuff.
No, stop truffling everything.
I said it. There's no reason.
Everything that they have to taste like a fart.
Only pasta. So if you're not attacking a person or an ideology or a group of people, you're generally in a safe place.
If you are not attacking a particular reason why something happened.
Also, don't make jokes based on assumptions of the truth of why you think someone did something, because what we also live in is a correction culture.
And so people are quick to go, well, you know the reason why that actually happened.
So if you go, he did that because this and joke.
Well, someone who doesn't believe that premise, you know, Mike Birbiglia said it best.
Everybody has to agree on the premise before we really agree on to laugh at the punch line.
And I think that's what we've we've lost as of late.
But food, entertainment, love and money, like job employment.
If you stay in those four pockets, it's going to be hard to offend someone.
But if you're if you're determined to make the edgier joke, just know that somebody might not like it, especially if it's at the expense of another group.
Well, a lot of people in the audience here are asking some version of this question.
This is one of the most common things that people want to know about comedy these days, aren't you afraid of being canceled?
Aren't you afraid of what will happen if people take it the wrong way?
So how do you how do you think about it?
I don't I don't think about jokes being taken the wrong way.
I can't concern myself with that.
My job is to write the joke that I think is funny and perform it for the people who want to laugh.
Now, I exist in a different space because I'm not at a company where I could be written up.
I can't go. I can't be sent to H .R.
at a comedy club. All that happens is that people either show up or they don't show up.
And at the end of the day, I think that people vote with their wallets and their remote controls.
And so if there's people that still love you, they're going to come see you.
And so those are the people that you do it for.
And you ultimately cannot.
If you're constantly performing to not piss off a group of people, then who are you?
Because now you're constantly altering yourself to public ideologies.
And to me, that's a very dangerous and uncreative place to be, because now you're trying to be creatively a la carte for whatever the moods are at that particular time.
And if you're that, then at what point are you ever yourself?
The thing, though, that I wonder about is how do you balance the authenticity and the courage to say something that you believe in regardless of consequences with the ability to stay open to valid critiques about places where you're getting it wrong or you haven't thought it through all the way?
Because it seems like a lot of times people take any criticism as an attack and shutting it down rather than an opportunity to grow.
So how do you balance those?
Nuance has been removed from the from the conversation.
You know, I've always welcomed, you know, critique and criticism, but then critique and criticism also has to come from a place of not trying to completely chop somebody's head off.
I learned a few comedians that reads their YouTube comments.
I know you shouldn't, but YouTube and Reddit are by far the most comprehensive and fair critiques of any forms of entertainment, in my opinion.
Like Twitter and Facebook, that's all engagement and arguing in the comments.
Like it's performative.
I consider that outrage performative, whereas if you're typing a Reddit thread, you don't know who's going to see this.
Only four people might see this or or a million.
Like that's from the heart.
I don't think that you can truly say you are evolving as a performer if you're not looking at how some of the material is making people feel, whether you adjust to it or not.
It's up to you. But what I do not like is the retroactive cancellation of.
Oh, here's something that you said from 15 years ago at a time where society was different.
And I will judge it now based on current societal standards and attack you as if you just said it yesterday.
That I'm not cool with.
I think that's a little bit of if we want to acknowledge the past and apologizing your past, it cool.
Totally. And also, you know, any good performer, any person that you want to spend time with, hopefully they've grown and changed and improved.
You know, and I think that's part of that should be part of that assessment.
When you find the old clip on person, let's also take a look at their arc from that time until now.
I do think that jokes have real effects.
I think it's naive to think that you can make a joke and speak truth to power and and the establishment and the government will change with this joke.
And then also, I think that you could write a joke that could destroy somebody and make them feel when you may.
We've been talking about how it's important to have a thick skin to be a comic.
And yet many artists and many creative people are really sensitive.
And that's key to tapping into their creativity.
So what advice do you have for people who are artists or creative people who want to be more comfortable getting that feedback, who want to get to the place where maybe they could read their Reddit comments or their YouTube comments, but but they feel like they aren't there yet.
Find a person you love and read their YouTube comments.
And see the hate. What's a movie you love?
Go read some reviews.
It's all got haters.
And once you see that, it'll help normalize it a little bit for you.
And you'll know that what you are doing is not that different.
And that's just all part of the path.
And it's also very different for women, which is something that I learned from talking with a lot of, you know, with a lot of women comics in the industry.
What I've benefited from is that most any insult that I've filled, it has been a critique of my art.
It wasn't a death threat.
It wasn't my looks.
It was, you know, things of that nature.
So, you know, by all means, I wouldn't say immerse yourself into anything that's triggering or your own traumas.
But if you can, as best you can look and assess the things that you love and just see that none of it is infallible, it all gets insulted, it all gets critiqued by people who can't do it, who don't know what they're doing.
And once you understand that that's part of the process, then you're able to trust what you're doing and just find your audience.
Find the people who like you.
That's all you got to do.
Let's go and talk about the White House Correspondence Dinner for a second, because you hosted it this year and, you know, this is you're directly talking to the most powerful people in the country.
And I'm curious what jokes you were proudest of that you got to say in that setting.
I had like, you know, six or seven writers working with me on this, some former daily show, former nightly show, you know, all all worth their weight in the political satire sphere.
And we were constantly changing everything.
Like we and I had a whole five minute spy balloon chunk.
And by the time we got to the dinner, no one cared about spy balloons anymore.
Like it was just such a we made.
So we made it a throwaway joke and it worked.
But the Clarence Thomas NFT joke still makes me laugh and saying that we can see him, but he's owned by someone else.
And that's what an NFT is.
Which, you know, considering that people call Clarence Thomas a token black guy and NFT also means token.
And they thought that I was also that was like a happy accident.
But like, oh, yeah, you called them a token.
NFT a token. I was like, yes.
Yes, I guess. Absolutely.
That was the intention when you called that.
Well, Roy, it's been such a pleasure talking to you.
Thank you so much. Thank you, Chris.
And thank you, Ted members, for being here and for your involvement.
As a nonprofit organization, all of Ted's work is made possible in part by you, the Ted membership community.
Goodbye. Thank you so much to Roy and thanks so much to all of you for being here.
That is it for today's episode of How to Be a Better Human.
Thank you so much to today's guest, Roy Wood, Jr.
Check out his website for tour dates and information on where you can find his hilarious comedy specials.
I am your host, Chris Duffy, and you can find more from me, including my weekly newsletter and upcoming live shows at ChrisDuffyComedy .com.
How to Be a Better Human is brought to you on the Ted side by Danielle Vallerezzo, Chloe Shasha Brooks and Joseph Debrine, who are currently at war over the correct way to make macaroni and cheese.
Every episode of our show is professionally fact checked.
This episode was fact checked by Julia Dickerson and Mateus Salas, who are still debating whether truffles do indeed, as Roy asserted, make things taste like a fart.
On the PRX side, we've got an audio team that always finds the joke and never botches the punchline.
Morgan Flannery, Nor Gill, Patrick Grant and Jocelyn Gonzalez.
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