"Tangent Zone" (w/ Jinkx Monsoon)

Stars are BACK. Jinkx Monsoon is wrapping up her stint leading Oh, Mary! and she's stopped by Las Cultch to talk about it all! After some Emmys reactions and BTS (so proud of our pals that won!!!!!), the self-proclaimed bossy bottom drops by to discuss enjoying the surreal nature of her life lately, Jeff Hiller's Emmy victory and queer camaraderie in entertainment, "straight voice", and how to pronounce "Penzance". Also, letting Jinkx's own ADHD be Mary Todd's ADHD in Oh, Mary!, and playing drunk. All this, Death Becomes Her, developing new allergies, the problem with eggs, and the lack of MANNERS nowadays! You can see Jinkx's last performances in Oh, Mary! until 9/28! Get thee to the theatre!

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:01):
Look, oh, I see you, my ow and look over
there is that culture.

Speaker 2 (00:06):
Yes, lost culture.

Speaker 1 (00:11):
Lost cultures. As our guest takes a massive hit of
the vape, I'm jealous, to be quite honest.

Speaker 2 (00:17):
Stars are back. Star behavior is back. Hit the vape.
That's you know weed. No, we know, it's just weed.
We love it. It doesn't matter. This is the thing.

Speaker 3 (00:28):
Back in the day, like let's say, at the Shadow,
there would be signs and I'm saying the seventies, there'd
be signs of the doors that were like no actors,
people in showbiz were never moral paragons. And now it's like, okay,
we all got to like behave and like everyone street.

Speaker 2 (00:47):
And no smoking inside. I'm sick of egg shells.

Speaker 1 (00:51):
I'm so fucking the egg. When you crack the egg,
give me the yolks straight away. And you know when
I'm coming because I call in advance, I make a reserv.

Speaker 2 (01:00):
This is my own thing, so honey, later it's gonna
be egg forward. Period.

Speaker 1 (01:04):
We just high five for those who can't watch us
and are listening to this like it's still just a podcast.

Speaker 3 (01:10):
It's TV. It's TV. It's a TV. Shure, we're on
the idiot box, like everyone else.

Speaker 1 (01:14):
Hey, speaking of TV the Emmys, I just want to
say some shout outs. Shannah Einbinder, We're proud of you, baby,
every single bit of every moment. Hannah Einbinder, Geene Smart,
Kristin Miliotti, Oh it happened, Aaron dolerty Ado lesson love
when Cooper had lessons. Honestly, the winners were so fantastic

(01:39):
to your and surprising, and we'll save the best for
last and say, Jeff Hiller, God, what I was I
said to bo I was like, what did that feel
like in the room?

Speaker 2 (01:48):
Quickly tell them rapturous, euphoric volcanic.

Speaker 3 (01:51):
I would say, I erupted from the corona of my crown, Chakra,
I erupted from the corona of my corona crown. I'm
being redundant and repeating words essentially, but you know what
I mean, like something I connected with that's like.

Speaker 1 (02:06):
A Lord lyric. It's like a lyric by the singer Lord.

Speaker 2 (02:09):
You're saying, Lord has redundant from the crowd.

Speaker 1 (02:13):
Coon shock Anyway, loved, loved, Get them next year, girl
girl Never I'm Susan Lucci until I die.

Speaker 2 (02:23):
I think that's really chic for you. To love it.

Speaker 3 (02:25):
Oh well, nothing better. I get to go to the
little parties, these little parties fun. Oh wait, I have
to shout out ahead Britney Snow, Malin Ackerman, Katie Lowe's
Rebecca Cutter involved in Hunting wise because they were the
bells of the ball. Everyone turned, I love got and say, wow,

(02:48):
look at them. They are television peak television. And I
want to say someone dropped out during the broadcast from presenting.
They pulled in Brittany and Mallin during the show because
thee Leston I sat in front of them. They were like,
I guess we're presenting so chill so matter of fact,
did grow professional. They were like, yeah, we don't know
what the copy is yet. They did not find out

(03:09):
the copy until ten minutes before. And I would say
one of the highlights of the night. Sorry, I took
me on.

Speaker 1 (03:13):
And so I had this is brilliant to hear. And
I just want to say I had a night full
of highlights the other night because I went to go
I think my fifth time yes to the Broadway production
O Mary. Oh yeah right, because it's kind of at
the point now where it's like every time they announce
even even I get like a whiff of a casting rumor,
and then it comes to me. I'm like, well, I

(03:33):
guess I'm going again. And it's never a hardship. It's
always hard. It's always a hard me rock card in
the seats for comedy and more.

Speaker 3 (03:41):
When they post the Daguero type of whatever actor in
the curls and the Brady curls, as Cola Scola puts it,
I go, I guess I'm buying.

Speaker 1 (03:51):
Can I say this is the year where we've got
Cola Scola with a Tony Jeff Hiller with an Emmy.

Speaker 2 (03:58):
And Jamel Tillman with an Emmy.

Speaker 1 (03:59):
Currently our guest on the boards and become a Broadway
fixture and so deservedly so. I can't think of anything
more right. Also, since we've last seen our guests, she
has won RuPaul's Drag Race All Winners All Stars, which
what was the title they gave but what it was
called the Superstar of the of the Queendom or whatever.

(04:20):
You know, They're always coming up with these long, long titles, honorifics.
If you will, it is a true joy as always
to sort of and let me hit that. Am I allowed?

Speaker 2 (04:32):
Yeah? Of course? Trust here you're an all the I'm
on prep because we can share this and that's the
sort of everything I need to talk about today.

Speaker 3 (04:47):
This or prep prep, this is going to be the
most prep forward episode we've ever had.

Speaker 2 (04:52):
Well, well, that's on you. We should have been way
more prep forward. Well that's good.

Speaker 1 (04:56):
Is that medical sure?

Speaker 2 (04:58):
I mean I use it medisinally. I got it from
a legal dispensary. Okay, well wait for you to finish,
jas Monson. We got a little carried away there, but
much I wanted to interject in all of that. Well,
first of all, I wanted to name drop constantly, because

(05:20):
you said Hannah Bindbinder, who was a guest judge on
All Stars Seven Jeans Smart, who I have yet to meet,
like face to face, but I performed for her at
the Tony the Pirates. Oh my god, I said it wrong?
After what how do you say it? Penzance? And I've

(05:44):
watched press people's say pins and pins, and you know
that might be the one symptom I still feel from weed,
because like what I was going to say is, I'm
so like I seem pretty function to you, right, Yes,
I'm on so many other things that negate the weed

(06:04):
that the weed is just like patching in the cracks.
That's how I feel about it. Jean Smart, she was
in recently on Broadway, across the street from my building,
so sometimes I would be getting out of my car
and she'd be doing her stage store and I'd get

(06:25):
to just like look over and there's Jean Smart, right.
And when that wasn't happening, then I had her giant
poster just outside my window. So life has become really genie.
It's become very surreal, and I've just had to embrace it,
because if I sit around commenting on how the real

(06:47):
it is, I'll be one of those people who's like, my, all,
this is so amazing, rather than shut up enjoy it. Then,
I've been trying to practice talking less. I'm not doing
very why because I dominate everything anyway, because I don't

(07:08):
want dogs. Well yeah, I'm what they call a bossy
bottom anyway, the general the queerdom. Jeff Hiller recently came
to see Oh Mary. Michael Yuriy was also nominated, and

(07:30):
of course, of course I was rooting for my cast
made that that's what you do. But also Jeff is
a friend and they are friends with each other. And
so you know when he came to see the show
and Michael and him were hugging, and the three of
us were hugging and congratulating each other on kicking a
lot of ass as very queer people unapologetically. So I

(07:56):
think the last thing I said to them before I
departed that night was now one of you go win
that and me so a straight guy doesn't get it.
I didn't really know who the rest of the nominees
are because I'm the one completely unplugged from current culture
by choice.

Speaker 1 (08:13):
Anyway, he was in the very category.

Speaker 2 (08:17):
So I'm well, see the odds, and that's what I
want to talk about, about, like us kicking ass. You know,
I'm so please, Do you forgive me? I'm so sorry.
I didn't know. It's something I couldn't care, but that
the same applies to you. If you had been there,
I would have said, now one, were you there that night?

Speaker 3 (08:42):
I was not that night because it's all in the blend,
but that category. I didn't even realize this until after
the fact, Like everyone makes it made like a little
lovely moment out of like the boxes when they announced,
like you know, the three of us sleeping for Josh
which was me and Coleman and Michael like, oh right,
it's because this was a like for the first time

(09:03):
in a long time, and like not any award show,
but in a long since I can remember, like a
mostly gay guy group Category four seven.

Speaker 2 (09:11):
It's it's an astounding thing to witness. It's like so
many things all at once. And I was talking to
you about this when you came to see, oh Mary,
that there was a scarcity in this industry for us,
the visibly unapologetically queer, like couldn't try to hide it

(09:34):
if we want to do so, Why like waste my
life trying to play characters that aren't right for me
when I know what's right for me, right, And I
can keep pulling this thread. But basically, like if you
look at you two with this podcast that's become a
TV show, right, and you look at Cola Scola who

(09:55):
wrote Omary, and you look at Michael and Jeff and
all of these people succeeding. Do you know why we're
fucking succeeding right now? Because when no one believed in us,
we created our own stuff. You know, you created this
when the roles were scarce, cole created their own play

(10:16):
to create more roles for people like us and look
at the roster since you know, and then it's just
it's this amazing thing. And I was telling Matt, like,
when there was the scarcity, it didn't matter what the
role was, if there was any role that wasn't like
in the box, we were all going for it. It

(10:40):
didn't matter if you were a drag queen or a
trans woman or a gay guy or you know, it
was like the role's queer. So we all have to
find a way to go for it. And then we're
all kind of like, oh, I hope you get it knowing,
you know, but we're all actually, you know, it was hard.
It used to be hard to watch roles go to

(11:00):
other performers, not because you don't want it for them,
but because you're like, well, there goes that role this year.
That's the only one that's gonna happen. But now that
that scarcity is not a thing, as I was saying
to Matt the other night, it is so easy to
celebrate each other. Yeah, you know, like, and I learned
all of this from creating the Jinks and Dayla Holiday Show,

(11:23):
which is my thing that we created. Right, So if
you look at all these queer artists that are blowing
up right now. We've all been doing this for twenty
years or something. You know, I don't know how old
you are, but we're probably the same age. Yeah, you
probably sixteen years literally exactly. So it's like exactly, it

(11:43):
didn't happen overnight. But the ability to celebrate one another
only just keeps because then we pull each other in
rather than fighting with each other, rather than competing, we
all pull each other in and then recommend each other
for roles because we have worked at tearing down those

(12:03):
stick mess And you also get.

Speaker 1 (12:06):
I think, better at what you do and funnier when
you're surrounded by people who you're inspired by and have
things in common with, as opposed to pushing those things away.
Just every single time community has been you can draw
a direct line to why something succeeded, how something got better.

Speaker 3 (12:22):
I think that's why we were also happy for Jeff,
because Jeff was this true like an actual leader in
terms of like comedy gays or theater gaze if like
it was him teaching at uc B or being in
the main stage casts that we all went to go
see the shows he inspires Josh Arp and Air and
Jackson to then come together whatever they have a model

(12:42):
for this, they put their show up. Then we all
go see their show and go hang out at Barracuda
Rest in Peace afterwards. It was like us and Cole
and Julio and like all of all of the New
York comedy queers just like hanging out and then like
that's that's like we always say, that was the beginning
of actual like New York queer comedy.

Speaker 1 (13:00):
Well and also, for what it's worth, we were also
watching you on television.

Speaker 2 (13:05):
Is happening like you just described your New York queer
comedy community in the drag world, you know, Alaska had
dragged the musical off Broadway. Her and I were Her
and I and Cole and Tommy Dorfman were all nominated

(13:27):
for this Acting award with a bunch of muggety MUCKs
and my friend's mom Mia. I love saying that I
do as much as my friend you know mea. Anyway,
it was incredible to look around at that function, the

(13:48):
Drama League Awards and see all the big people who
are having a really big moment on Broadway, see lifers
in the biz, see like people who are household names.
I mean, Nick Jonas was sitting right behind me looking
down my dress. I'm sure, yeah, you know I mentioned

(14:11):
me a pharaoh. It was like and to even be
able to look over my shoulder and see me a
pharaoh just sitting there and she politely, you know, because
he's my friend's and she's so incredibly kind. I love
her so much. It's the Pharaoh family are like chosen
family to me. So it was incredible to see those

(14:34):
faces and then see familiar of course, because you were
talking about your comedy family in New York. And I
just keep thinking about I when YouTube was a brand
new website. That's how long I've been a fan of

(14:56):
Colascla and Jeffrey self, starting with It's just them kind
of like dominating short form as it was being born, yep,
so much so that a TV network logo picked them up.
And then I watched every episode of Jeffrey and Cole Casserole.
So it's like copying a huge sensation on Broadway and

(15:23):
the ability to celebrate that truly and genuinely it fuels
me to keep going because I'm like, we gotta take
this and run.

Speaker 3 (15:34):
Yeah, Like I say, like this the the scarcity is
not like fully in the past, like no, it keeps
trying to like push this.

Speaker 2 (15:43):
Oh, and then that's why we have to double down.
And again what I'm saying is like, we created our
own stuff, and it's authentic to who we are as performers.
And when we get hired for things because they saw
something in your podcast or something whatever, you can connect

(16:05):
the dots. But like when they hire you from your
work that's authentically you, then you get to be authentically
you in the work that they hire you, rather than
having to show up at an audition and be like, oh,
my name is the voice? Was that guys is voice? No?

Speaker 3 (16:26):
I don't really I've never really been able to mask it.
Matt certainly does.

Speaker 2 (16:30):
I mean I was, can you remember it?

Speaker 1 (16:33):
It gets you know, what's crazy, It gets harder to
slip into as I get older and more comfortable, like
Long Island accent and also my masculine thing. But it's
kind of like this, I guess I mean to be quite.

Speaker 2 (16:47):
Definitely that immediately as the dial, the slurring, what it
needed to do with.

Speaker 3 (16:56):
Yeah, it's shorter vowels, you can't push your asses. It's
I think that's the end. The end the upper lips,
sort of like flux. It's like, I'm not gonna see I.
I don't even want to try it.

Speaker 2 (17:08):
You don't have to. I'm just curious you guys. I'm
gonna do mine for you. Well, like back in college,
if it was someone I felt safe around, and I'd
say like, good morning, I'm just cleaning the room. But
if it was someone I didn't know, we're going to
feel safer. Happened to be in your room and while
you were cleaning, and you know I was a stand

(17:30):
or college you were you actually were. Please don't send
me on an I thought you were doing. Oh my god,
it was a bit and I don't need to come
up with fiction anyway, good morning, I'm cleaning room. And
then say it was someone else, it probably would have
sounded like, hey, just cleaning, you know, like just trying

(17:53):
to be because when I tried to do a straight voice,
it sounds like what I did jokingly and it's sounding funny.
And then people are like what is this like? Because
like if I I can pitch my voice very low,
this would be the lowest I can do. But it's

(18:13):
like that coming out of me is like, what's the fuck.

Speaker 1 (18:18):
How to do.

Speaker 3 (18:19):
That when I played the wach game is who who
is that? That sounds like, please, let's not.

Speaker 2 (18:25):
Contificate that, but no, no, The point is is like
I learned that playing that Cowardly Lion in high school.
But it's such a care that was your take on
the cowardly Lion? Oh well, I would slip into it
when he would be try to be so yeah. Yeah,
it's like my actual cowardly lion voice was oh oh no,

(18:52):
really a dandy, a snaggle pul exitge. You forget that
he was would. But the thing is, is not an
attractive It doesn't. It doesn't. It's the case.

Speaker 3 (19:14):
It's wasn't when to what the roles I play these,
But I think you bring it to I think you
are bringing a very shall I say, like full spectrum
of gender to Mary.

Speaker 2 (19:29):
I think that's your unique take on Mary. It's like
your lawyer Sam, like a fucking.

Speaker 3 (19:36):
Like that, which like hold it necessarily, do you know
Betty it is Titus didn't do it. But when I
saw you do do Mary a couple of weeks ago,
I was like, Shinx is one of our preeminent screamers.
I think you have to You're screaming in such a

(19:58):
considered way, and I imagine there's some vocal like exercise
or health that helps gets well.

Speaker 2 (20:03):
I've been joking. This is my easy answer because if
I try to give the real answer, then it's like
a ten minute conversation because I go on tangents. Anyway,
the quick, fun answer I say is well, I worked
as a drag queen for over twenty years and I
still do. So I've worked in every shitty venue and

(20:25):
had to find a way to be heard in every
crappy situation, and so I've learned a lot of different tricks.
The true thing is every role I've played, because I
always like to start with like, I don't like a
character having my voice. I want to find even if
it sounds like my voice, I want to find the

(20:48):
like the ways it's different. What's Barry's voice? Just a
little more? Sorry, I have to like, yeah, I'm you
on the spot. I can't. I can't drop into her
right right right up, just qualitatively, like what do you
think it is? I think Mary's one of the closers
in my actual voice. Over the years, I have picked

(21:11):
up from every character different techniques, Like I know I
can pitch my voice that low because I played the
Cowardly Lion once and I found that trick then and
I never lost it. And so all of my screaming
is very particularly placed and pitched, so that if I

(21:33):
growl here, then I know I have to kind of
like whispery'll here until I can get another drink of water,
cough and clear my throat and whatever I need to
do to then growl again. So I plot a course,
and that's what I do with rehearsal. Is I get
very technical about Okay.

Speaker 3 (21:52):
My dresser has to be here backstage with a bottle
of Asensha.

Speaker 2 (21:57):
With my own I'm sorry. I don't rely on people
that just have my brand. You're carrying, I'm carrying you're carrying.
But what was the thing? Oh Mary? Well, she's like
more wide and she goes a lot more angel yes,
and there's moments where she just you know, like she

(22:20):
just is all. She's very erratic. It's just with Mary.
I've mentioned it a few times, but I like to
clear my head of what's going on in my life.
Uh huh, as best I can. Everyone who works with
me knows, like two hours before showtime. Please don't hit
me up with something crucial that's gonna throw me off course,

(22:42):
because that is like when I'm listening to my playlist
and I'm doing my makeup, and I'm checking in with
the cast and I'm getting into the mindset, and then
this is the first time I've ever been cognizant of
the fact that I go on stage with a clear
head and then let my ADHD be Mary's ADHD. And

(23:04):
I realized in retrospect I was totally doing that with
Ruth too, but with Ruth I was calling it her
hearing problem. With Audrey, I was calling it her like
nervousness around men. So I always have found a way
to disguise it so that like, if I'm fully locked

(23:27):
in and present with everyone on stage, then my ADHD
is seeing every little thing. And when people say I'm
good at improfits because I keep my peripheral open as
much as possible. And probably that came from having to
walk down to the street as a queer person, having
I think about that a lot too now with my

(23:48):
noise cancelation headphones in.

Speaker 3 (23:50):
I'd the street once because you had those headphones in
and I had you had to like really really get
in your eye line, and it was amazing because.

Speaker 2 (23:57):
I'm laser focused in Times Square. That's the way you
have have to be. We stomp. We're stompers to our
music on the streets.

Speaker 1 (24:03):
Yeah, I guess the.

Speaker 2 (24:04):
Only way to get you through it you have to
make a game of it. Mario Kart.

Speaker 1 (24:09):
Yeah, I do think that those games did help. Walking
the streets of New York. It's like, I see where
I am going, like, I, yeah, there's something You're in
a tunnel.

Speaker 2 (24:19):
The thing I feel is so before being able to
call it ADHD or whatever special acute thing is going
on up here, ADHD is like pretty much what it
looks like, right, whatever's going on up here. When I

(24:40):
thought my brain was broken, I wanted to suppress all
of it because I just didn't want people thinking what
a freak, you know, right as soon as I started
working with a psychiatrist and a therapist and they helped
me identify what I'm dealing with here, and I'm on,
like I said, I'm on medication that helps me with

(25:03):
all my symptoms. And so I just want to say
publicly when I'm hitting my vape, it's not because I
don't take my work seriously. It's because the vape help.
It fills in the cracks. Like I said, if I
have ten thoughts going.

Speaker 1 (25:18):
On, yeah you limit them.

Speaker 2 (25:20):
It goes down to five, I think on the way.
But you know, like that's another tangent heavy tangent zone
there should bear.

Speaker 1 (25:33):
But yeah, no, I mean, that's that's very interesting that
that's yeah, that's a truth because I feel like there
are roles that are complementary to that kind of.

Speaker 3 (25:46):
Thought, like that kind of like attention to things that
you have with your ADHD as you're on stage and
as you're plugged in to people.

Speaker 2 (25:53):
I think Mary is one of those roles right where
absolutely because you could look at her and think she's
a sociopath and that's one way to play her. And
that's I mean, that's what I thought the first time
I saw it. But now that I've worked with her
and had to empathize with her and had to get
inside trying to decode calls, very very like perfectly written show.

(26:18):
There's a reason why it works so well with so
many different guests, Like the writing is just incredible, and
so there's a lot of material there to pick ap
heart and figure out why she does what she does.
And so I was like, well, so Ceopeth's one way
to go, but I always like to go everything's genuine

(26:40):
because that raises the stakes, Like if the character isn't
lying and this whole time they secretly have a secret
that negates everything they're doing on stage or whatever, I
don't know, whatever the internal monologue, I'm like, no, I
want to make sure I'm committing to the truth of
what's going on with this character. And Scott Ellis was
talking a lot about that in Pirates. It's like it's

(27:03):
a farce, but for the characters, the stakes are life
and death, and that's what makes it funny, is committing
to that truth for them. So this was just kind
of affirming something I was already kind of like figuring
out for myself. And so anyway, that was a tangent.
But I was like, sociopath means she's doing all of

(27:25):
this just because she doesn't care. But ADHD can mean
she says it very loudly. I'm so bored and I
know that feeling and Cole and I are both people
who used to drink and don't anymore, right, So I'm like, Okay,
things are lining up, Things are lining up. I'm like,

(27:48):
she's bored. Everything that happens gives her a new idea.
She used to use alcohol to numb it down. Everyone's
like time. And then that pulls another thread, like Okay,
that's why she wants the alcohol so bad. It's not
necessarily that, you know. It's like, don't you understand. It's

(28:10):
the thing that you won't want me to behave normal,
and she believes that's the thing that's gonna help her
behave normal. I've fucking been there. Yeah, But then the
whole idea of like alcohol helping you feel normal is
the tipping point is like, yeah, why fuck with that, right,
because it's so easy to overdo it and then you

(28:31):
can't backpedal.

Speaker 3 (28:32):
I want to talk about playing drunk because like it's
this thing that like seems a little bit trivial. It
seems like all actors can do it, all comedians can
do it.

Speaker 2 (28:41):
They can't.

Speaker 3 (28:42):
It's very hard, and they feel like there's you know,
a feature in this show where where you're talking about,
like there's a moment, a couple of moments in the
show where Mary is like drunk, like one particular moment.
But I feel like and I haven't really gotten to
talk to Cole about this, but I feel like they
wrote the show was a way to like make sense
of their addiction in a way, and I feel I.

Speaker 2 (29:05):
Have to imagine, I mean, Mary is this erratic character that,
like I said, the first time I saw it, I
thought she was a sociopath. And then I spent some
time with the material, and I'm sure if I had
seen it a second time, I would have like unlocked

(29:26):
it fast with Cole before getting a role, and then
I stuck in a few more times. Anyway, the point
being that I just felt like she's not a sociopath,
She's dealing with real things for her. And then I

(29:49):
know that Cole said they wrote the role to share
parts of themselves that they had previously never thought of
putting on stage right that And I've been saying this
a lot because people keep saying to me, which is
the hugest compliment, because like I said, this is like
a perfect play. It's incredibly written, it's incredibly structured. If

(30:12):
you do the text analysis, this is like a tight,
well constructed play. You can tell that people who really
cared about it put a lot of work into it.

Speaker 1 (30:24):
It's of the best monologues too. Yeah, like the Great
Day Monologue is like, I think one of the greats.

Speaker 2 (30:30):
I think I had a different point, but the it's
like it's great material to work with. So it's easy
to find all of this stuff. And I keep saying, Oh,
Cole and I have lived parallel lives, right, I've been
saying this a lot. Cole not necessarily a drag queen,

(30:51):
but has played many drag roles or roles where Cole was,
you know, gender bending. If we're still been calling it
these days, I'm like, I'm thinking, like it was just
col being cold, right, like you know, Cole, It's like
Bernadette Peters Cole. I'm like, I couldn't call that drag

(31:12):
because it was just one wig and some lipstick. It
wasn't drag. It was like channeling. And so I've thought
this for a while. We met thirteen years ago Cole
and I colonoscopy Cole and I in Australia. That was
the first time we met, but I had been a

(31:33):
lifelong fan, and so me and Cole and Jeffrey run
into each other because we're all on comedy tours in Australia,
and I started I was like you're on a comedy
tour in Australia, I'm gonna come, Like, oh my gosh.
I started to feel like these people that inspired me
to be so queer in my work because they were

(31:56):
making it work for themselves. I like kind of catching
up with them, you know. It was this moment of like,
are we all kind of doing the same thing each other? Right?

Speaker 1 (32:09):
Yeah?

Speaker 2 (32:09):
You know the feeling and then it's like and then
as it became more normal to know them, it was
just kind of like, oh, we do the same thing
in different ways. And thinking of that, it's like the
hugest compliment when people say it feels like this role
was written for you, and I'm like, it wasn't. It
was written for coal. It just happens to be so

(32:30):
well written and so true to life that anyone who
has lived a similar life or can easily like transpose
what Mary's going through onto their life, like I was
easily able to do. Yeah, because we live these parallel lives.
It's like, no, it wasn't written for me, but you
can see why people say it, right, yeah, speaking to it's.

Speaker 1 (32:56):
Both of your lives. And I also was thinking about
the Great Day model as actually an anxious thought. You
know what I mean that that whole monologue is actually
one big ADHD tunnel that you can get through about
like it's literally her racing towards something before it's even
had the chance to be because she's so po and
it panics her. And like, what I love about that

(33:17):
moment is like the the opportunity it gives the audience
to realize the care Like it's because.

Speaker 2 (33:25):
You may not have actually even realized that, you know
what I kept saying, I thought she was a sociopath.
That's probably the point in the show where I go,
it's not a sociopath. Her circumstances are dire. Yeah, And
then I think about, you know, now that I've spent
so much time with the material, her circumstances are life
and death. Yes, in no uncertain terms. It's not like

(33:48):
interpreting it. Her circumstances are life and then yeah, And
I just relate to Mary so much, but I know
so many people do. And again that's a credit to
the writing, a credit to the direction. But I was
gonna I almost didn't want to share this because I'm like,

(34:09):
am I really going to give away this secret to
my performance?

Speaker 1 (34:13):
Give it?

Speaker 2 (34:14):
While I'm still in the run, but you only have
like a week left. Oh okay the Great Day monologue
for those in the No. For me, my great day
is literally playing Mary on Oh It's that easy. And
I was like, I bet Cole was thinking that too
when they wrote this, And I'm like, Cole, I didn't

(34:34):
know this was going to be on Broadway when they
wrote this. They just wrote something so true to what
it feels like when you were born to do this
and you have known it your like, I'm talking whole life, yep.
Like as long as I've known that I was trans
and a redhead, I've also known I was an actor,

(34:58):
a performer, a singer at all.

Speaker 3 (35:00):
I mean, you have you have six great days and
one of them is a great matinee day.

Speaker 2 (35:06):
Two of them are sometimes yeah, wait two days.

Speaker 3 (35:09):
Say if your great days Mary, then you have like
so many great days.

Speaker 2 (35:14):
I call it double soup Tuesday at the Orphanarium. If
you watch Fu Drama, you get it. You make you
make me feel like double soup Tuesday at the Orphanarium.
That would double every day is double soup Tuesday. I
have Actually, when I play Mary, every day is double

(35:34):
soup Tuesday.

Speaker 1 (35:35):
I love that you're the first person in lost culture
since history that we have asked this question twice of
drinks one soon. What was the culture that made you
say culture was for you?

Speaker 2 (35:49):
The film Death? Because did I say this the last time?

Speaker 1 (35:52):
No, I don't think you.

Speaker 2 (35:53):
Think gods because that's the drama turkey I did. Okay,
I can literally been thinking about why it made me what.

Speaker 1 (36:03):
A striking right now.

Speaker 2 (36:04):
Well, one huge factor is that, because I'm realizing this
was a very cool rule of my mother's I was
allowed to watch basically anything without gratuitous sex or like
raunchy nudity as long as I watched it with her,

(36:26):
so I could ask questions and she could put it
into context. Very smart, very smart and cool because her
and I our thing together was to watch horror movies
together because we love horror movies anyway. But so Death
Becomes Her was called like a horror comedy, right, a
dark comedy. You watch it now and it's like, that's

(36:46):
not that dark. I saw Dix the musical You Sick,
and that's darker. So dark sick mother. So anyway, my
mom rented Death Becomes Her, and I realized a huge
factor was because of where my birthday lies instead of

(37:09):
starting at age four in kindergarten and turning five two
weeks later. They decided to keep me home another year
because my mom had just been in this horrible car accident.
The car exploded on us while we were in the car,
and all the steam burnt up my mom's legs, so
she decided for us to stay home together for a year.

(37:31):
We were living with my grandmother, and that meant we
spent a lot of time watching movies together, and she'd
make semi regular trips to the movie store. The movie
rental plays with a VHS, and I'd request Death Becomes
Her every time, and then I'd just watch it on

(37:53):
a loop. So when I tell you and I watched
it again last night in preparation for today, I have
never tested it, So I don't want to make this
hyperbolic statement that I can't back up. But I'm fairly
certain I could say every line. Well, I believe I
could do it with the movie definitely, But I'm fairly
certain I could just do it from memory? Would you do?

(38:14):
But I don't want to be certain about that because
there's all those interstitial scenes that don't include Merrill or
Goldie or Isabella. You know what I mean what.

Speaker 3 (38:23):
I'm saying, even though you should while the musical is
concurrently on Broadway, you should stage a one person Jinx
monsoon does the movie word for word of death becomes her.

Speaker 2 (38:34):
Listen if I had capacity for anything to this point,
I mean that sounds like a great plan for next year.
And next year is this Christmas way?

Speaker 3 (38:45):
This Christmas we want to see it, we want to
see it, but that's the Jinks and Dayla Holidays.

Speaker 1 (38:50):
This year is just open up your for yourselves.

Speaker 2 (38:53):
Well, I say every line Dayla lip sinks it. Yeah,
every character, It's simple. I say, every line live from memory,
and she lip syncs live to me speaking live.

Speaker 3 (39:09):
To a line simultaneous about not not tracks from the movie,
not any audio.

Speaker 2 (39:15):
Underscoring which is available on Spotify because it's on many
of my playlists. Oh, I do love that. It's funny.

Speaker 1 (39:20):
You think you're going to the Jins and de La
death becomes her to see one of you play Goldie
and one of you play Maryland. The gag is that
it's just you speaking and her lip syncing, so.

Speaker 2 (39:31):
We both are the entire movie exactly.

Speaker 1 (39:34):
In this way, you both get to live out both perfect.

Speaker 2 (39:37):
And speaking of the musical, I can't stop listening to
me I gotta say I I told this directly to Megan.
Sorry Megan, Yeah, of course you know Jen and Megan
and Michelle they were also girls. Are the girls Destiny's Child.

Speaker 1 (40:02):
Kids from Jennifer imagine with them popping out.

Speaker 2 (40:14):
I saw the show. I was thoroughly entertained from we saw.
I'm so glad, I'm in good company. Nine drops so
fur you to see the show, I said to Megan.
Didn't get a chance to say it to Jen, but

(40:36):
Jen and I have a special relationship. I'll talk about
that next. But I said to Megan, you and Jen
and really Michelle, all three of them like delivering incredible
drag performances, you know, like and it's just really inspiring

(40:56):
to see the doors I have opened, honestly for them
to be to drag. They were able to do drag
on Broadway. They were because.

Speaker 1 (41:12):
Because mos up I.

Speaker 2 (41:16):
Told you about the time you were with us. But
I thought of that joke while I was brushing my teeth,
so I you and if I didn't do it, I
would have been so pissed and I would have been
anxiety texting you. Afterwards, Jen SamArt and I presented together

(41:37):
at the Drama Desk Awards, different from the Drama League Awards.
I got them in the right. Yeah, I was Drama
League Nick Barrish with Drama Deaths. So anyway, I uh,
I'm presenting with Jen. We're both very feminine redheads. I

(41:58):
made the joke while we're presenting because she was wearing
a low cut dress amazing boobs. Yeah, sorry, I mean yeah,
I mean, like, just the thing is like, if you're
going to wear a dress like that, it's probably because
you know, you have incredible as if you've got to

(42:21):
flaun it. Right. So you're we're standing next to each
other kind of looking a little like each other except
some key differences, right, And so I said, I feel
like we're standing at opposite ends of a feminine spectrumy
and she said, but both redheads, and I said yeah yeah.

(42:42):
And then so now every time I see her, she
does this thing that I absolutely adore, and I hope
saying it publicly doesn't mean she stops doing it, because
I hate when that happens. Would I tell someone I
like something they do, and then the next day they
stop doing it because they feel insecure at this thing
I was. I was actually giving them their flowers. On anyway,

(43:03):
she just goes, that's my friend, that's my friend. That's
my friend, my friend, and she comes over to me
and we take a picture and she goes, it's my friend.
I think it's very cute. I just fucking love it.
That's so incredible. I've been singing along to the soundtrack
and Chris Sieber, Oh, he's so incredible. So we're Italian

(43:29):
amazing direction. The character of Stefan and the actors name
is escaping me right now because I haven't been on
Instagram in weeks, so I haven't seen his name recently.
But so good, Like what a great way to flesh
out a throwaway character from the movie. You know what

(43:51):
I mean.

Speaker 3 (43:51):
I mean, you love Death Becomes Her so much that
because and I know this ties back to what you
were saying the beginning, like you know, you were making
things when they were upper tunity is given. I mean,
like fresh off the Drag Racemn in season five, you
you do this documentary called Drag Becomes Her, and like
I think that I think there there is this like
spiritual like importance to this film that you have in

(44:13):
you well, yeah, and beyond like the performances and the
looks and the I.

Speaker 2 (44:17):
Feel like I've learned every Okay, so part of my
dramaturgy of this, I'm like trying to make it all,
make sense of why it made me so. One big
thing I do with my characters these days is a
you know, I start with finding their voice, but I
also start with finding their relationship to power, because I

(44:41):
see how people with immense power behave. And it was
something thing we talked about in acting school and the
best advice about playing drunk. I got an acting school.
I went to Cornish College of the Arts since Seattle, Washington.
How writers said to me, the mistake young actors make

(45:05):
about playing drunk is going like, ooh, I'm drunk, blah blah.
A drunk person tries to hide the franchise drunk. You
know you know what I mean. Anyway, Oh, godship power,
relationship to power. People who have a lot of power

(45:28):
can either be benevolent or malevolent. You know, they can
either abuse it or they can be generous with it.
And that's a spectrum, right. And then I've spent a
lot of time doing uh pieces set in specific time
periods where women had limited agency, and I've been thinking

(45:48):
about that a lot as a trans woman in this
time period, and how there is something spiritual right now
for me. I feel it very deeply as a witch
that helping tells the disenfranchisement story, helping talk about these
women who probably have bad reputations, yes, or I don't

(46:10):
know that the real marytime she has a freckled reputation.
But you know, I'm like some of these women that
seem so extreme. I'm thinking Judy Garland right, like, you know,
we know how and why she passed away at a
very early age. And then I try to since I've

(46:32):
spent so much time with her, I try to think of, like,
you know, what she was dealing with the context of
her life, being completely disenfranchised and having almost no agency
in your life, and then you are a household name
that has to like convince people to hire you because

(46:57):
you promise you'll be on your best behavior, you know,
like that duality in a person to know you have
that inside but you also have this inside.

Speaker 1 (47:06):
Yeah, and for everyone to know you have it too,
and that gives them even more power because.

Speaker 2 (47:13):
Exactly and so I was thinking today about Madeline Ashton
and Helen Sharp and their relationship to power, and they
both believe that their power is derived from their sex
appeal because there's a man in the mix, because there's
a man in the mix, right, Like Helen has found

(47:36):
her dream man, and she believes, you know, she says,
I need to see you could pass the Madeline Ashton test,
Like that's the final test before we get married, because
if you meet her after we get married and you
can't pass the test, it will break me. I just
know it will, because it almost has every other time
it's happened. Right, So when Madeline is able to steal

(48:01):
him away, she's like, of course, because she's sexier than
I am. And then she gives up on her life
and then she finds, uh, she finds a way to
sex appeal, which is going to give her the power
to get back at someone like Madeline Ashton, who even
though was a personal friend, has a lot of protection

(48:23):
around her. Right, she calculates this whole freaking plan. Madeline
Ashton is dealing with the fact that as a woman
in Hollywood, her youth and her beauty are her power.
That's her power. So you know, it's also sex appeal,
but It's like Helen's need for the potion is completely

(48:44):
different from Madeleine's, but they are both because of their
extreme circumstances. And those extreme circumstances, like you've already mentioned,
were because a man was in the mix and because
they're women at that time. So I just lined it
up with my own life and that's what gives it
the spiritual meaning. I'm like, yeah, that's as long as

(49:05):
I'm helping, you know, tell those stories authentically and helping
you care for the character that at first glance seems
that that's a crazy person, right, But then when you
really listen to her and really empathize with her, and
if you can get your audience to do that, then

(49:27):
they realize this is just a woman under extreme circumstances.
And then hopefully, hopefully that sinks in whoever they are,
whether they needed to hear it or whether they already
knew it. It's either a beautiful affirmation or it's a
lesson that I swear to God, I hope they got.

Speaker 3 (49:50):
You know, well, it's all about like, and this is
something you probably experienced in your own life where it's like,
what is my locus of control? Like do I make
things happen or do things happen to me? And death
becomes hers? About two women who like make things happen
because things have happened to that.

Speaker 2 (50:06):
Does that make sense? I don't, But it's no. I'm
in I have never been more lucid. No, it's like
what death becomes her. I thought about this today. Uh,
when I'm telling you I prepared, this is what I mean,
death becomes her. It's like drag queens keep things alive

(50:30):
that are important to us, and queer people do too,
you know. But like drag queens are the ones that
like keep it present in the queer culture, we are
the ones who every year deliver those costumes that make
you remember those characters, or we do the drag parody
version of it, or we do drag numbers inspired by

(50:54):
When Madeline Ashton Falls down the Stairs, which I saw
at a nightclub. The ad along you could either wait,
they could either hit the music when you made your
way to the stage, like you could quietly, discreetly make
your way to the stage and then hop up and
they hit the music, or because they had a follow spot,
you could start at the top of the staircase.

Speaker 3 (51:14):
It's like if you actually you didn't fill down the stairs.

Speaker 2 (51:17):
Luckily I never did, because I always started at the
top of the staircase. I'd be like the dressation now
like walking down the stairs. It was like, I see me.
You know. It was a chance to do that, right,
And so I think it was there. I think I
saw I hope it was there. And I didn't tell

(51:39):
that whole thing for no reason, but I hope the
drag Queen hears the story. Whoever or wherever she was,
she did a number where it was like started with
her at the top of the stairs doing like I
see me, or maybe she didn't do that number. Whatever,
she's doing a number at the top of the stairs

(51:59):
and the blue costume and then fakes falling down the stairs.
There's like sound covering it and stuff. The follow spot
is like looking for her at the bottom of the stairs.
She rips off the blue costume, and now she's got
the tits on back. You see that the tits are
on her back, and she's got the costume on backward,

(52:23):
and that the next all twisted and then I don't
remember what the number was, but she performed a number.
But it doesn't matter what the number was, because as
long as it was the perfect number. It's like, how
fucking brilliant is that? So we keep these things alive
for each other and down that we are having this

(52:43):
moment where we are culture makers, you know, we are
culture aficionados. I mean East, I mean you're award show.
I was seeing the pictures from it, and I always
had the pictures. I was having probably the worst FOMO

(53:09):
of my life, you know, not because I wanted to
be nominated, but because I was like, look, first of all,
look at all my friends, and then second I'll look
at all those like fucking muckety MUCKs. It's just like
the Drama League Award luncheon. It's like can you believe?
Can you believe that you are again that you get

(53:31):
to be in a room where you look at someone
whomever and then you look over and you see, well
that was one of your friends.

Speaker 1 (53:38):
Parts of watching it, I think because for the custos
of the audience, the customer of the audience were the
best because it was like, oh my god, there's our
friend Bianca and then there's you know, Sarah Michelle Gellar,
and it was it was just it was a real
treat for just us and also our friends, like as
the does those circles get bigger? You know, It's so

(54:00):
many people were involved in it, and I was like, wow,
this is like a very personal experience that we're having
watching this because it's people that we love intimately, and
there's people that we love like externally all experience.

Speaker 2 (54:14):
Like I said, life is surreal. But I don't want
to waste too much time commenting on it. I want
to just enjoy fucking enjoy it. It's like you know
when you take a party drug. You know you have
so many hours on that drug. If you spend the
whole time going am I acting weird? Am I acting weird?
Am I acting weird? That's what I'm trying to say.
The whole surreal thing, Like if every time you saw me,

(54:39):
you were like, hey, Jinks, how how are you? And
I was like, life is oh, oh my gosh, I
can't believe how many famous people I meet every day.
If that's not that's not what I want to be.
I want to be plugged into it, and then if
it comes up naturally in a story, I'll fucking drop
the name, of course. But I don't want to start
the conversation and there I want a conversation that happen

(55:02):
naturally because I'm looking the person in the eyes and
actually having the conversation.

Speaker 3 (55:07):
You don't want to be perpetually reflective, because then you're
not actually experiencing anything new.

Speaker 2 (55:12):
And that's it.

Speaker 1 (55:13):
Sometimes I just look down in my glass and I say,
I love this. I'm in the present.

Speaker 2 (55:18):
I love the shape. Is that is that technically you
have a I have a cup, and it's this is
so much.

Speaker 1 (55:35):
I sometimes want to go back. Not back, I never went,
but I think it would be interesting to go for
like two or three weeks to like an acting school
and like get on the ground and eat lemon.

Speaker 2 (55:44):
I think they have that.

Speaker 1 (55:45):
I probably could do it, huh.

Speaker 2 (55:47):
I think we both should use the glasses.

Speaker 1 (55:50):
Well, it would it would just be because there were
all those tales they would tell back and then while
you have like like people that were in like theater
theater school, and like they'd be rolling on the ground.

Speaker 2 (55:59):
I saw that care you did the uc B. What
was your worst villain villain? Could have just been that
was the worst actors actor? You know, it was amazing.
What does no one ever bring up your Batman villain character?

(56:22):
From the UCB archive on YouTube.

Speaker 1 (56:25):
Well, you know what, It's just it was fresh when
it was going on. That was such a part of
like we had a different iteration of our lives, and
that was what I was doing. I was doing character
work all the time. It's just from a phase of
my life that was never this. So no one ever
really knows our engagement that it's funny, it's relevant. I

(56:46):
think to like the conversation is it's like when someone
knows us something a lot or doesn't know you as
one thing, that's like a that's something you have to
break through.

Speaker 2 (56:57):
And then also like you know you you you two
and I think of Josh Sharp and Aaron Jackson. I
mentioned I love that movie. Did I mention it was dark?

Speaker 1 (57:10):
You said it was?

Speaker 2 (57:11):
Oh, I was. I was being snipy for comedy. But
it's actually I'll tell you the same thing I told
the boys, I love it. No, I you know, I'll
tell you the same thing. We went to dinner sometime
after I had watched the movie a couple times, and

(57:33):
I said, I need to tell you I love the film. However,
I had to come to that decision only because my
anxiety around the idea of the whole slippery slope argument.
And then I really thought about it, and I really
thought about it, and I was like, that's their fear,

(57:55):
not mine. I know that that's not real. How come
straight men can make the most disgusting, vile, horrible jokes,
but if it's you know, normalized, then we just go, oh, boys, boys,
And I thought they weren't making movies like that anymore,

(58:15):
and I'm like, oh no, I just stopped seeing them.
The beautiful thing I love is the movie is satirical,
and it's like showing you, do you see how ridiculous
you're being. That's like to me, it's like, this is
the most ridiculous thing you can imagine. Let's show them,
show them what that actually looked like. Or off the mountain,

(58:38):
it's like we're calling, we're saying God is a faggot.
It's like it's exactly we're saying the.

Speaker 1 (58:42):
Most wonderful and you want to sing it.

Speaker 2 (58:46):
Afterwards, I started saying to myself, it's like, why do
Trey Parker and Matt Stone get to make their shitty
commentary and no matter what they say, it's like it's
it's sad, tired, sat tired, and so they can be
as transphobic because they want you set tired, sat tired,
don't get offended. It's s tire. I was like, well,

(59:08):
thank the gods that we are at this point now
that queer people are one, there's not the scarcity. Two,
we don't have to be a singular archetype of character.
We can. I described it as like when I played
a Doctor Who villain. It's like, I'm so glad I'm
here in this era when queer people are back to

(59:30):
being villains, because it was when we realized that queer
people being villains was a mockery, you know, of our characteristics,
and that stopped being a thing. Well, now we're back
to queer people being actors and mainstream things. That's not
so crazy, So we can be villains again anyway. And

(59:51):
then you and the boys have mutual connection in UCP.
And it reminds me that like drag races this sisterhood
where we don't even have to be on the same season,
but those of us, like I said, the familiar faces,
like I mean think I could list them, but like

(01:00:13):
there's so many Drag queens doing things that I think
twenty years ago when I started Drag, I thought that's
surely not possible. When I started in college and gave
up drag briefly seasonally and told myself I had to
give up drag to be a serious actor, that was

(01:00:34):
a lie I told myself, By the way, Uh yeah, yeah,
I was just scared that if I got labeled as
a drag queen, that was an end of the versatility
of my acting. Then I eventually made the decision, you know, like, yeah,
they warn you about being pigeonholed, and they warned you like,
do you just want to be a character actor? Do

(01:00:55):
you want to have the ability to do everything? And
I'm like, well, I know how I have the ability
to do everything. But I also know I'm one hell
of a character actor. So if I put that foot forward,
at least I'm guaranteeing work. And I worked a lot
straight out of college, and I did a lot of
classical work that was stuff that like, that's a drag

(01:01:16):
queen playing mistress quickly and Henry the Fifth and half
the people to know it was a drag queen, you know.
So I've always been doing what I do. It's just
like I found my way in and drag and drag
race has allotted so many of us away into doing

(01:01:39):
something we were damn sure we could do. Like Bob
the Drag Queen says it like why she auditions. She
said she was. She's a stand up comedian and a
brilliant actor and lots of things. Right, Bob is an
incredible human whom I love and lots of things. It

(01:02:01):
has lots of partners for all the things I'm using you,
But the many shades about the dragon, No, it's just
like again with the tangent. Yeah, yeah, I saw drag
race and I said I could do that, But she

(01:02:23):
also knew she could do a lot of other y
And Drew says it all the time, like if God,
and I'd say, if you know the goddesses, or if
the universe or if whatever opens a fucking pathway, you like,
take it. And if you know you have other things
in you, you'll find a way to redirect yourself back there,

(01:02:45):
even if it's just a hobby. You know, there's some
people who have hobbies that have nothing to do with
their work, and they love that. My work is my lifestyle,
so it's hard to I mean, video games are my
that I guess video games and you know what and
that's why I won't do like I did like I'll
do like a limited like I'm going to stream a

(01:03:07):
video game for a charity or for whatever, you know, like,
but you're not going to commodify it otherwise because exactly
because that's mine and it has nothing to do with
drag other than the fact that it inspires some of
my own looks.

Speaker 1 (01:03:25):
Well, I hope you've taken notes at home. We will
move into I don't think so honey here now?

Speaker 2 (01:03:31):
Is this how long the episode was supposed to be?
Or did I go over you because I'm sober boast
and I always overtime, But actually I kept identifying when
it was a tangent because we started use of the meds.
I don't need to rehab. You can scroll back in
the video because this is a TV show, and you

(01:03:55):
could just you know, listen to the episode once more,
as I'm sure lots of you people do listen list.
I do the same things over and over and over,
identify new and new things to it every time.

Speaker 1 (01:04:13):
I'm going to do my I don't think sony about
something new in my life, which is frustrating. This is
our sixty second segment. We take to rant and rave,
rail wreck, things in culture that need be all those things.
So here we go.

Speaker 3 (01:04:25):
I you have something, I have something. This is Matt Rogers.
I don't think so many as times starts now.

Speaker 1 (01:04:30):
I don't think so mony that you can develop new allergies.
If I my entire life haven't had a thing, I
don't want the thing at thirty five suddenly, What a
random age for you to attack me.

Speaker 2 (01:04:41):
Goddess or Mother Nature, whoever.

Speaker 1 (01:04:44):
What I'm talking about is the fact that I sometimes
have to put a little makeup on for our jobs,
and I think that I around my eyes you can
see I've developed some sort of contact dermatitis, roisation and
more around my eyes. Suddenly I have a skin allergy.
I gotta go hypo. I guess they're saying words to
me like hypoallergenic. And I have always loved going places

(01:05:07):
and them saying do you have any allergies and saying no.
Suddenly You're gonna throw this barricade in front of me,
and I'm gonna have to leap over it like the
hand settler would. And I don't want to hurdle. I
want to sit on the side and enjoy my life
of not this rash. I don't think so, honey, and
I have more time, huh.

Speaker 2 (01:05:26):
ITCHI itchy boo boo, honey, itchy itchy boo boo. That's
one minute, all.

Speaker 1 (01:05:32):
Of a sudden, like it'll be this day after two
days after my face will breakout suddenly, I have like
sensitive skin.

Speaker 3 (01:05:38):
Why no, because our immune systems are Oh hate that transition.

Speaker 1 (01:05:44):
I what what do you mean immune systems? They do
get worse, don't they.

Speaker 2 (01:05:48):
It's it's it's out of our hands.

Speaker 3 (01:05:50):
I don't know why we haven't evolved out of you know, makeup. Oh,
you're probably right, I'm saying, I don't know.

Speaker 1 (01:05:56):
We need a psychologically and like emotionally and spiritually of
all out of make up.

Speaker 3 (01:06:00):
Yeah, I mean mostly physiologically, like if all out to
make it because otherwise, because it's just the allergy.

Speaker 1 (01:06:05):
That's you're right, you're right, exactly, okay, and either would work.
We could physical physiologically age out, but we need we
do like to have it for play. But yeah, no,
for some reason, like it's just it's been happening, and
I guess I got to see my DRM.

Speaker 2 (01:06:20):
I think the answer to why late in life. At
first I was had to respect that it was your time,
because I wanted to be like, tell me all now.

Speaker 1 (01:06:31):
Like.

Speaker 2 (01:06:35):
No, I just my own thoughts, not like I have
any real information. Just I think about this and why
do you think they happen? Well, because there's so many things, yeah,
being put in our stuff. We have no fucking idea.
I mean, you know we're having the microplastics conversation we are.
I don't even want to pull up this thread because

(01:06:56):
then people weaponize that idea, which is true, but then
skew it to be something else. I don't even need
the list. No, we all know examples.

Speaker 3 (01:07:09):
I know that I have a PS five controller in
my brain. That's the amount of microplastics.

Speaker 1 (01:07:14):
That you think that it's Yeah, they they say that
the amount of microplastics and oliver brains is like yeah,
it's like it's solid matter. If they really would to
put it together, it's Google crazy.

Speaker 3 (01:07:24):
I have at least quadrupled that based on the microwave
meals that I eat for pleasure when I am stoned
and I'm going to go home and eat likes.

Speaker 1 (01:07:39):
Yeah, do you ever have a microwave asnia all.

Speaker 3 (01:07:42):
The time, my stofers and I've been coming back ever
since the microplastics conversation is in this. No, I'm glad
we're talking about this.

Speaker 1 (01:07:49):
I have an I come out of the class. I
have another food thing, and that's my I don't think
so okay, this is Bowen Yang's I don't think Sony
his time starts now.

Speaker 2 (01:07:56):
I don't think so many eggs? What the fuck? What
are you?

Speaker 3 (01:08:00):
If someone explained to me the egg of it all,
it's a bunch of plasma and a yolk, and there's
a film around that where you if you crack the egg,
the membrane of the egg is the thing that makes
it hard, so that if you have shards of egg
in your.

Speaker 2 (01:08:13):
Container in which you are trying to whisk the egg, it.

Speaker 4 (01:08:16):
Is virtually impossible to take out. To extract a shard
of eggshell, you need guess what, another piece of eggshell
to scoop it out, But.

Speaker 2 (01:08:27):
Then that runs the risk of more eggshell going into
the fucking thing that you go.

Speaker 3 (01:08:32):
No, I guess I'll try my leg with a spoon
a chopstick, But then no, it is always it was
never worth it. And this morning I've been practicing my
one hand egg cracked because guess what, I turn myself
on that's right, I get off to myself when I
crack an egg with one hand, and then I looked
like a damn fool eating a shard filled omelet while

(01:08:55):
I could have been having something actually normal. Don't eat
meat only eats, don't go anile based, only plant based.

Speaker 2 (01:09:03):
That's what it is. I didn't know you. Yeah, I'm sorry. Yeah, no, no,
don't No, I could not agree with sit down. No,
but that doesn't deserve a standing. Yes it does, because
I have spent my whole life having to explain to
people the shell. No, it's just like, first of all, yes,

(01:09:26):
you are correct on all of that, but the standing
ovation was just to find another person who had that.

Speaker 1 (01:09:34):
With you.

Speaker 2 (01:09:34):
Eggs because they are such a popular food the way
you scoff, well, because I had them today, right, Okay,
That's what I've dealt with my whole life. Is everyone
likes that, and do I like things where eggs are
an ingredient of sur but eggs, dealing with them, eating

(01:09:55):
them as the thing I don't like. It is horrible
what they I also dealing with them, but I just don't.
I don't like the flavor, I don't like the texture,
there's so many ways to prepare them. I've tried them all,
don't like them. Don't write I don't like eggs. But
then I say that and then people think I'm vegan,
so then I have to go on this whole fucking thing.

(01:10:18):
And if they don't do that, then I go, I
don't like eggs, and they go, you don't like eggs?
Have you tried them scrambled? Have you tried them fried?
And then I'm like, my god, please not again with
the eggs. So most of the time when people and
then it's like, you don't like eggs, are you vegan?
And I'm like, yeah, I'm vegan because I'm like, this
will save time. And then the breakfast I am delivered

(01:10:42):
is nothing because they didn't have any It's a piece
of bread.

Speaker 1 (01:10:46):
It's so shocking when when whenever anyone thinks that just
like a piece of bread is toast, Yeah, it's sliced
piece of bread, is some toast culture numbers a.

Speaker 2 (01:10:57):
Piece of bread is not toast.

Speaker 3 (01:11:00):
Activity that disappears when you say I don't want an
egg in my thing, well, they.

Speaker 2 (01:11:05):
Go, oh, well, I guess we could do. We don't
have any tofu It's like why. Well, I think it's
because of the consistency. I don't think like the egg itself.
So anyway, I feel like you couldn't like eggs themselves,
but your humility to hate them oh that much at

(01:11:25):
the same time, to hold that much capacity of hatred
for eggs, I have finally found one other person who
at least shares some kind of passion about that hatred.

Speaker 1 (01:11:37):
I have a bad comedy idea for you, guys. You
and Jinks should sing Rihanna hate that love.

Speaker 2 (01:11:47):
You so you know that one.

Speaker 1 (01:11:50):
But like with eggs on the back, this is like
a bad comedy idea. You do it like Little Field
in twenty thirteen.

Speaker 2 (01:11:56):
But those were and I represent the hate and bow
and represents the love.

Speaker 1 (01:12:02):
Yeah yeah, And I feel like.

Speaker 2 (01:12:03):
It's just like nineties throwback. You guys would Ebony and Ivory.
I do out with Jenks and you. But I do
want to say this about the microplastics and theolinas, I

(01:12:26):
said Michelina's anyway, I hate Selina and Michelin together Michea. Uh,
I hate them in college, yes, delicious, delicious, listen though

(01:12:46):
you were in Wicked. Yeah, those are like a dollar
a pop. I'm sure they're like, what five bucks the pop?
Now they were a dollar a pop in college. YEA, yeah,
you can probably get a deal. There's something about the
point is something that.

Speaker 5 (01:13:04):
Is exactly like that that might cost more, but it
will be so much kinder to your body and it
will satisfy all the same things.

Speaker 2 (01:13:16):
And I'm not even saying healthy. I'm not even saying healthy.
You have reached this point in your career that if
you want to get a take home taken bake lasagna,
or if you want to get something that you put
in your oven, I know, you know what, you probably
have the money to get one of those what air fryers?

(01:13:36):
The number? I mean, there's so many things you could
really step up your game, is all I'm saying, unless
what you need is the Michelinus, in which case I
totally get because I have a can of dnty more
beef stew for the very same reason. I don't need
to say, but I know that there is going to

(01:13:57):
be a day I just once again need to haste
didn't he more beefs do? I used to do it
on tour and Michelle Vassage would say, starting your day
with a little didn'ty more there, and because it would
be my name and I beating beefs spaghetti pantry would freak.
I get them once in a blue moon. I need spaghetti.

(01:14:20):
I just more d beef, but the microwave I make
them on this still.

Speaker 3 (01:14:26):
There's still plant, but there's the plastic. I'm sure it's
not processed in the same plan. My high horse. You
can't avoid it.

Speaker 2 (01:14:35):
It's crazy and it's my probably favorite food. There's some more,
there's some plastics. I mean, listen, we can't escape. I'm
sorry I should have cleared it with you, but no, no,
no no.

Speaker 1 (01:14:48):
I feel like you're used to what was really good, so.

Speaker 2 (01:14:54):
Worry. I just also got very self conscious that I
might have not been intact. But you know, I'm embracing.
Thank you. Okay, both, you can don't bleep it. I
want people to know that it's an anxiety I deal with.

Speaker 1 (01:15:11):
Are you ready to do your other things?

Speaker 2 (01:15:12):
So honey? Hold on.

Speaker 1 (01:15:18):
Good yep, yeah, for sure? Sure that we are clear?

Speaker 2 (01:15:23):
Totally okay? Are you ready?

Speaker 1 (01:15:26):
Now?

Speaker 2 (01:15:29):
This is jinx monsoons. I don't think so, honey. Her
time starts now, I don't think, so, honey. Where has
everyone's manners gone? Where? The fuck have all your manners gone?
Where have all your manners gone? Because I am so serious.
I feel like if I try to empathize, and if
I try to figure out why no one has any

(01:15:50):
manners anymore, and I think it's the pandemic and we
all had to, like, you know, socially isolate and you
know you could. It was like, don't say to your friends.
So we took that on. But like manners, like it's
not going to kill you to leave the hold the
door open for two seconds. You know, it's not going
to kill you to not be a cunt to people
while you walk down the street. You know what happened

(01:16:12):
to like just common decency? Look up from your phone
when you're having a conversation with people you know, and
while I'm clearing the air, it's like, condoms, what's that
all about? I paid for the research. I donated my
money to that cancer research fund. It's a moot point anyway,
I have diaphragms. Now, that's one minute.

Speaker 3 (01:16:34):
Whatever happened to good breeding and nice?

Speaker 4 (01:16:42):
Is?

Speaker 1 (01:16:42):
I hopefully both both?

Speaker 4 (01:16:45):
You know?

Speaker 2 (01:16:46):
You know that I thought long and hard about everything
we discussed today that I knew was on the docket.

Speaker 1 (01:16:53):
Right, and you wanted to really go thank you for
I really thought long and hard about that, and I'm like,
is this I'm a sound classiest?

Speaker 2 (01:17:01):
Is this It's not about class, it's literally common decency.
It's don't slam the door behind when you see me coming.
I I don't think it's no small fault to our
leaders showing no class or decorum. That now people feel
like that's that's out.

Speaker 3 (01:17:19):
There's social blaze, and therefore everybody is like in their
own little and.

Speaker 2 (01:17:25):
Listen in Times Square, I'm just trying to get through
as quickly as possible. But I'm not being a count
while i'm doing it. In fact, because I'm from the
Pacific Northwest, I would rather go out into the street
and walk around a crowded sidewalk. Maybe I do it
na huff if I'm late. I try not to be
late because anyway, but I'm so passive aggressive that I'd

(01:17:50):
rather walk around the issue than say excuse me, because
I'm so scared it's going to come out excuse.

Speaker 1 (01:17:57):
Me, and the case you wouldn't be having the but
you'd be having good excuse me.

Speaker 2 (01:18:01):
Could you get five children wrangle just so that I
can get to my rehearsal to want to say I'm
a Broadway star. But that's what we're talking about, making me.

Speaker 1 (01:18:15):
Feel it so they can feel it as you swiftly
pass by.

Speaker 2 (01:18:19):
So anyway, I have a personal investment in people, like
remembering to just be decent to one another for many
many reasons. One because I'm a person and we're all
just people, and like, how the hell are you going
to make life hell for everyone else? Like that's who
you want to be. You want to add to the problem.

(01:18:40):
You see a problem and you want to add to it.
You want to press the door closed button. I'm in
a building where I have never seen so many people
get on an elevator and press the door closed button frantically,
like in front of you as you're about as you
get into their one time. That sucks, But mostly it's
like I in, I hold the door open for them

(01:19:04):
to then watch them go. I'm like, it brings out brain.
It's breaking my brain because I don't I used to joke, like,
you know, people are like, how did you get to
be so polite? Or whatever? And I'm like I just
was raised right, and I.

Speaker 1 (01:19:21):
How'd you get to be so polite? To be so sweet?

Speaker 2 (01:19:26):
How did you get to be so sweet? Very nasty?
Won't you tell me there get to be so sweet?
I could also do why Matt TV is a big part.
When I had a podcast, it was my goal to
have all I had Nicole Sullivan, I O.

Speaker 6 (01:19:49):
Colin, Stephanie Ware you've had no I'm saying you need
to tell you I've Oh yeah, I would love to
host a reunion the way and Shan does with Housewives.

Speaker 2 (01:20:00):
He just just drag him. Do you know if there
were any reason to do like a live Hi Jinks?

Speaker 1 (01:20:12):
Oh my god, I think you just I think you
just do I here now we're gonna say no, absolutely not.
But then we're like really mean and sharky.

Speaker 2 (01:20:24):
I want to cut that tour you do with the
Mad TV Women. Nothing happened are getting I want to
produce it. I'm going to produce it with We're All
You want to be an Angel? Donor of course.

Speaker 1 (01:20:43):
Listens stilling on Marry till the twenty damn eighth. We
went in the time of our lives, but of course
we did.

Speaker 2 (01:20:50):
Brilliant Thank you were as well.

Speaker 1 (01:20:54):
I love you dearly, thank you, and every every single
episode with a song. Did you know what's in my head?

Speaker 2 (01:21:02):
Do you wanna have fun? Fun? Fun House is about
if you.

Speaker 1 (01:21:09):
Laughs laughs, I can show you a.

Speaker 2 (01:21:14):
Fun last good time, last good time, last good time.

Speaker 1 (01:21:25):
And then there's a bunch of stuff about what happens
when you walked in the joint. You can find that
online by.

Speaker 2 (01:21:34):
Last Culture. Reactis is the production by Will Ferrell's Big
Money Players in My Heart radio.

Speaker 1 (01:21:37):
Podcasts, Created and hosted by Matt Rogers and Bowen Yek,
Executive produced by Ana Hasby and produced by Becca.

Speaker 2 (01:21:44):
Ramos, Edited and mixed by Doug Bains and

Speaker 1 (01:21:46):
Our music is by Henrik Berski.