Stay ConnectedObsessed: The Podcast is for those who like their culture pop and their pleasures guilty. Entertainment guru Kevin Fallon and late night TV expert Matt Wilstein, bring you the most dramatic news and interview the biggest celebrities from TV, movies, and that not-so-guilty pleasure you love to binge. Whether it’s a steamy-beyond-steamy kiss, just-dropped trailer, or unhinged social media meltdown: if you love it, we’re Obsessed.
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“Oh god, you’re crying in front of Carol Burnett, fantastic,” Alex Edelman said at the top of his acceptance speech for Outstanding Writing for a Variety Special at the 76th Emmy Awards. It was just the latest unexpected milestone in the life of his widely celebrated solo show ‘Just for Us,’ which premiered on HBO and also won a special Tony Award earlier this year. In this episode, the 35-year-old Jewish comic shares the unique challenges of bringing his story about attending a white supremacist meeting in Queens to the stage and screen, including the sudden death of his director just before opening on Broadway and how performing a show about antisemitism changed after October 7th. Edelman also discusses the surreal experience of getting notes from comedy heroes like Steve Martin, Jerry Seinfeld and Billy Crystal, tells a story about the time he baffled Mel Brooks by calling him “woke” to his face, and teases his next stand-up hour, which will take on the Israel-Gaza war.
This episode was originally published on April 10, 2024.
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Highlights from this episode and others at The Daily Beast
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Michael Ian Black began his career performing deeply absurdist comedy with his legendary sketch group The State and the besuited comedy trio Stella. Now, among other things, he’s a weekly columnist covering the 2024 election for the Daily Beast. But Black does not consider himself to be a political commentator “in any way, shape or form, even though I often comment on politics,” he says in this week’s episode of The Last Laugh podcast. During our wide-ranging conversation, Black shares his thoughts on where the 2024 race stands right now, how Donald Trump became America’s worst crowd work comedian, why he’s cautiously optimistic about the prospect of a Kamala Harris presidency, and what viewers can expect from his new satirical CNN game show ‘Have I Got News for You’ with Roy Wood Jr. and Amber Ruffin. Plus, what he remembers about filming his explicit sex scene with Bradley Cooper in ‘Wet Hot American Summer’ and why, after two reboots on Netflix, the cult classic finally “feels like it’s done” to him.
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Susie Essman made a name for herself cursing out Larry David as her alter-ego Susie Greene on ‘Curb Your Enthusiasm.’ But as she reveals in this episode, in the 24 years since the show premiered—and nearly four decades since she met David in the New York comedy clubs—they have never once gotten into an actual fight. Essman opens up about David’s unique “genius” as a comedian, how ‘Curb’ gets away with being so politically incorrect, the unconscious inspiration for her character and the bizarro world in which she could have played Elaine on ‘Seinfeld.’ Plus, stories about roasting Donald Trump to his face at the Friar’s Club, her “horrible” late-night debut with Johnny Carson, and getting to portray Ilana Glazer’s mother on ‘Broad City.’
This episode was originally published on November 30, 2021.
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Highlights from this episode and others at The Daily Beast
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Before Langston Kerman was one of the most exciting stand-up comedians working right now, he taught poetry to high school students. As he tells the audience in his debut Netflix special ‘Bad Poetry,’ he was desperate to find another path for his life. In this episode, Kerman talks about getting his big break writing for Oscars host Chris Rock (even if he didn’t get a single joke on the broadcast), convincing his favorite comedian John Mulaney to direct his special, trying not to alienate Larry David during his very first Hollywood gig, and why he fears that fans of HBO’s ‘Insecure’ will never, ever let him “be free.” He also shares some behind-the-scenes stories from his time writing on the year’s most brilliantly weird talk show, ‘Everybody’s in LA,’ including the one pitch that was deemed too weird by Mulaney.
Listen to My Momma Told Me with Langston Kerman and David Gborie
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There are few Americans who have had a crazier past month than Kamala Harris—but comedian Allison Reese is among them. Reese’s impression of the vice president was already a hit on social media before Harris picked up the baton from President Joe Biden, but it has blown up in a much bigger way since. In this episode, Reese talks about the wild ride she has been on as millions of followers eat up her deliciously spot-on take on the candidate’s cadence—especially her signature laugh—and the efforts she is taking not to inadvertently become a right-wing caricature. She also reveals why she wanted to impersonate Harris in her first audition for ‘Saturday Night Live’ in 2019, what she made of former cast member Maya Rudolph’s very different approach to the impression, and why she believes her videos might have an even bigger political impact on TikTok than she would have had if she had been cast as Harris on SNL.
Listen to N’Kay with Allison Reese
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Highlights from this episode and others at The Daily Beast
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Hannah Einbinder had never really acted before she was cast as Ava Daniels opposite Jean Smart’s Deborah Vance on ‘Hacks.’ Now, she’s a three-time Emmy nominee. In this episode, Einbinder opens up about the overconfidence she brings to that role as well the onstage persona she displays in her excellent debut stand-up special ‘Everything Must Go’ on Max. She also talks about overcoming the intimidation of acting with Jean Smart, compares the generational gap between their characters to her relationship with her own mother (original SNL cast member Laraine Newman), and teases what fans can expect from a more “badass” Ava in Season 4. And later, Einbinder shares her unfiltered thoughts about the “old fucking guys” in comedy who complain that political correctness is stifling their craft.
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Highlights from this episode and others at The Daily Beast
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When a special arrives on Netflix in its finished form, viewers don’t typically get to see all of the excruciating work that went into making it a polished piece. But for anyone who has been listening to Birbiglia’s Working It Out podcast over the past couple of years, it’s all there. “I was doing it privately,” he says on this week’s episode of The Last Laugh podcast. “I feel like it’s something that’s kind of unspoken about stand-up, that for the most part, we are in communities of comedians who kick around joke tags: ‘Hey, what if you did this with it?’ And ‘I have a similar story about this, and you know you could use that if you want to,’ or whatever it is. And we kind of just put it out there with audio rolling.” In his second appearance on The Last Laugh, Birbiglia talks about how this process helped shape his latest Broadway show-turned-Netflix special ‘The Old Man and the Pool’ (now Emmy-nominated for Outstanding Writing for a Variety Special), shares his thoughtful response to the “emotional truth” controversy that came for his friend and fellow comic Hasan Minhaj, breaks down how he handles criticism of his own work, and a lot more.
This episode was originally published on November 22, 2023.
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Highlights from this episode and others at The Daily Beast
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Carmen Christopher is one of those comedians who you’ve definitely seen before but can’t totally be sure how you know his face. Over the past several years, he’s popped up in bit parts on show’s like ‘Shrill,’ ‘I Think You Should Leave,’ and most notably—given his born and bred Chicago roots—all three seasons of ‘The Bear.’ In this episode, Christopher talks about putting together his breakthrough, Chicago-themed stand-up special ‘Live From the Windy City,’ which arrives on the Veeps streaming platform August 1st. He also shares stories about collaborating with alt-comedy icons including Joe Pera and Tim Robinson, why he’s no longer interested in pursuing SNL after two unsuccessful auditions, that time he almost killed David Letterman, serving as a writer on Nathan Fielder and Benny Safdie’s ‘The Curse’ and more.
Follow Carmen Christopher on Twitter @CarmChristopher and Instagram @carmenyescarmen
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Highlights from this episode and others at The Daily Beast
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In the weeks between President Joe Biden’s disastrous debate performance and his decision to step aside, no one in political media was making the case against his candidacy louder than the former Obama staffers and co-hosts of Pod Save America. In his third appearance on The Last Laugh, Crooked Media co-founder Jon Lovett returns to talk about his unexpectedly prominent role in the Democratic Party’s existential crisis and how he’s feeling now that Vice President Kamala Harris has emerged as the presumptive nominee who will take on Donald Trump in the fall. We also discuss how the political comedy world handled Biden’s decline and Trump’s assassination attempt, how he navigates writing jokes for his own podcast Lovett or Leave It, and how on earth he ended up as a contestant on the upcoming season of ‘Survivor.’
Buy Crooked Media’s new book ‘Democracy or Else: How to Save America in 10 Easy Steps’
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Highlights from this episode and others at The Daily Beast
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In an age of comedy that aims to shock, Reggie Watts is arguably the most unpredictable comedian working today. That’s not to say he’s particularly controversial. And in fact, he decided to “set” his latest stand-up special ‘Never Mind’ in the mid-’90s precisely so he wouldn’t feel any pressure to talk about what is happening in America right now. In this 250th episode of The Last Laugh, Watts breaks down how he uses his completely improvised comedic approach to “disorient” audiences and even make them question their reality. He also reveals the real reason he gave up his gig as one-man band leader on the ‘Comedy Bang! Bang!’ TV show (hint: It wasn’t because James Corden hired him away) and why he was so “stoked” when ‘The Late Late Show’ ended after a longer-than-expected eight-year run.
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Highlights from this episode and others at The Daily Beast
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