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JEN KIRKMAN - September 12, 2006
GUY MACPHERSON: Hello, Jen. Sorry I'm late.
JEN KIRKMAN: No big deal.
GM: I hate it when people are late.
JK: That's all right. I just ended up getting caught
by people on Instant Message.
GM: So it all works out. I fell asleep with my kid.
JK: Aw, that's nice.
GM: Isn't that darling?
JK: That's an adorable reason. My reason isn't as
cute.
GM: Congratulations on giving your notice from your
day job.
JK: Thank you! I'm just trying to work out everything.
It's cable television, so...
GM: What do you mean?
JK: This show I'm going to be taping, or acting in, or
whatever, is on cable.
GM: VH1?
JK: VH1, yes. So I might have been making more at my
day job so I'm trying to figure it all out.
GM: What is the show?
JK: It's unnamed as of right now.
GM: Your blog is great, by the way.
JK: Oh, thank you!
GM: It's not only interesting, but it's well-written.
JK: Thank you very much.
GM: You don't often find that with blogs.
JK: Well, I kind of use it as a writing exercise. I
write a lot. I'm writing a book right now and I write
short stories and all that, so I like to label myself
a writer. But my blog is mainly where I just kind of
spit out what I'm thinking. But my rule with myself is
not too journal-entry-ish. It's not like, "Today, me
and my boyfriend...." I try to make it anecdotal or
whatever. It's hard because I now have this little
community of people that read it and I want to kind of
write to them. Like, "Hey, guess what I got to do
today?" But I usually end up erasing those.
GM: How often do you write the blogs?
JK: I try to do it every day, which is really easy
because I just do it when I'm procrastinating. And I'm
always procrastinating something. So I try to do it
every day but it's more realistically like three to
five times a week.
GM: And how often do you do your standup?
JK: I'm doing it less and less now, which is good
because I'm using my nights to write. And I'm working
on a one-woman show so that takes a while. But I would
say I do standup... I try to keep it to two times a
week. I mean, stuff always happens where people call
me last minute, so I'd say anywhere from two to six
times a week.
GM: Where do you find the time?
JK: I don't know. I'm a mess. I get up at like 7 a.m.
and I write my book, and I go to work, and I go home.
I'm crazy. I have no social life.
GM: What's the book, if I may ask?
JK: You may ask. I wrote an essay that was published
on-line and this literary agent found it and wanted me to
develop it further. The essay she found was about this
acting class I took when I was eleven. Kind of one of
those scam things, though. It was in Boston and I
thought I was going to get famous. And all the
disappointments that followed when I didn't. And she
called me and was like, "Can you tell me more about
yourself at that age?" This one-woman I have is about
my mom told me when I was little that the world was
going to end in the year 2000. And she made me watch
the movie The Day After, I don't know if you're
familiar with that. She made me watch that and it was
kind of like it was real. So that was all part of my
childhood and I do a one-woman show about it. So she
was like, "Just write a book about that." It's kind of
about how I was obsessed with TV and how I thought
that since I thought I was going to have a short life,
I'd better do something great and get famous before
the world ends. And I was a huge dork growing up. It's
just about this one very tumultuous year. It's like a
memoir of an eleven-year-old going insane.
GM: How old are you?
JK: I'm 32.
GM: It's just amazing there are literary agents out
there scouring the internet.
JK: There's a girl - a girl? she's a woman - her name
is Hillary Carlip and she's an author and she has an
amazing book out called Queen of the Oddballs. She's
had kind of an oddball life. She's lived in L.A. her whole
life and she's done all these different things. She's
just kind of a real renaissance woman. She has this
website called Fresh Yarn. She has
a lot of writers who are already published authors.
They're TV writers, they're comedians, but she
publishes their short stories. I think she kind of
uses that as a way to showcase people that she likes.
And since she's a published author, her kinda lit
agent friends check it out to try to get new talent.
So I don't know if they're randomly going on sites.
GM: You also do Girl Comic.
JK: Yeah, I started that a long time ago but it's dead
now.
GM: How long did you do it?
JK: I think about a year and then I moved to L.A. and
the girl I was working with lives in New York so it
was just too hard. And then I realized that it was
just sort of not interesting anymore (laughs). I liked
doing it but when I look back on it I'm like, "Oh
God!"
GM: Why?
JK: I was writing these essays and I hadn't found my
writing voice yet. Now when I write an essay I try to
make it funny and honest. Those were, like, taking
myself very seriously, kind of writing in that way
that I thought you had to use all this big language
and stuff, that you shouldn't write in the way that it
sounds like when you talk. So when I look back on that
writing, I'm like, "Ugh, get it off the internet!"
GM: It's never coming off.
JK: (laughs) But I liked it. It got a lot of people
writing and we got to interview some great people.
GM: Now you try to be humorous in your writing?
JK: I think so. I try to be honest. I never write
about anything that is not dealt with already. People
always say, "Oh, you're being so honest" about this or
that. I would never... If I were in the middle of some
emotional crisis, it's usually funnier once I get
perspective on it. But, yeah, my main goal is to try
to be funny but that is up for anyone to decide
because they could have different ideas about it. I've
met a lot of people who miss it completely and respond
with very serious e-mails like, "Are you okay?!"
(laughs)
GM: How long have you been doing standup?
JK: I've been doing it about nine years.
GM: So even while doing girlcomic.net, you were doing
standup. But your writing just isn't that funny when
you look at it now?
JK: Yeah, I think I just didn't know a lot about
writing, which is why I'm so glad I did that site
because when I moved to L.A. there was this whole
thing that exists out here - it may exist in New York
now but it didn't at the time - of short story reading
shows that are supposed to be funny. So there's a ton
of them out here where you write a short story that
should be about five minutes long when you perform it.
Thank God I got all that crappy, pretentious writing
out of my system. I don't know what happened, I really
don't, just something snapped and I realized, "Ooh,
this is not enjoyable to read." Yeah, so I think my
standup was okay but my writing hadn't caught up, it
wasn't mature yet.
GM: When you perform up here, is it part of the
one-woman show or is it solely standup?
JK: I'll just be doing standup but I have a - I'm not
going to say unique because I certainly did not invent
it - but it seems these days everything's one-liners.
People call what I do stories. If they want to call it
that, that's great. I mean, there's punchlines all
throughout. It's not like a story where you're not
laughing. But yeah, I tend to stay on one topic and
explore it as much as I can. So if I have a 10-minute
set, you might only hear me talking about two or three
different things.
GM: Is your one-woman show standup-like?
JK: It's pretty similar to the way I am when I do
standup. I have a very conversational style. But the
one-woman show is a half-an-hour long and it has one
theme and one story and it carries it through and has
all that kind of one-woman-show-y-type stuff where
it's like, "Okay, here's what I wanted, here's the
struggle, here's how it ended." That kind of thing.
But yeah, it's very similar to my standup.
GM: Do you describe yourself as a feminist?
JK: I certainly would, yes.
GM: What does that mean to you?
JK: The first thing that comes to mind is just, let's
not be ridiculous. There shouldn't even be this word
at this point. It just means, to me, not forgetting
that just because women may have come pretty far that
it's equal in all ways. I think everything always
shifts. There's feminism in the sense that people can
make the same money or vote or not be expected to be a
nurse or a wife. That's fine, but then everything
always changes depending on all the new stuff that's
out in the culture.
GM: So you want to vote, too, is that what you're
saying? Is that what I'm hearing?
JK: Men and women both need each other. And I love men
and they're important, and women are important. I feel
like there's no superior or inferior. That's all that
it means to me. It's the same as if someone said, "I'm
not a racist." You get what that means.
GM: What does it even mean if you're not a feminist?
JK: I think there's this whole... People who maybe
don't know a lot about it would think it means, like,
"I hate men" or everything is skewed so that women are
victims and women this and women that. I think some
people wouldn't be because they think it means somehow
that this one group is trying to take over. (laughs) I
don't know. But yeah, who wouldn't be? My friend and I
were talking about this and he was like, even in terms
of comedy, if women can't do certain things in comedy,
like, "We need a hot, funny lady." I hear that all the
time. Not like they're telling me I'm hot; I'm just
saying that so many people just love to throw that
around. But to me, if men get to do whatever they want
in comedy, then women should, too, or else it's just
bad for comedy. I mean, who wouldn't want everything
to be equal?
GM: How is it now? I'm thinking it's getting better
and then I read on your blog about the Craig's List ad
looking for good-looking female comics.
JK: That to me is just one weirdo. I think that's not
a good example of why it might be bad. I think it's
good. For me, and all of the guys I know in their 20s
and 30s and 40s... I mean, I grew up and could turn on
HBO anytime and it would be Rita Rudner, Judy Tenuta,
Judy Gold, Paula Poundstone, Roseanne. Every show, we
already had Maude and Rhoda and Mary Tyler Moore and
Carol Burnett and all the women on SNL back then were
so great, Jane Curtain and Laraine Newman. So to me,
it didn't even dawn on me that there was a problem. I
think it's gotten worse because now there's this thing
where you have to be hot. There are some attractive
female comedians and they get crap for that. It's
like, "Why are you a comedian if you're attractive?"
And if you're not, no one will look at you. I'm part
of this group of alternative comics and there's some
younger kids coming up on the scene and they were
having this discussion on a message board one day
called, "Are women funny?" I said to them, "What if I
started a discussion called, 'Are black people
funny?'" And they were like, "That's ridiculous. That
would be racist." They didn't recognize that would
even be a problem. They had all these statistics. It's
crazy. I want to say it's getting better because I
don't want to sound like I think anything's horribly
wrong but at the same time I feel like it would be
shining a light on things if I said it was. In L.A.
it's hard, too, you know.
GM: Everyone's good-looking there.
JK: Even in clubs, I notice - I didn't notice this in
Vancouver, actually, but I do notice this in L.A. -
when women talk about certain things, there's this
whole psychology that goes on with the audience
members. Like, guys don't want to laugh at a girl on
stage, women sometimes hate other women. I mean, it's
crazy.
GM: You do occasionally still hear people say either
women aren't funny, or you're funny - for a woman.
JK: Yeah, it's funny. Every once in a while a network
will call me up and they'll be like, "Come to this
audition. We can't find any funny women." I'm like, "I
know a million!" This is what I think: A lot of the
guys I first started with are successful, for whatever
that means, either they're really wealthy or they're
famous or simply just not working in day jobs but they
support themselves. And that happened a lot sooner for
them than it did for me. And I know a lot of other
women who have this - when you're first starting out,
you suck. I think for men, it's "oh, he sucks but
he'll get better. I'll give him a chance." And when
you're a woman and you're first starting out and you
suck, it's because you're a girl. I knew guys starting
out who sucked - we all did - who would get a club
spot, or a manager would still be interested in them.
That's kind of a subtle... Because when people ask me
they don't see funny women, and I feel like I know so
many, I'm like, "Why do I see it and they don't?" I
come up with all these theories. That might be one of
them. We don't get the stage time.
GM: I have a theory. Hear me out. Because of the way
our culture is, we need to be representative. So TV
producers can't put all white male comics on a show.
They need a woman, they need various ethnicities. So
they might take somebody who isn't necessarily ready
yet in order to fill the bill. So they might get
elevated and put on a national show, and people would
watch and see a diamond in the rough, or somebody
who's just not ready to be on national TV, and go, "If
she's the best woman you can find, women must not be
funny."
JK: I think that's true, too. And that happened to me,
actually. Six years ago I got on that show Premium
Blend on Comedy Central. I had maybe been doing
standup about three years. I was okay but really
shaky, had never done TV. And they make you perform in
front of it seemed like a thousand, but was probably
more like 500 people. I bombed. It was terrible. I
found out later that they had a woman quota to fill.
And it was like, "Ugh, why did you do that?!" It just
makes everyone look bad. I'm shocked that there wasn't
another woman more talented at the time. It's
interesting. But you know, the people that I know
personally, that I hang out with, and that's a lot of
comics, no one ever excludes me with, "You're a girl"
or any of that crap. The most they'll say is... Like,
these Channel 101 people that I got involved with,
they're amazing and they're not sexist at all, but
they're just like, "We're nerds, we're guys, we get
together and write and when we write stuff, we
realize, 'Oh shoot, we need a woman! We don't have one
that we normally hang out with so we have to go and
audition them.'"
GM: That's how they meet girls.
JK: That's how they meet girls!
GM: Do you think way more men are doing standup as
compared to women?
JK: I would say if it's not 50-50, it's maybe 60-40. I
don't think it's too many more men than women. If so,
women burn out more and are acting more, or something.
I could name, like, a hundred female comics. It
doesn't seem like it, if you look at a lineup of any
show that might be on someone's blog or something. But
I don't think that much more.
GM: Janeane Garofalo said that back when she started
in the mid-eighties, if club owners had a woman
headliner, they'd have to wait another month before
another woman could headline.
JK: Yeah! Weird rules. I've gotten to clubs before and
it's like the owners are frantic and everyone's
freaking out: "You've got two women in this lineup?!
You can't put them back-to-back!" The craziness. How
many times have you had four white guys in a row? So I
don't know what everyone is so terrified of. And then
there's this other terrible thing. I really admire the
men I know because they don't have to worry about, "My
friend Joe is going to get famous before I am. I
better just stay away from him and do my own thing."
They all work together. And a lot of women comics I
know, even though we're all close friends, it's tough
because it seems like one woman gets something at a
time. So we're kind of always competing with each
other. It doesn't really set up this camaraderie
amongst female comedians in terms of creating
together.
GM: But you still have the camaraderie.
JK: Yeah, but I notice that we don't all really create
together. We're not socialized that way, I guess. I
don't even have a really good intellectual explanation
for it, but there's always this sense of "Oh, this
thing's coming up and there's the girl spot for it."
When the Comedians of Comedy were thinking they were
going to have a second season, this message board that
I frequent was giving who they think would get it.
They were like, "Oh, maybe this guy, maybe that guy."
And someone was like, "What about the girl spot?"
Again, what if you said, "What about the black spot or
the Chinese spot?" It would sound awful. So I think
there's still this kind of... It's so weird. I think
it was so different long ago. But I could be
romanticizing a time that I wasn't really a part of.
GM: You think it was different and better back then?
JK: I'm sure it was still just as hard for women in
terms of like when you actually dealt one-on-one with
the bookers or with the entertainment industry. I'm
sure the female comedians that were big in the
eighties would say it wasn't exactly easy. But I feel
like we saw more women on television in the eighties
and more different types. They weren't all hot. That
kind of thing.
GM: None of them were hot, that I remember.
JK: No. They were very kind of androgynous. And not in
a bad way. It was that eighties kind of jacket with
the sleeves rolled up look. Everyone was doing it....
I think the misconception is that women talk about
things that are specific to being a woman.
GM: Some do.
JK: Some do but I think that in general a good comic
is going to take something that's really specific and
make it universal. I laugh at guys all the time even
when they're talking about stuff that I could never
experience because I'm physically not a man. But they
make it so universal because there are obviously some
similarities. I think that would be my only advice to
people who really think of female comics as kind of a
different species. A good comic is going to bring you
into their life experience and make you relate. Or if
not, they're going to entertain you so much that don't
care that you don't relate.
GM: I think that those who say women aren't funny as a
general rule can be shown funny women that they'll
admit to liking.
JK: They need some kind of statement to make. (laughs)
GM: Is your comedy more universal than woman-specific?
JK: It is all over the place. It's mainly more
neurotic-specific. It's about my fears, which anyone
would have. Like apocalyptic stuff and fear of flying.
And most of my fans are men. Maybe it's because I'm a
girl and they have a crush on me or something, I don't
know. But I would say that the most people who reach
out to bother to tell me they like me are dudes. And
then when I do my one-woman show, that's more women.
GM: Are most of the comedy fans men? Maybe the female
comedy fans actually get up and try it.
JK: I think the women who are fans just don't tell you
when you're a woman. Because I think with the guys
there's always that kind of sexual thing where they're
like, "Ooh, I like this girl but I also think she's
funny." I think women just don't tend to blather on.
They're probably e-mailing the male comics. I think
women love comedy. It's so funny because Comedy
Central doesn't like to have any shows that feature
women. They have Sarah [Silverman]'s show. She's kind
of the exception right now. But they specifically
don't really like women's shows because they're like,
"Our demographic is male 18-49." It's like, I don't
know, most of the girls I know, we've got crazy male
fans. They're loyal and they don't even say "I like
you for a girl." A lot of men will come up to me after
I do stuff that is specific about being a woman, and
they're like, "I must be a woman because I totally
relate." And all different kinds of dudes. All
different races, ages, size, shape, and so on. So I'm
always like, "Could you guys start a petition? Then I
could send it to networks that claim that men don't
watch women."
GM: Do you get the weird male fans after you?
JK: I get some weirdos on myspace. I think some dudes
think they have to encourage you, like at any point I
might whither. No matter what I do, I'll always get an
e-mail like, "Don't give up!" Or "Hey, you're really
cute." Or someone will be like, "Nice boobs!" And I'm
like, "No, no! Stop!" I usually ignore them or I write
them back and just say please don't do that. But I get
some weird people but no one that I've seen in person
that's been weird. Just over the internet, where
people are more comfortable to get weird.
GM: Do you feel there's always an extra hurdle you
have to clear from the audience?
JK: I think so. I hate to say this, but at mainstream
clubs, yes. When I do the Upright Citizen's Brigade
Theater or do the more what they call "rooms" or
theatres, no. It's so easy it's ridiculous. I mean,
it's not easy but they're just judging me as a comic.
But it's a gut instinct. Because I'm very hard on
myself because I want to get better. So when I go on
stage and I suck, I go, "Oh, I sucked. What was I
thinking?" But when there's this weird feeling you
get, the only thing I can describe it as is when
you're walking down a dark street late at night and
you go, "You know what? I just don't think this is
safe." It's that same instinct, like "I have a feeling
that they're being hard on me because of their own
hangups." Like, I have a bit about masturbating that
is not even dirty at all. It's just about being a
woman and how women like to make up all these crazy
scenarios in their head, all their fantasies. It's
just a neurotic journey into my mind. And when I do it
at theatres they love it. And I did it in a mainstream
club and it was silent. And I think it's a very
well-crafted bit. And I had to lay into the audience:
"Come on!" And then they laughed when I laid into
them. But yeah, I think the hurdle is harder at a more
touristy or kinda mainstream place where people have
an already set idea of what a comedian looks like and
is like. Chris Rock said this about being a black
comedian: It's not good enough to just be good; you
have to be the best. I think that's true. I know a ton
of white guys who are amazing and I love them, but in
general you really don't see that many mediocre black
comics or mediocre women comics. Everyone is usually
pretty good if you've heard of them because they've
had to fight that much harder to get their name out
there. But there's a ton of people who are just really
good at marketing themselves and everyone knows their
name and they're around and they might just be kind of
average. I think there's a little more pressure on us.
GM: Are you talking about Dane Cook?
JK: No. Actually, no, I'm not. I'm talking more just
people who do what they call theme comedy rooms in
America. But I'm not talking about Dane Cook. But I
did hear about his thing in Vancouver.
GM: I broke that story!
JK: Oh, you did? I was wondering what the audience
thought. It seemed like some people were saying it's
good for the club to get a celebrity, and other people
were saying it's not like that in Vancouver - they
really wanted to see the headliner and people were
pissed. They didn't just want to see him and not the
guy they came to see.
GM: I think that's people's prejudices. The crowd was
loving him. They seemed to be on his side. The
headliner could have come on after, but he chose not
to.
JK: I don't think I would have. I think if ever I'm
hugely famous like that, and maybe I'll change, but I
know how hard it is to sit there and you get a club
spot so few and far between, and to have to follow a
celebrity, it's just pointless. Especially when you
might be being judged that night by the booker or some
festival or a manager. And they're not going to factor
that in. They just don't. At least here. Every once in
a while I'll do a show and, like, Michael Richards
walks in and he'll do half an hour and it's like
they're done after that. And then I'm trying to do a
thing. I hate when that happens. I always think the
celebrity should say, "I'll go on at the end of the
night" or "I'll just go on and do ten minutes." Or
something. But it never seems to happen that way.
GM: But another thing is it is show business. And the
audience doesn't really care if it's fair for every
comic. They just want a good show and something to
talk about the next day.
JK: That's true. In my ideal utopia they could get
both if the celebrity did their thing but did it at
the end of the night so that everyone wouldn't be
judged against them. Or if they do go on in the
middle, keep it short. Everyone gets their thrill.
GM: I wonder if there was any miscommunication.
Because when you get to be that big, you have people
talking for you and then it gets back to you another
way. He was originally supposed to go on last. But he
gets there, and it's kinda late and he's shooting a
movie the next morning, and he asks if he can go on
early. The club could have said no. But they said he
could go on but instead of doing the 45 minutes
originally agreed on, he'd do 20 to 30. Maybe by the
time his people tell him that, they forget about the
time part and they just say, "Yeah, you can go on
next."
JK: Yeah, that's true, that's true.
GM: And to play him off and cut off his mic at 33
minutes!
JK: I thought that was crazy. I kinda like it in one
sense. It keeps it real. Like, "Hey listen, these are
rules. Clubs are clubs and it doesn't matter if you're
a star."
GM: But there was a new manager who most likely didn't
know who Dane Cook was.
JK: Oh, is that what it was? I'm not personally a fan
of his but I'm not, "I need to take him down!"
GM: You were here last year, right?
JK: I was, yeah. I loved it there last year. I'm on
the alternative shows. I don't know. I'm trying to get
on Eugene Mirman's show.
GM: Ah. Trying to fill the woman's spot?
JK: Trying to fill the woman's spot. Actually, he's
the one who told me to start doing comedy years and
years ago. We're trying to figure it out. But I know
I'm there Friday and Saturday night. Last year when I
did it, I was told that I was doing a couple of shows,
and then when I got there I had way more shows. They
just started throwing them at me. What I found
interesting was that all the places they said I was
going, I would get this feeling of dread: Like, Yuk
Yuk's? That's not going to go well. Or this other
place that's 45 minutes outside of Vancouver.
GM: Lafflines.
JK: Yeah. I was like, "These will be terrible." And
those were the best shows. The audiences were just so
warm and up for anything. And they were smart; they
were not dumb. So I really appreciated that.
GM: There are a lot of great women comics coming here.
JK: Yeah. My friend Morgan Murphy I know is coming up.
Is Maria [Bamford] going?
GM: Maria's coming.
JK: Oh, great!
GM: Janeane Garofalo, Elvira Kurt, Kate Flannery,
Margaret Cho, Kristen Schaal, a bunch of locals.
JK: That's great. I hope I get to see everyone because
I'm only there two nights.
GM: Is it because of work?
JK: No, I was told I was going Wednesday through
Saturday, but then I was e-mailed my schedule and it
was Friday and I was like, "Oh, all right." I guess
because they're probably trying to save money.
GM: You're not a big flyer either, are you?
JK: I'm not a big flyer. I always take my sedatives
when I fly but I tend to not really freak out about
flying when I'm doing something like going to a comedy
festival. It's usually when visiting family. That
one's pretty self-explanatory. But yeah, I'm not a
huge flyer. I'm a little bummed about all the liquid
stuff because I use some good products and I usually
like to keep them on me because I'm afraid to check
them.
GM: I'm not a big flyer, either. I took a fear of
flying course.
JK: Me, too! Where did you take it?
GM: At the airport here in Vancouver.
JK: Did it work?
GM: It made it better, for sure. It certainly didn't
cure me of anything, though. But they suggested not to
take any drugs or alcohol and to meet your phobias
head-on.
JK: Alcohol, yeah, I agree. That's bad. But I did a
fear of flying course when I was 19 in Boston at Logan
Airport. They called it Logan's Heroes. It was very
life-changing. Everyone was cured. Everyone. On our
graduation flight, we just flew to New York from
Boston, which is a 40-minute flight. But we circled
forever. I'm like, "Why the hell aren't we landing?"
Turns out there was a terrorist threat at the airport.
And this was way before all that stuff. This was like
'96. I knew. I was paranoid and everyone else was just
breathing and like, "I can't believe I did it!" And we
got to the airport and no one was there. The doctor
was running to the security guard: "Don't tell these
people what was going on!" (laughs) But then the
doctor said to me after, "I think you also need
therapy. You are just very anxious." So that was kind
of funny. But yeah, I know all that breathing stuff
does work but I can't seem to... I don't like the fear
of fear so I like to take something to calm me down.
GM: I hope you can calm down. It's a shorter flight
coming up to Vancouver.
JK: Yeah, it's not bad at all. It's just that I'm
taking Alaska Airlines and I've been reading such bad
things about them lately. A few planes recently had to
keep landing an hour after they took off because the
pressure wasn't working in the cabin correctly.
GM: I'm sure they've got it fixed now.
JK: It's all fine. Yeah, nothing bad happened. I
usually stop reading those articles halfway through
because I'm like, "I don't need to freak myself out."
So then I have no idea what the problem is.
GM: They have Jesus on their side.
JK: I hope so. Unless he's there to just judge
everyone. (laughs) "We have Jesus on this flight to
judge each of you individually."
GM: Well, man, you've been off the internet for more
than half an hour.
JK: I know! What am I going to do?!
GM: I should let you get back to it. Your public is
waiting.
JK: Well, it was fun. Thank you so much for having me.