Catch up on Andrew Santino videos in minutes

Andrew Santino recounts a humorous and slightly disgusting experience of a fellow passenger eating a tuna sandwich on a plane, highlighting the social faux pas of strong-smelling food in confined spaces. He contrasts this with his own past habit of eating tuna on planes, admitting he's 'changed and grown.'

Andrew Santino and Prof discuss why musicians typically sell more merchandise than comedians, attributing it to the audience's desire for a tangible piece of the live music experience. Comedians, they argue, offer an ephemeral experience that doesn't translate as readily into physical goods. The conversation highlights a fundamental difference in fan engagement between the two art forms. Ultimately, the perceived value of a physical memento differs significantly, leading to varied commercial outcomes.

Andrew Santino discusses his upcoming tour plans, noting that his current shows in August will be his last for the year, with a focus on building towards a new theater tour. He invites audience suggestions for club locations. Zac Townsend shares his experience of feeling like he 'scares people' in LA due to his height and intense walking demeanor, contrasting it with his softer facial appearance.

Shane Mauss champions the exploration of psychedelics for personal growth and consciousness, yet he finds himself at odds with segments of the 'psychedelic community' due to their often mystical or overly dogmatic interpretations of experiences. He prefers a more grounded, science-adjacent perspective, which sometimes clashes with the more 'woo-woo' elements of the community. This creates a unique position where he advocates for the substances while critiquing the culture surrounding them.

James Donald Forbes McCann recounts an unforgettable night at The Comedy Store where he witnessed and participated in an impromptu performance featuring a constellation of stars including Talib Kweli, Mos Def, Busta Rhymes, and Kanye West, culminating in a powerful set of Black Star and College Dropout hits. He describes the electric atmosphere and his feeling of being in the presence of greatness.

Tony Hale discusses his Irish heritage and the common perception of redheads in Hollywood, noting that roles for redheads are often written as 'freak' or 'weirdo' characters, unlike more conventionally attractive roles. He contrasts this with his own experience, where his grandmother's red hair made him the 'golden child' among grandchildren, though his stepdad's relationship was more strained. He also touches on the cultural association of Irish heritage with heavy drinking.

Andrew Santino admits he's fallen off from actively watching sports, including the NBA Finals and his beloved Chicago Cubs, due to a general lack of interest and the hassle of subscriptions, though he still maintains an emotional connection to the Bears. He contrasts this with the immersive experience of attending a Dodgers game, which he found impressive.

Jordan Jensen proposes a humorous take on generational slang, suggesting that '67' is a safe number because Gen Z had to invent new terms to avoid being labeled racist or bigoted, while Baby Boomers 'screwed us over' by creating societal issues like racism. This highlights the evolving nature of language and the perceived burdens passed between generations.

Andy Milonakis recounts a past practice of emptying bottles of Blanton's bourbon at the Chateau Marmont hotel and discreetly pouring in more expensive Pappy Van Winkle, justifying it as a way to enjoy his preferred drink without appearing cheap. This anecdote highlights a unique, albeit ethically questionable, approach to enjoying luxury spirits in exclusive settings.

Andrew Santino recounts a series of unfortunate travel experiences, including a lack of legroom, a dog defecating on a flight, and a flight attendant's strict enforcement of bathroom rules, highlighting the perceived class disparities in air travel.

Zach Zucker recounts being kicked out of three temples by the age of 12 due to his inability to sit still and his penchant for disruptive behavior, including playing loud music during services and making witty, albeit disrespectful, remarks to teachers. This early defiance foreshadowed his unconventional path.

Andrew Santino comments on Pete Holmes's comfortable home slippers, suggesting they signify success and a relaxed lifestyle, contrasting them with more formal footwear.

Rene Vaca discusses how his rapid ascent to fame through viral content, while beneficial, also brings immense pressure and unrealistic expectations, forcing him to quickly develop genuine stand-up chops to match the online hype. He notes that the stage remains the ultimate test, humbling even those with massive online followings. This pressure is a constant challenge in navigating the early stages of a comedy career.

Andrew Santino announces upcoming comedy tour dates in Los Angeles, San Diego, and St. Charles, Missouri, encouraging fans to purchase tickets via his website.

Comedians often engage in playful insults as a form of connection and humor, a dynamic that can be misunderstood by those outside the industry. Santino recounts an incident where a joke about a guest's shirt led to an unintended revelation about the guest's daughter's cancer, highlighting the potential for misinterpretation when context is missing. He argues that comedians operate on a different level, focusing on the joke's construction rather than its potential to offend.

Andrew Santino recounts his decade-long pursuit of a role in the film 'Ricky Stanicky,' detailing how he initially pitched the idea and persistently sought the part, even after it was initially attached to Jim Carrey. He emphasizes the script's comedic brilliance and his dedication to securing a role in it.

Timmy No Brakes claims he survived cancer by 'manifesting' it away after being given only three months to live, and asserts he can feel when cancer is absent from his body. He humorously suggests others with cancer try 'shots of bleach' as a remedy, while also noting pancreatic cancer is untreatable.

Jimmy O. Yang's new special, 'Finally Home,' is a large-scale concert film shot across five shows in Hong Kong, featuring 8,000 attendees per show. It's primarily in English but incorporates Cantonese, drawing a parallel to how George Lopez used Spanish. The special is currently available in movie theaters globally.

Andrew Santino describes Australian film crews as being excessively nice and peppy, contrasting them with American union crews who are perceived as more gritty and less overtly accommodating. He suggests this difference might stem from American crews being more accustomed to the work and thus more detached, while Australian crews are eager to please and make guests feel welcome.

Fiona Cauley legally changed her name from Lauren Collie to Fiona at age nine, influenced by a combination of childhood pop culture references like Shrek and a desire to escape a name she found boring. This decision was solidified when she legally changed it at 18, marking a significant step in her personal identity.

Andrew Santino introduces Tommy Brennan, highlighting his recent success and talent, particularly his work on Saturday Night Live, and expresses admiration for his comedic abilities and character. This sets the stage for a discussion about Brennan's career trajectory and his contributions to comedy.

Chloe Radcliffe expresses surprise and a touch of awkwardness at being labeled a 'movie star' following her role in Bradley Cooper's film, noting it was a handpicked opportunity alongside Jordan Jensen. She reflects on the surreal nature of seeing herself on screen and the initial anxiety of not knowing her exact role in the final cut.

Barry Rothbart recounts changing his name to 'Barry Ross' early in his career, driven by advice to sound less Jewish. He quickly realized the change felt inauthentic and reverted to his original name, concluding that failing under his own identity was preferable to succeeding as someone else. This decision underscored the importance of staying true to oneself in the entertainment industry.

Todd Barry describes his comedy style as minimalist, emphasizing that less effort often yields bigger laughs. He values confidence, silence, and timing over yelling, suggesting that restraint can be more impactful. This approach reflects a philosophy of understated humor and trusting the audience to appreciate subtlety, making his comedy unique and effective.