WEBVTT 00:00:00.000 --> 00:00:02.700 Welcome to the Deep Dive. Today, well, we're 00:00:02.700 --> 00:00:04.820 opening up a stack of sources on a performer 00:00:04.820 --> 00:00:10.300 who's really repeatedly redefined what comedy 00:00:10.300 --> 00:00:13.560 can do. We are looking at Karen Escozito, just 00:00:13.560 --> 00:00:15.500 a dynamic figure. You know, the career blends, 00:00:15.740 --> 00:00:19.199 stand -up acting and some truly groundbreaking 00:00:19.199 --> 00:00:21.260 podcasting. Yeah, and they're really known for 00:00:21.260 --> 00:00:24.100 weaving personal identity, social justice right 00:00:24.100 --> 00:00:26.600 into the humor. It's not just jokes. It's turning 00:00:26.600 --> 00:00:29.519 the stage into something. More. A platform for 00:00:29.519 --> 00:00:31.879 actual change. Exactly. It's a career path that 00:00:31.879 --> 00:00:34.380 feels very modern, actually. Moving from like 00:00:34.380 --> 00:00:37.280 traditional academia right into digital content. 00:00:37.399 --> 00:00:40.880 But always, always with this clear social mission 00:00:40.880 --> 00:00:43.759 underneath. Right. So our mission today for you, 00:00:43.899 --> 00:00:46.810 the listener, is to track that path. We're going 00:00:46.810 --> 00:00:48.649 to dissect that journey, you know, from planning 00:00:48.649 --> 00:00:50.570 to be a social worker. Which is fascinating in 00:00:50.570 --> 00:00:52.689 itself. Totally. To becoming one of the most 00:00:52.689 --> 00:00:55.409 visible and influential voices in queer media, 00:00:55.590 --> 00:00:57.609 we want to look at not just what they accomplish, 00:00:57.710 --> 00:01:00.049 but, you know, how their life shapes the work. 00:01:00.270 --> 00:01:03.070 Yeah, how the structure of one informed the other. 00:01:03.170 --> 00:01:05.250 So when we talk Cameron Esposito, we're talking 00:01:05.250 --> 00:01:09.069 actress, comedian, writer, born Cameron Ann Young, 00:01:09.150 --> 00:01:12.629 Anastasia Esposito, October 17th, 1981, Western 00:01:12.629 --> 00:01:15.129 Springs, Illinois. And the focus is key. Like 00:01:15.129 --> 00:01:18.430 you said, LGBTQ plus community, feminism, social 00:01:18.430 --> 00:01:21.390 justice, really thoughtfully tackling the challenges 00:01:21.390 --> 00:01:23.769 marginalized communities face. It's not a side 00:01:23.769 --> 00:01:27.010 thing. It's it's the blueprint. OK, so to really 00:01:27.010 --> 00:01:28.950 get the intentionality of the later work, you've 00:01:28.950 --> 00:01:31.510 got to look back. The roots raised in Western 00:01:31.510 --> 00:01:33.930 Springs, Illinois, middle of three kids, Italian 00:01:33.930 --> 00:01:36.510 -American parents, Brenda and Nick. And you look 00:01:36.510 --> 00:01:39.450 at that background and you see this like disciplined, 00:01:39.730 --> 00:01:42.640 high achieving structure. Right. Which kind of 00:01:42.640 --> 00:01:45.739 clashes beautifully maybe with the chaos of stand 00:01:45.739 --> 00:01:47.620 -up later on. Totally. It sets up this really 00:01:47.620 --> 00:01:50.019 interesting tension. Because high school at Benet 00:01:50.019 --> 00:01:53.780 Academy graduated 2000. It doesn't scream future 00:01:53.780 --> 00:01:56.459 comedian. No, not at all. It screams, I don't 00:01:56.459 --> 00:01:59.540 know, Olympic hopeful policy wonk. Yeah. They 00:01:59.540 --> 00:02:01.500 swam breaststroke on the swim team. Breaststroke. 00:02:01.540 --> 00:02:04.459 Which takes incredible technique, discipline, 00:02:05.019 --> 00:02:08.240 efficiency. Yeah, it's not flashy. It's technical. 00:02:08.960 --> 00:02:11.110 Demanding. And that discipline wasn't just in 00:02:11.110 --> 00:02:13.270 the pool. They were involved in the Marian Society, 00:02:13.629 --> 00:02:16.789 too. That's a community service group. So early 00:02:16.789 --> 00:02:20.849 signs of that formal commitment to civic engagement. 00:02:20.870 --> 00:02:23.509 Yeah. Social responsibility. Yeah. This isn't 00:02:23.509 --> 00:02:26.270 just like random volunteering. It's institutionalized 00:02:26.270 --> 00:02:28.629 service. And the academics were serious, too. 00:02:29.020 --> 00:02:31.439 Semi -finalist for the National Merit Scholarship 00:02:31.439 --> 00:02:34.699 Program. Wow. Okay. Yeah. So consistently performing 00:02:34.699 --> 00:02:37.580 at a really high academic level. The expectation 00:02:37.580 --> 00:02:39.639 heading to college is definitely not late night 00:02:39.639 --> 00:02:44.240 comedy sets. It's something serious, structured. 00:02:44.300 --> 00:02:46.180 And that structure channeled itself right into 00:02:46.180 --> 00:02:48.659 Boston College, graduated 2004, double major, 00:02:48.900 --> 00:02:51.199 theology and English literature. Okay. Now that 00:02:51.199 --> 00:02:54.400 combination feels key to the later stuff. English 00:02:54.400 --> 00:02:56.900 lit gives you narrative, right? Storycrafting 00:02:56.900 --> 00:02:59.740 and theology. Well, that gives you a framework 00:02:59.740 --> 00:03:02.400 for moral questions, existential stuff, understanding 00:03:02.400 --> 00:03:05.819 belief systems, institutions. That's such a critical 00:03:05.819 --> 00:03:07.860 point. It's not just that they studied theology. 00:03:07.919 --> 00:03:10.620 It's what theology does. It forces you to wrestle 00:03:10.620 --> 00:03:13.860 with the big why questions, often defend uncomfortable 00:03:13.860 --> 00:03:17.379 ideas. And all with a clear goal in mind back 00:03:17.379 --> 00:03:20.370 then. The plan was get the degree, go back to 00:03:20.370 --> 00:03:22.469 Chicago, become a social worker. All right. While 00:03:22.469 --> 00:03:24.750 that serious path was being laid out, you see 00:03:24.750 --> 00:03:27.569 the performance side starting to crack through. 00:03:27.669 --> 00:03:30.030 Or maybe finding an outlet. Yeah, exactly. In 00:03:30.030 --> 00:03:32.930 Boston, still doing physical stuff, played rugby. 00:03:33.090 --> 00:03:35.409 Okay. But also performing in the school's improv 00:03:35.409 --> 00:03:39.090 troupe, My Mother's Fleabag. Ah, okay. So the 00:03:39.090 --> 00:03:41.229 performance bug was there. It's like it was the 00:03:41.229 --> 00:03:44.169 necessary counterweight to all that academic 00:03:44.169 --> 00:03:46.810 seriousness. It feels like it. I mean, they weren't 00:03:46.810 --> 00:03:48.849 just doing. homework in rugby it was serious 00:03:48.849 --> 00:03:52.250 service intellectual rigor and the pure spontaneity 00:03:52.250 --> 00:03:54.870 of improv that's a lot of energy yeah a very 00:03:54.870 --> 00:03:57.770 high energy profile yeah which uh eventually 00:03:57.770 --> 00:04:00.729 leads to the big pivot the career shift yes right 00:04:00.729 --> 00:04:03.090 after graduation they actually enrolled master 00:04:03.090 --> 00:04:04.949 of social work program university of chicago 00:04:04.949 --> 00:04:07.810 prestigious program following that plan okay 00:04:07.810 --> 00:04:10.210 so how long did that last because this feels 00:04:10.210 --> 00:04:12.310 like the real fork in the road moment one semester 00:04:12.310 --> 00:04:16.350 wow That's it. One semester. Which, given how 00:04:16.350 --> 00:04:18.670 focused they were before, is incredibly short. 00:04:19.230 --> 00:04:21.649 They realized pretty quick, I guess, that the 00:04:21.649 --> 00:04:24.350 traditional, structured, institutional path of 00:04:24.350 --> 00:04:27.730 social work, it wasn't their medium. So they 00:04:27.730 --> 00:04:29.850 dropped out. Dropped out. Took a massive leap, 00:04:29.910 --> 00:04:32.529 really. Chose to pursue the other thing they'd 00:04:32.529 --> 00:04:35.120 been developing. What's so interesting is the 00:04:35.120 --> 00:04:37.259 goal didn't really change, did it? The desire 00:04:37.259 --> 00:04:39.779 for social change, for advocacy, for meaning. 00:04:39.959 --> 00:04:43.000 It just found a different vessel. Exactly. Traded 00:04:43.000 --> 00:04:45.420 the, you know, the slow, sometimes frustrating 00:04:45.420 --> 00:04:48.740 bureaucracy of social work for the immediate, 00:04:48.839 --> 00:04:51.680 high impact, unfiltered voice of the standup 00:04:51.680 --> 00:04:54.560 stage. That decision, that's the foundation for 00:04:54.560 --> 00:04:56.740 everything that follows. So MSW program out. 00:04:57.139 --> 00:04:59.579 The real apprenticeship begins. We're in the 00:04:59.579 --> 00:05:03.360 Chicago grind now, roughly 2007 to 2013. Yep. 00:05:03.439 --> 00:05:05.639 And this is where they applied that, you know, 00:05:05.639 --> 00:05:07.339 that breaststroke discipline, that academic rigor 00:05:07.339 --> 00:05:10.339 to the totally chaotic world of stand -up. And 00:05:10.339 --> 00:05:12.660 the heart of that grind seems to be the Lincoln 00:05:12.660 --> 00:05:16.360 Lodge. Why is being a regular there, 2007 and 00:05:16.360 --> 00:05:19.639 2011, so important for a comedian? Well, the 00:05:19.639 --> 00:05:22.500 Lincoln Lodge isn't just any club. It's known 00:05:22.500 --> 00:05:25.459 for really developing thoughtful, structurally 00:05:25.459 --> 00:05:29.620 sound comedy voices. It's an institution. Four 00:05:29.620 --> 00:05:31.839 years performing there consistently means you're 00:05:31.839 --> 00:05:34.459 not just banking on quick hits. You're honing 00:05:34.459 --> 00:05:37.680 your craft, developing an hour, learning to communicate 00:05:37.680 --> 00:05:40.040 complex ideas under pressure. Right. It's the 00:05:40.040 --> 00:05:41.800 difference between just being funny and being 00:05:41.800 --> 00:05:44.519 a working comedian. Exactly. And all that development 00:05:44.519 --> 00:05:47.220 was happening while facing the usual financial 00:05:47.220 --> 00:05:49.420 realities of starting out. Yeah. The need for 00:05:49.420 --> 00:05:51.379 side hustles. This period really shows that. 00:05:51.459 --> 00:05:53.519 They worked in special education. Which taps 00:05:53.519 --> 00:05:55.660 back into that social work impulse, right? And 00:05:55.660 --> 00:05:59.120 as a law clerk. Yeah. And a nanny. Those roles 00:05:59.120 --> 00:06:02.040 provide this deep, granded well of material. 00:06:02.379 --> 00:06:04.620 It wasn't just jokes about being a struggling 00:06:04.620 --> 00:06:07.319 comic. It was drawing on real interactions with 00:06:07.319 --> 00:06:10.660 diverse people, kids, lawyers, educators. That 00:06:10.660 --> 00:06:12.500 lived experience really infused their comedy, 00:06:12.600 --> 00:06:14.819 gave it that practical, empathetic perspective 00:06:14.819 --> 00:06:17.519 that became their thing. And as that voice got 00:06:17.519 --> 00:06:20.139 refined, they started getting noticed beyond 00:06:20.139 --> 00:06:23.980 Chicago. Hitting the festival circuit, SXSW, 00:06:24.199 --> 00:06:26.959 Moontower, Bridgetown, SF Sketch Fest. Those 00:06:26.959 --> 00:06:28.819 are the crucial stepping stones, right? Where 00:06:28.819 --> 00:06:31.459 agents, bookers, writers start paying attention. 00:06:31.759 --> 00:06:35.759 And all that momentum builds to the big TV breakthrough 00:06:35.759 --> 00:06:39.819 in 2013, the debut on the Late Late Show with 00:06:39.819 --> 00:06:42.839 Craig Ferguson. That first late night spot, huge 00:06:42.839 --> 00:06:45.339 milestone. Yeah. Moves you from local act to 00:06:45.339 --> 00:06:47.699 national visibility. But what made this appearance 00:06:47.699 --> 00:06:50.339 instantly iconic wasn't just the set itself. 00:06:50.620 --> 00:06:53.500 It was the endorsement. Yeah. Jay Leno, the establishment 00:06:53.500 --> 00:06:55.779 figure in Late Night then, he was also a guest, 00:06:55.920 --> 00:06:58.680 and he famously called Cameron Esposito the future 00:06:58.680 --> 00:07:01.439 of comedy. Which is just massive for Millie, 00:07:01.540 --> 00:07:04.040 who was known for super mainstream appeal. That 00:07:04.040 --> 00:07:06.899 kind of validated their specific identity -driven 00:07:06.899 --> 00:07:09.360 comedy for a way bigger audience. Totally. It 00:07:09.360 --> 00:07:11.339 opened doors. It told the industry, hey, pay 00:07:11.339 --> 00:07:13.120 attention. This voice is different, and it matters. 00:07:13.319 --> 00:07:15.600 And things moved fast after that. TV appearances 00:07:15.600 --> 00:07:18.720 solidified. Conan, one episode. Last Call with 00:07:18.720 --> 00:07:21.060 Carson Daly, two episodes. The industry clearly 00:07:21.060 --> 00:07:23.779 recognized the promise Lano saw. And it wasn't 00:07:23.779 --> 00:07:27.420 just TV boogings. Critically, 2014 was a big 00:07:27.420 --> 00:07:31.300 year too. Consequence of Sound named them Comedian 00:07:31.300 --> 00:07:33.620 of the Year. Yeah, which isn't just praise, it's 00:07:33.620 --> 00:07:36.439 placing them right at the forefront. Recognizing 00:07:36.439 --> 00:07:38.439 their influence on where comedy was heading more 00:07:38.439 --> 00:07:40.779 honest, more identity focused. While all this 00:07:40.779 --> 00:07:42.680 is happening, they're also building their recorded 00:07:42.680 --> 00:07:45.420 work. That first album, Grab Them Aghast, came 00:07:45.420 --> 00:07:49.160 out earlier, 2010. Rooftop comedy records. Right. 00:07:49.540 --> 00:07:52.300 Cemented that early voice. And we shouldn't forget 00:07:52.300 --> 00:07:55.240 the diversification into voice acting shows their 00:07:55.240 --> 00:07:57.839 range beyond just stand -up. Yeah, Carol the 00:07:57.839 --> 00:08:00.620 Cloud Person on Adventure Time. Yep. Cartoon 00:08:00.620 --> 00:08:03.379 Network, not just a cameo like a recurring character 00:08:03.379 --> 00:08:06.660 across a couple of episodes, 2014 to 2017. It 00:08:06.660 --> 00:08:08.819 shows they were valued for their distinct voice 00:08:08.819 --> 00:08:11.040 and timing, not just their stand up fame. OK, 00:08:11.079 --> 00:08:12.980 so the moment they seem to transition from just 00:08:12.980 --> 00:08:16.879 rising star to like a real cultural force was 00:08:16.879 --> 00:08:18.220 when they started building their own platforms. 00:08:18.300 --> 00:08:20.579 Right. Not just rely on the old gatekeeper. Exactly. 00:08:20.740 --> 00:08:24.079 Mid 2010s identity becomes central to the digital 00:08:24.079 --> 00:08:27.029 strategy. And that BuzzFeed motion picture series, 00:08:27.209 --> 00:08:30.389 Ask a Lesbian from 2014, that feels like a perfect 00:08:30.389 --> 00:08:33.409 example. Totally. In that era of short viral 00:08:33.409 --> 00:08:35.929 video, they use their personal identity as this 00:08:35.929 --> 00:08:38.870 accessible educational thing, answering specific, 00:08:39.149 --> 00:08:42.190 sometimes awkward audience questions about lesbianism. 00:08:42.289 --> 00:08:44.690 What's great about Ask a Lesbian is how it used 00:08:44.690 --> 00:08:48.830 comedy and just openness to dismantle stereotypes, 00:08:49.110 --> 00:08:51.950 super consumable format. Yeah, it turned personal 00:08:51.950 --> 00:08:54.409 experience into like public education light. 00:08:54.750 --> 00:08:56.629 gave people permission to ask questions safely. 00:08:56.929 --> 00:08:59.730 And it often featured their then partner, River 00:08:59.730 --> 00:09:01.870 Butcher. Right, which reinforced that visible, 00:09:02.009 --> 00:09:03.850 relatable partnership. And at the same time, 00:09:03.889 --> 00:09:06.409 they kept afoot in established media. Regular 00:09:06.409 --> 00:09:08.789 panelist on Chelsea lately. Which was known for 00:09:08.789 --> 00:09:11.029 sharp social commentary. And writing a regular 00:09:11.029 --> 00:09:13.429 blog for the A .V. Club. So this multi -platform 00:09:13.429 --> 00:09:15.230 thing meant they were shaping conversations in 00:09:15.230 --> 00:09:17.210 different spaces all at once. And the album's 00:09:17.210 --> 00:09:20.509 same -sex symbol lands in December 2014. Kill 00:09:20.509 --> 00:09:23.669 Rockstars. The title alone is such a statement. 00:09:23.929 --> 00:09:27.110 Oh yeah. Political, artistic, takes an identity 00:09:27.110 --> 00:09:29.730 often marginalized, treated as niche, and just 00:09:29.730 --> 00:09:32.009 elevates it, puts it front and center, celebrates 00:09:32.009 --> 00:09:34.509 it. But the really ambitious project from this 00:09:34.509 --> 00:09:38.230 time has to be the TV series Take My Wife. Monumental 00:09:38.230 --> 00:09:40.809 undertaking. Creator, writer, executive producer, 00:09:40.970 --> 00:09:44.450 and starring as Cameron. 14 episodes, 2016 to 00:09:44.450 --> 00:09:47.070 2018. And it focused on their relationship with 00:09:47.070 --> 00:09:49.759 River Butcher. Just centered lesbian identity, 00:09:50.039 --> 00:09:52.679 queer relationship dynamics with this honesty 00:09:52.679 --> 00:09:54.580 and humor you just didn't see much on TV then. 00:09:54.700 --> 00:09:57.259 But the journey of that show. Wow. It's like 00:09:57.259 --> 00:09:59.200 a case study in the chaos of the early streaming 00:09:59.200 --> 00:10:02.659 wars. Right. Premiered on CISO, NBCUniversal's 00:10:02.659 --> 00:10:04.740 niche comedy streamer. And the show's fate was 00:10:04.740 --> 00:10:07.500 immediately tied to the platform's fate. CISO 00:10:07.500 --> 00:10:10.720 gets shut down November 2017. Ugh. It's devastating. 00:10:10.980 --> 00:10:12.700 Must have been. Create something so personal, 00:10:12.779 --> 00:10:15.019 so good, so important, and it might just vanish 00:10:15.019 --> 00:10:17.100 into the ether. But it speaks volumes about the 00:10:17.100 --> 00:10:20.159 show, the creators, the audience, that it didn't 00:10:20.159 --> 00:10:23.220 just disappear. March 2018, picked up by iTunes, 00:10:23.460 --> 00:10:26.019 basically rescued by fans. And that fan dedication 00:10:26.019 --> 00:10:29.059 proved the business case. Because then, huge 00:10:29.059 --> 00:10:33.179 win, Starz acquires it in April 2018. Wow. From 00:10:33.179 --> 00:10:35.960 a failed niche service to a major premium network. 00:10:36.490 --> 00:10:38.789 That validates the demand for authentic queer 00:10:38.789 --> 00:10:40.889 storytelling, shows the audience will follow 00:10:40.889 --> 00:10:43.590 the content even through chaos. Totally. And 00:10:43.590 --> 00:10:45.590 that show was, of course, part of this deep. 00:10:45.950 --> 00:10:48.230 personal and professional partnership with River 00:10:48.230 --> 00:10:50.470 Butcher. They worked on so much together before 00:10:50.470 --> 00:10:53.149 their separation in 2018. Their joint creative 00:10:53.149 --> 00:10:55.330 identity really defined a big chunk of the L 00:10:55.330 --> 00:10:57.730 .A. comedy scene then. Absolutely dominated the 00:10:57.730 --> 00:10:59.629 collaborative space. Co -hosted the weekly live 00:10:59.629 --> 00:11:02.009 stand -up podcast, Put Your Hands Together. Right, 00:11:02.070 --> 00:11:06.909 at UCB in L .A. From 2013 until July 2019, six 00:11:06.909 --> 00:11:09.590 years, weekly, live stand -up. That builds a 00:11:09.590 --> 00:11:12.649 massive loyal audience. That show was a barometer 00:11:12.649 --> 00:11:15.289 for the best indie stand -up. That kind of sustained... 00:11:15.309 --> 00:11:17.629 effort live show every week while also doing 00:11:17.629 --> 00:11:19.830 albums, TV. It just highlights that work ethic 00:11:19.830 --> 00:11:22.450 again, those Midwestern roots. Definitely. And 00:11:22.450 --> 00:11:24.210 there was their other podcast, Wham Bam Pow, 00:11:24.409 --> 00:11:27.850 that ran 2013 to 2015. Their combined presence 00:11:27.850 --> 00:11:30.409 was just huge in carving out space for openly 00:11:30.409 --> 00:11:32.649 queer voices in comedy and podcasting when it 00:11:32.649 --> 00:11:34.610 was still pretty rare in the mainstream. OK, 00:11:34.690 --> 00:11:36.929 so if the last part was about building the platforms, 00:11:37.269 --> 00:11:40.710 this next phase feels like using those platforms 00:11:40.710 --> 00:11:45.629 for direct, measurable social change. And nothing 00:11:45.629 --> 00:11:49.110 says that louder than the 2018 special Rape Jokes. 00:11:49.190 --> 00:11:52.549 Yeah, Rape Jokes was a thematic milestone. An 00:11:52.549 --> 00:11:55.490 hour -long special tackling sexual assault, specifically 00:11:55.490 --> 00:11:57.809 from their personal perspective as a survivor. 00:11:57.990 --> 00:11:59.889 The choice of topic is incredibly difficult. 00:12:00.149 --> 00:12:03.570 Needs immense skill to handle with nuance, gravity. 00:12:04.960 --> 00:12:07.460 but still structure it as comedy. This is where 00:12:07.460 --> 00:12:09.480 you really see that theology background, maybe 00:12:09.480 --> 00:12:11.980 the social work impulse too, manifests in the 00:12:11.980 --> 00:12:14.080 art. It's not just jokes. It's like this structural 00:12:14.080 --> 00:12:16.720 attempt to wrestle with moral injury, institutional 00:12:16.720 --> 00:12:19.559 failure. Which is a very theological way of thinking. 00:12:19.639 --> 00:12:21.779 Right, packaged inside comedy. But the release 00:12:21.779 --> 00:12:23.860 structure. Arguably the most important part. 00:12:23.980 --> 00:12:26.519 Absolutely. That distribution model was pioneering, 00:12:26.539 --> 00:12:29.500 fusing media and philanthropy. They made it free 00:12:29.500 --> 00:12:31.340 to stream on their website. Maximum visibility, 00:12:31.600 --> 00:12:34.120 maximum accessibility. Anyone who needed to see 00:12:34.120 --> 00:12:36.279 it could, regardless of ability to pay. Okay, 00:12:36.299 --> 00:12:39.100 so visibility is guaranteed. How did they handle 00:12:39.100 --> 00:12:41.379 the money part? The direct action goal. That 00:12:41.379 --> 00:12:44.039 was the genius bit. The voluntary paywall. You 00:12:44.039 --> 00:12:47.139 were encouraged, not required, to pay a small 00:12:47.139 --> 00:12:50.220 fee to download a permanent copy. Okay. And crucially, 00:12:50.360 --> 00:12:53.480 all proceeds went directly to RAINN. The Rape, 00:12:53.480 --> 00:12:56.360 Abuse, and Incest National Network. Biggest U 00:12:56.360 --> 00:12:59.500 .S. anti -sexual violence org. Yep. That move 00:12:59.500 --> 00:13:02.500 is critical. Turns art into tangible, measurable 00:13:02.500 --> 00:13:05.480 change. Cuts out the middleman. Links consuming 00:13:05.480 --> 00:13:08.759 the art directly to the advocacy's purpose. So 00:13:08.759 --> 00:13:11.620 did it work? Did this unconventional model actually 00:13:11.620 --> 00:13:14.200 get results? Overwhelmingly. The impact was almost 00:13:14.200 --> 00:13:16.860 immediate and measurable. By September 2018, 00:13:17.100 --> 00:13:19.539 just a few months after the June release, Rape 00:13:19.539 --> 00:13:22.539 Jokes had raised $65 ,000 in donations for Rain. 00:13:22.700 --> 00:13:26.750 Wow. $65 ,000. That's profound. It really shows 00:13:26.750 --> 00:13:28.929 the power of using a personal story amplified 00:13:28.929 --> 00:13:31.330 by comedy to drive direct funding for a vital 00:13:31.330 --> 00:13:33.450 cause. It almost closes the circle, right? The 00:13:33.450 --> 00:13:35.409 person who dropped out of the MSW program because 00:13:35.409 --> 00:13:37.809 it felt too bureaucratic ends up generating tens 00:13:37.809 --> 00:13:40.090 of thousands for social services in like no time 00:13:40.090 --> 00:13:42.549 flat just by telling jokes. It totally validates 00:13:42.549 --> 00:13:44.669 that career pivot we talked about earlier. Absolutely. 00:13:44.870 --> 00:13:48.009 And beyond the stage, they keep exploring these 00:13:48.009 --> 00:13:51.210 complex themes in writing, too. The memoir, Save 00:13:51.210 --> 00:13:54.769 Yourself, came out March 24th, 2020. Yeah, that 00:13:54.769 --> 00:13:56.590 delves deep into the self -discovery journey, 00:13:56.750 --> 00:13:59.649 identity, losing their religion, connecting that 00:13:59.649 --> 00:14:02.110 personal evolution back to the theology foundation. 00:14:02.570 --> 00:14:04.570 The memoir format allows for a different kind 00:14:04.570 --> 00:14:07.330 of depth than stand -up, right? More space to 00:14:07.330 --> 00:14:09.429 flesh out the context of that high -achieving 00:14:09.429 --> 00:14:11.789 background and how it shaped their approach to 00:14:11.789 --> 00:14:13.779 self -acceptance. And they kept their literary 00:14:13.779 --> 00:14:16.519 presence going, contributing to the essay collection 00:14:16.519 --> 00:14:19.700 Hungry Hearts, essays on courage, desire and 00:14:19.700 --> 00:14:23.019 belonging in 2021. This dual focus running a 00:14:23.019 --> 00:14:25.360 charity comedy special and doing serious literary 00:14:25.360 --> 00:14:27.840 analysis, it just underlines the versatility. 00:14:28.139 --> 00:14:30.000 And throughout all this intense creative output, 00:14:30.159 --> 00:14:32.440 they kept growing their acting resume in traditional 00:14:32.440 --> 00:14:35.220 TV. Showing their appeal wasn't just limited 00:14:35.220 --> 00:14:37.700 to their own projects. Landed some key roles 00:14:37.700 --> 00:14:41.299 that showed adaptability. Zoe on Marin for five 00:14:41.299 --> 00:14:44.539 episodes. That show has such a distinct, observational, 00:14:44.639 --> 00:14:47.279 sometimes melancholic style. Yeah, they fit right 00:14:47.279 --> 00:14:50.000 in. And their stand -up spiels were perfect for 00:14:50.000 --> 00:14:52.220 drunk history. Storyteller in the journalism 00:14:52.220 --> 00:14:54.720 episode. Delivering a narrative with hilarious 00:14:54.720 --> 00:14:57.059 precision. We also see the move into network 00:14:57.059 --> 00:15:00.200 comedy. Two episodes as Jocelyn Price on Brooklyn 00:15:00.200 --> 00:15:03.500 Nine -Nine. Right. That specific, warm, fast 00:15:03.500 --> 00:15:06.320 -paced ensemble vibe welcomed their energy. And 00:15:06.320 --> 00:15:09.039 more recently, a recurring role, Greta Strobe 00:15:09.039 --> 00:15:13.299 on A Million Little Things, 2022 -2023. These 00:15:13.299 --> 00:15:15.980 roles just confirm the industry sees them as 00:15:15.980 --> 00:15:19.019 reliable, versatile, handling drama, traditional 00:15:19.019 --> 00:15:21.360 network stuff, alongside the unique advocacy 00:15:21.360 --> 00:15:24.340 work. Okay, let's pivot to where Cameron Esposito 00:15:24.340 --> 00:15:26.799 has arguably left the deepest, most sustained 00:15:26.799 --> 00:15:29.950 mark. Yeah, and the flagship there has to be 00:15:29.950 --> 00:15:32.990 Queery. Ran from 2017 to 2024, more than just 00:15:32.990 --> 00:15:34.730 a chat show, right? It's like an essential archive 00:15:34.730 --> 00:15:37.129 of contemporary queer thought. Absolutely. Queery 00:15:37.129 --> 00:15:39.610 is a masterclass in interview structure focused 00:15:39.610 --> 00:15:42.210 exclusively on contemporary queer luminaries, 00:15:42.210 --> 00:15:44.269 their life experiences. And Cameron Esposito 00:15:44.269 --> 00:15:46.269 uses that background, theological questioning, 00:15:46.409 --> 00:15:48.730 the empathetic listening skills from the social 00:15:48.730 --> 00:15:51.230 work attempt to guide these really in -depth, 00:15:51.289 --> 00:15:54.039 nuanced conversations. The format's key. It's 00:15:54.039 --> 00:15:56.820 not just promo. It's deep exploration of identity, 00:15:57.100 --> 00:16:00.159 career challenges, the evolution of queer advocacy. 00:16:00.519 --> 00:16:03.679 They really draw out vulnerabilities and triumphs 00:16:03.679 --> 00:16:06.500 from guests. Very generous, very focused hosting. 00:16:06.700 --> 00:16:08.860 And the guest list just speaks volumes about 00:16:08.860 --> 00:16:11.139 the show's importance. The caliber of voices 00:16:11.139 --> 00:16:14.080 they attracted is huge. Across media, music, 00:16:14.360 --> 00:16:16.779 literature. Lena Waithe. Keegan and Sarah Quinn. 00:16:17.000 --> 00:16:19.500 Evan Rachel Wood. Jill Soloway. Margaret Cho. 00:16:19.639 --> 00:16:21.860 Roxane Gay. Trixie Mattel. I mean, the list goes 00:16:21.860 --> 00:16:24.879 on. It really became... required listening for 00:16:24.879 --> 00:16:27.419 understanding queer life in the modern era, a 00:16:27.419 --> 00:16:29.500 seven -year dialogue spanning cultural shifts, 00:16:29.679 --> 00:16:32.139 political moments. And their podcasting footprint 00:16:32.139 --> 00:16:34.840 is incredibly diverse, shows how embedded they 00:16:34.840 --> 00:16:37.039 are across the whole audio landscape. It's not 00:16:37.039 --> 00:16:39.720 just queery. Right. They hosted Survivor Die 00:16:39.720 --> 00:16:42.480 Trying in 2023 with Sony Music Entertainment, 00:16:42.740 --> 00:16:45.360 expanded their hosting style beyond just interviews. 00:16:45.620 --> 00:16:47.879 Exactly. And there are frequent, sought -after 00:16:47.879 --> 00:16:50.340 guests everywhere, lending their sharp perspective 00:16:50.340 --> 00:16:53.100 to shows like Comedy Bang Bang. Bang. How did 00:16:53.100 --> 00:16:55.820 this get made? The Nerdist Podcast. Being a regular 00:16:55.820 --> 00:16:58.659 guest on those foundational comedy pods really 00:16:58.659 --> 00:17:01.179 confirms their status as this trusted comedic 00:17:01.179 --> 00:17:03.759 voice in improv and analysis, too. For sure. 00:17:03.940 --> 00:17:06.660 Now, this deep dive, we have to talk about the 00:17:06.660 --> 00:17:08.420 public evolution of their personal identity. 00:17:09.160 --> 00:17:11.339 which they've always handled with real transparency 00:17:11.339 --> 00:17:14.019 and intention. Openly lesbian, of course. And 00:17:14.019 --> 00:17:15.660 we can track the shifts through their public 00:17:15.660 --> 00:17:18.700 work. Married to River Butcher, 2015 to 2018. 00:17:19.059 --> 00:17:21.140 When they separated, it was handled publicly 00:17:21.140 --> 00:17:23.619 but carefully, acknowledging the shared work 00:17:23.619 --> 00:17:25.519 like Take My Wife and Put Your Hands Together. 00:17:25.779 --> 00:17:28.559 Then later, married Katie Nishimoto, an editor 00:17:28.559 --> 00:17:31.779 at Dial Press, June 2021. Announced publicly. 00:17:32.279 --> 00:17:34.460 Continuing that sort of transparent documentation. 00:17:34.799 --> 00:17:37.099 But a hugely important piece of their ongoing 00:17:37.099 --> 00:17:39.859 advocacy was the evolution of their gender identity. 00:17:40.200 --> 00:17:43.140 April 2021, Cameron Esposito came out publicly 00:17:43.140 --> 00:17:45.980 as gender fluid, emphasized using both sheer 00:17:45.980 --> 00:17:48.539 and they them pronouns. Right. And the way they 00:17:48.539 --> 00:17:50.819 put it on social media was so memorable and welcoming. 00:17:51.160 --> 00:17:54.259 Fluid like water. She and they. Cameron and Cammy. 00:17:54.299 --> 00:17:57.599 A woman plus also her boy. Classic Esposito advocacy 00:17:57.599 --> 00:18:01.029 style, right? Personal, clear. Packaged with 00:18:01.029 --> 00:18:03.730 humor and specificity, it immediately positioned 00:18:03.730 --> 00:18:06.869 them as a visible advocate for complex, evolving 00:18:06.869 --> 00:18:09.769 identities. Showing identity isn't static. Yeah, 00:18:09.869 --> 00:18:11.670 really powerful. And that journey continues. 00:18:11.990 --> 00:18:14.809 We have a very recent major personal update connects 00:18:14.809 --> 00:18:19.130 the life story right to today. August 2025 revealed 00:18:19.130 --> 00:18:21.470 on Instagram they're expecting their first child. 00:18:21.670 --> 00:18:25.750 Wow. Yeah. Huge personal milestone shared with 00:18:25.750 --> 00:18:27.210 the audience that's followed this whole journey. 00:18:27.329 --> 00:18:28.690 Okay, let's bring it right up to the present. 00:18:28.809 --> 00:18:33.210 The 2025 snapshot. Which confirms, yeah, Cameron 00:18:33.210 --> 00:18:35.390 Esposito is still incredibly relevant, super 00:18:35.390 --> 00:18:38.309 busy, and really strategically using modern platforms. 00:18:38.630 --> 00:18:40.289 Their current relationship with the Dropout network 00:18:40.289 --> 00:18:42.450 is really strong, positions them perfectly for 00:18:42.450 --> 00:18:44.589 that modern niche streaming audience. The new 00:18:44.589 --> 00:18:46.849 stand -up special, Dropout Presents, Cameron 00:18:46.849 --> 00:18:49.710 Esposito, four pills, released exclusively on 00:18:49.710 --> 00:18:52.490 Dropout, April 11th, 2025. The fact they're doing 00:18:52.490 --> 00:18:54.609 a new hour for a platform like Dropout, which 00:18:54.609 --> 00:18:56.890 really relies on this dedicated, smart, progressive 00:18:56.890 --> 00:18:59.190 audience, shows a clear understanding of where 00:18:59.190 --> 00:19:01.799 their core fan base lives now. And they're being 00:19:01.799 --> 00:19:04.160 integrated into Dropout's wider comedy world, 00:19:04.220 --> 00:19:07.039 too, announced as a guest performer on the second 00:19:07.039 --> 00:19:09.420 season of the panel show Smarty Pants. Keeps 00:19:09.420 --> 00:19:11.400 them connected to the rising stars, the collaborative 00:19:11.400 --> 00:19:13.960 scene. And their influence isn't just stand up 00:19:13.960 --> 00:19:16.579 and sketch. Their status is a leading voice in 00:19:16.579 --> 00:19:19.500 queer performance art, affirmed by being announced 00:19:19.500 --> 00:19:22.319 as a guest judge on the upcoming drag king competition 00:19:22.319 --> 00:19:25.670 show King of Drag. Oh, interesting. Yeah. Being 00:19:25.670 --> 00:19:27.750 picked as a judge for a new competition show, 00:19:27.910 --> 00:19:30.809 especially one focused on drag kings, which historically 00:19:30.809 --> 00:19:33.930 gets less visibility than, say, drag queens, 00:19:34.230 --> 00:19:37.430 it just underlines their credibility, their authority 00:19:37.430 --> 00:19:39.650 in defining and critiquing queer performance 00:19:39.650 --> 00:19:41.930 now. It's a leadership role. Not just a guest 00:19:41.930 --> 00:19:44.289 spot. Right. And just to keep that wide footprint 00:19:44.289 --> 00:19:46.730 active, they were also listed as a guest on Alphabet 00:19:46.730 --> 00:19:50.410 Club in 2025. Still engaging across the broad 00:19:50.410 --> 00:19:52.769 audio space. So what this collection of 2025 00:19:52.769 --> 00:19:56.990 projects shows is a really successful strategic 00:19:56.990 --> 00:19:59.720 shift, maybe. I think so. They've moved beyond 00:19:59.720 --> 00:20:02.220 relying on that traditional broadcast breakout 00:20:02.220 --> 00:20:05.079 that Leno predicted way back when. And instead, 00:20:05.299 --> 00:20:07.799 they've become this established independent creator, 00:20:08.079 --> 00:20:10.900 leveraging their huge credibility, their specific 00:20:10.900 --> 00:20:13.660 audience, directly through subscription platforms. 00:20:14.059 --> 00:20:16.160 They've kind of mastered vertical integration, 00:20:16.579 --> 00:20:20.579 advocacy, identity, distribution, all handled 00:20:20.579 --> 00:20:22.920 through their own vision. Hashtag tag outro. 00:20:23.220 --> 00:20:25.400 OK, let's try and wrap this up. What really stands 00:20:25.400 --> 00:20:27.099 out looking at Cameron Esposito's whole career? 00:20:27.630 --> 00:20:32.230 is the sheer efficiency, intentionality. They 00:20:32.230 --> 00:20:35.390 shift so effortlessly between really deep personal 00:20:35.390 --> 00:20:37.410 storytelling. Yeah, the vulnerability of rape 00:20:37.410 --> 00:20:39.609 jokes, the reflection in Save Yourself. And the 00:20:39.609 --> 00:20:41.980 high -profile mainstream work. Brooklyn Nine 00:20:41.980 --> 00:20:44.240 -Nine, big voice roles. But the constant, the 00:20:44.240 --> 00:20:46.440 thread that binds it all is that strong, clear 00:20:46.440 --> 00:20:49.380 focus on queer advocacy and identity exploration, 00:20:49.740 --> 00:20:51.880 built through sustained work like the seven years 00:20:51.880 --> 00:20:54.619 of Queery, the fight to keep Take My Wife Alive. 00:20:54.700 --> 00:20:57.140 This career really makes us rethink what social 00:20:57.140 --> 00:20:59.700 impact looks like now in the 20th century. Remember, 00:20:59.839 --> 00:21:01.960 they initially tried the formal route, the Master 00:21:01.960 --> 00:21:04.589 of Social Work program. Which brings up a really 00:21:04.589 --> 00:21:06.849 important question for you, the listener, to 00:21:06.849 --> 00:21:09.349 think about. It's built right into their life 00:21:09.349 --> 00:21:12.049 story. How did Esposito's decision to leave that 00:21:12.049 --> 00:21:15.589 master's program ultimately free them up to achieve 00:21:15.589 --> 00:21:18.650 maybe deeper, more immediate, measurable social 00:21:18.650 --> 00:21:21.470 change through comedy? Yeah. I mean, think about 00:21:21.470 --> 00:21:24.549 the Rape Jokes donation model again. $65 ,000. 00:21:24.829 --> 00:21:28.089 Straight to rain. Facilitated purely by an hour 00:21:28.089 --> 00:21:31.470 of comedy online. That level of direct targeted 00:21:31.470 --> 00:21:34.309 funding achieved through artistic merit, innovative 00:21:34.309 --> 00:21:36.809 distribution, it proves the microphone can be 00:21:36.809 --> 00:21:38.670 way more powerful than the clipboard sometimes. 00:21:38.890 --> 00:21:41.490 Absolutely. So we really encourage you to explore 00:21:41.490 --> 00:21:44.109 those intersections. Comedy, advocacy, direct 00:21:44.109 --> 00:21:46.809 fundraising. Look for other artists making those 00:21:46.809 --> 00:21:48.829 measurable links between performance and social 00:21:48.829 --> 00:21:51.410 good. It's a defining cultural force now. And 00:21:51.410 --> 00:21:53.690 Cameron Esposito is definitely a master architect 00:21:53.690 --> 00:21:56.769 of that movement. For sure. Okay. Thank you for 00:21:56.769 --> 00:21:58.569 diving deep with us today. We will catch you 00:21:58.569 --> 00:21:59.029 next time.