okay so we're doing a deep dive today we're looking
into the career really the uh the architecture
of it for an actor who man over the last what
10 years he's just completely redefined comedic
versatility yeah it feels like that you know
you feel it you see him everywhere right playing
these wildly different characters you've got
these super optimistic almost painfully sweet
political staffer. Richard Splett. Exactly. Then
there's like a sharp Emmy winning antagonist.
And then he's also the voice of, it feels like,
half the animated characters you end up loving.
He's got that voice range for sure. He really
does. And yeah, you'd be right if you feel like
he's everywhere. We are talking about Sam Richardson.
It's such a fascinating career to unpack, honestly.
Not just because he works so much, which he does,
but there seems to be a real... behind the choices.
Right. He's somehow mastered playing in these
like high stakes, super cynical prestige TV shows.
Yeah, like Veep. Totally. But then at the same
time, he's co -creating these incredibly specific,
almost bizarrely low -key passion projects. You
know, the sketch comedy stuff. The Troiders.
Exactly. Yeah. So he's ubiquitous. You see him
everywhere. But he also feels fundamentally rooted.
in that very specific Detroit background he has.
It's quite a balancing act. That is absolutely
what we want to get into today. We're digging
into the sources, trying to figure out how he
built this this kind of dual career path. Makes
sense. We want to track him, you know, from that
Detroit upbringing, which has this really interesting
political history and the Ghanaian heritage mixed
in then through, well, the crucible, really,
of the second city. A vital step. And how that
specific kind of training led him to where he
is now. A primetime Emmy winner, a master of
performance, whether it's live action or, you
know, just his voice. We're really. looking for
the why behind it all sounds good where do we
start the beginning i guess yeah let's lay the
foundation okay so to really get the comedy you
have to understand where it comes from right
the foundation sam richardson born january 12
1984 detroit michigan 41 now wow yeah and he's
been working professionally since around 2004
actor comedian writer producer he does a lot
but what strikes you immediately when you look
at the sources um is the contrast just baked
right into his personal history absolutely the
sources really paint this picture of like a duality
from day one he's got this unique dual heritage
his mom's gone in his dad is african -american
right but it's not just like a cultural mix it
goes deeper it's rooted in well political legacy
Leadership, even. That's the really critical
piece, I think. It's not just about identity.
It's about kind of civic weight behind him. So
on the American side, you've got his aunt, Barbara
Rose Collins. That was her maiden name, Richardson.
OK. She was a pretty significant political figure.
Back in 1990, she became the first black woman
elected to the United States Congress from Michigan.
Wow. That is serious political history. Yeah.
Right in the heart of, you know, American democracy.
And then, OK, you flip to the other side, the
Ghanian connection. Which sounds just as, well,
profound, really. It really is. The sources say
Richardson didn't just, like, visit Ghana occasionally.
He went every year with his parents. Every year.
Every year. And his grandfather, on his mother's
side, he held a significant role over there.
He was a chief and a local political leader.
A chief. Like... Traditional leadership. Exactly.
So you've got this lineage steeped in traditional
authority, community governance, alongside the
American political side. Okay. So let's pause
there because that combination is striking. It
really is. And it makes you ask, for you listening,
think about this. If an artist comes from a background
that's so deeply involved in, well, serious stuff,
governance, making laws, cultural authority,
chieftaincy, how does that background then inform
a career that's mostly about satire? about comedy
yeah it seems like it should pull him in a totally
different direction or at least give him a very
unique perspective on it it does create this
kind of um interesting tension doesn't it he
must understand the real weight of political
power of institutions you have to assume so yet
his biggest comedic successes often come from
playing characters who either completely ignore
those structures or they like accidentally dismantle
them just by being absurdly good or naive like
richard splitt exactly he chooses to kind of
poke at these power structures not through heavy
drama but through well comedy often very gentle
comedy but it feels like it comes from an informed
place maybe because he understands the actual
mechanics of washington or leadership in general
He can really appreciate the pure, unadulterated
absurdity of a character like Splett, someone
who just operates completely outside the normal
sort of cynical political calculus. That makes
sense. And that grounding, it started academically
in Detroit, too, right? He went to a university,
the Detroit Jesuit High School and Academy, graduated
in 2002, and then studied theater at Wayne State
University. So this wasn't like, oh, I'm funny,
maybe I'll try acting. It was an actual, you
know, intentional path towards performance. A
deliberate choice. And that path pretty much
inevitably, if you're serious about comedy back
then, led him to the Second City, the legendary
training ground. Right. He started performing
at the Detroit branch first, which again shows
that connection to home. Keeping it local. Yeah.
But then he made the move to the main stages
in Chicago. And that move is really significant.
Chicago's Second City is. I mean arguably the
toughest, most rigorous training environment
for modern comedy. Period. OK, so let's break
that down. How does that specific training turn
someone into the kind of dynamic genre hopping
actor he is now? People always mention Second
City like it's magic. But what tools did he actually
get there? Well, what's interesting is how broad
the skill set was that sources say he developed
there. He wasn't just doing one thing. He was
known for like incredible character range. He
mastered physical comedy, the sight gags, and
he did impressive impressions of public figures,
too. OK, so it's not just stand up. It's like
building a whole actor's toolkit. Exactly. Like
mastering sight gags. That means you have total
control over your body. You can communicate complex
stuff instantly just with posture or a look.
Which you see in Veep, those silent reactions.
Totally. Or even in something like The After
Party where there's a lot of reacting and observing.
And the impressions work means he's honing those
vocal skills, the mimicry, the accents. Setting
him up for all the voice acting later. Precisely.
And the sight gags mean he can command attention
even without dialogue. It's the whole package.
So that period, Second City, it really was the
forge. It built the foundation for the ensemble
work and that ability to just like transform
quickly, which you absolutely need for sketch
comedy. Oh, definitely. Especially something
like I Think You Should Leave. In improv, you
have to commit 100 % instantly to whatever crazy
idea is thrown out. It doesn't matter how ridiculous.
Right. And Richardson clearly proved he could
do that consistently. at a high level in Chicago.
That's the launching pad. So, okay, he's got
this intense training under his belt. He makes
the big move, Chicago to Los Angeles. And at
first he starts building his profile in what
we can maybe call the cameo era. Yeah, that's
a good way to put it. He starts popping up in
significant places pretty quickly. He really
did. He landed roles in major network comedies
right away, showing he had that screen presence
people noticed. His early moves were smart, really
strategic. Like, he got into... the office for
six episodes including the series finale which
was a huge cultural moment oh yeah everyone watched
that so he's right there in one of tv's most
beloved shows then he also shows up in arrested
development when it came back for season four
highly anticipated he played a tsa agent huh
and wasn't that didn't he play a tsa agent again
somewhere else he did in the movie we're the
millers it's funny it's like that became a little
early calling card for him maybe casting directors
saw something there that specific kind of like
bureaucratic earnestness could be but he was
definitely getting seen he was in drunk history
new girl teachers and he started building up
his film credits too mostly in big studio comedies
right like Horrible Bosses 2, Spy with Melissa
McCarthy. Neighbors 2, Mike and Dave Need Wedding
Dates, the 2016 Ghostbusters reboot. Okay, so
not lead roles yet, but consistently visible.
He's becoming this recognizable, clearly competent
face in these big projects. Exactly. He's laying
the groundwork. Yeah. But all of that really
was just the prologue, the lead up to the role
that truly changed everything for him as an ensemble
player. Richard Splett. The Richard Splett phenomenon.
Veep. What's so amazing about Richard Splett,
when you think back, is what a massive tonal
risk that character felt like for Veep. I mean,
that show ran on pure, biting, often just filthy
cynicism. It was its currency. Absolutely. Acidic.
And then Splett comes in, season three. Initially,
the sources say he was only supposed to be in
four episodes, just Selina Meyer's handler during
her Iowa book tour disaster. Right. A minor recurring
character. And he was just nice. Almost too nice,
too good for that whole toxic environment. And
that's where Richardson's genius really showed,
I think. Splat could have just been annoying,
right? Cloyingly sweet. Easily. Could have killed
the vibe. But Richardson played him with this
relentless, almost unearned optimism. This, like,
fundamental decency. And somehow, instead of
softening the show's edge, he became the perfect
ethical foil. He amplified the cynicism around
him. That's a great way to put it. Every time
Splett suggested something reasonable or pure
or competent, it just highlighted how completely
morally bankrupt everyone else was in Selena's
orbit. His goodness made their badness look even
worse. Precisely. And the showrunners, they clearly
saw the value in that dynamic very quickly because
his rise was pretty dramatic. Yeah, it wasn't
long before Splett gets that job offer in President
Meyer's administration, assistant to Jonah, of
all people. Which was comedy gold in itself.
Oh, yeah. And by season four, boom, he's promoted.
Main cast member. And the sources really pinpoint
that promotion as his major breakthrough moment.
It really was. Yeah. It proved that even in an
ensemble defined by like weaponized cruelty.
Yeah. That quiet commitment to sincerity, to
just basic competence could be just as comedically
powerful. Maybe even more so. And Splett just
became indispensable, didn't he? He was often
the only one who seemed to like succeed, usually
completely by accident. Right. Just because he
wasn't operating with any kind of hidden agenda
or ill intent. Yeah. He was just. Trying to help.
And you see that Second City physical comedy
training shine through, too, right? The way he
held himself, slightly nervous, the overly earnest
eye contact. Definitely. The way he'd deliver
a line, like, it was just the most reasonable,
benign suggestion in the world, even if it was
landing in this pit of vipers. And the industry
definitely noticed his contribution. The awards
recognition confirms how integral he was to that
powerhouse cast. Individual Emmys came later
for other things, but the Screen Actors Guild
Awards? They saw the ensemble genius. They did.
He got nominated with the cast for Outstanding
Performance by an Ensemble in a Comedy Series,
three years running, 2015, 2016, 2017. That's
huge recognition from fellow actors. It absolutely
is. And then in 2018, the Veep Ensemble. with
Richardson right there as a core part of it,
they won that SAG award. Ah, fantastic. That
win is the ultimate stamp of approval, really.
It says he wasn't just, you know, filling a slot.
He was fundamental to the chemistry, the dynamic
of one of the most critically acclaimed comedy
ensembles, well, maybe ever. And that win, that
level of recognition, it must have given him
some serious clout, some confidence. You have
to think so. Enough capital maybe to start shifting
focus towards having more creative control himself.
Right. So that ensemble success, winning the
SAG award with the Veep cast, it wasn't just
hardware for the shelf. It bought him leverage,
didn't it? Seems like it. That kind of recognition,
being part of something so huge and acclaimed,
it lets you start calling some shots or at least
prioritize the things you really want to do.
Which leads us right into his passion projects,
the stuff he'd apparently been developing since
his Detroit days. And that means talking about
his defining professional partnership. Tim Robbins.
Exactly. They took all that shared energy, that
history from growing up near Detroit, from Second
City. Yeah, they were both in Second City, Detroit
and Chicago. Right. They channeled all of that
into Detroiters. And this wasn't just another
acting job for Richardson. No way. He was co
-creator, co -star, co -writer and co -executive
producer. Right alongside Robinson. That shows
a totally different level of commitment, doesn't
it? Wanting to shape the whole thing from the
idea up. It's a profound dedication, especially
to their hometown. You don't see that kind of
specific localized focus in mainstream comedy
very often. No, you really don't. Comedy Central
ordered the pilot in 2015, and then they started
shooting the first season, 10 episodes, right
there in Detroit in 2016. Wearing their hearts
on their sleeves, basically. And the premise
itself is just so wonderfully specific. Yeah.
Richardson and Robinson playing these like perpetually
struggling advertising guys. Pantem basically
playing versions of themselves or archetypes.
Yeah. And they specialize in making these super
low budget, often hilariously awkward local TV
commercials. And what's really fascinating digging
into the sources on this is how culturally specific
it was meant to be. The whole plot, the vibe,
it was directly inspired by actual classic Detroit
regional ads that they grew up watching. Oh,
I remember reading about that. They weren't just
making up generic bad ads. Not at all. They were
referencing real stuff like specific campaigns
for a used car dealer named Melfar Superstar.
Oh, wow. OK. Or commercials featuring this guy
Gordy from ABC Warehouse. These are apparently
legendary figures if you're from that area. Yeah.
For anyone who grew up in the Midwest or probably
anywhere. With strong local TV, you know those
ads. They have this certain quality. Exactly.
That hyper -local comedy relies entirely on recognizing
that specific aesthetic. You know, low budget,
but incredibly earnest. Like public access TV
gold. It really felt like the ultimate love letter
to Detroit. Translating that weird... kind of
nostalgic charm of local marketing into, well,
really funny character -driven comedy. And the
comedy itself was often quite gentle, wasn't
it? Detroiters ran on this kind of sustained
goofiness. The stakes were often ridiculously
low. Like, can they afford a specific prop? Or
how do they fix this terrible jingle they wrote?
Exactly. Just two buddies trying to make it work.
It ran for two seasons, 20 episodes total, before
Comedy Central canceled it in 2018. Which is
a shame. A lot of people loved that show. Yeah.
They had a real cult following. But thankfully,
even though the show itself ended, the partnership
didn't. No, it definitely didn't. They basically
took that shared sensibility, that commitment
to characters who commit way too hard to absolutely
ridiculous ideas and moved it over to Netflix.
I think you should leave with Tim Robinson. Yes.
Since 2019, Richardson's been a recurring guest
star there, popped up in five episodes so far,
always in these absolutely killer sketches. He's
responsible for some of the most quoted lines
from that show. Definitely. And you can see the
connection, right? It's like the hyper -local
sort of low -stace absurdity of Detroiters got
convinced, squeezed down, and amplified into
the sheer high -anxiety, surreal, cringe comedy
of ITYSL. That's a perfect description. If Detroiters
was like a warm bath of regional nostalgia. Ha.
Ha. Yeah. I -T -Y -S -L is like being strapped
into a rocket powered by pure social awkwardness
and rage where every character is just one. tiny
misstep away from completely imploding their
life over something incredibly trivial. Like
the price of shirts at Dan Flash's. Exactly.
And that shared history they have honed at Second
City, it clearly gives them this instant creative
shorthand. You need that for ITYSL. The success
of those sketches hinges entirely on the actor's
absolute unshakable commitment to the insane
premise. And Richardson's Second City training
makes him perfect for it. He can commit physically,
vocally, 100 % to being the guy explaining his
complicated shirt patterns. or any number of
other bizarre characters he's played on there.
He just dies right in. And that collaborative
spirit, he goes beyond just Detroiters and ITYSL.
We know he was involved in the Second City Project
back in 2015, too. Right, appeared in 10 episodes,
but also worked as a writer on that. Got a Canadian
Screen Awards nomination for it. Yeah, showing
that writing bug early on. Yeah. And then there
was that YouTube premium series in 2018, Champagne
IL. He had a main role, Alf, but he was also
an executive producer on that one. So it keeps
coming back to that. He's not content just being
an actor for hire. He wants to be involved in
the creation, the producing side. He wants to
help shape the environment, control the creative
output. It seems like a core part of his career
strategy. Build the acting profile, but simultaneously
build the power to make his own stuff. So, okay,
he's got the ensemble success from Veep. He's
proven he can co -create and star in his own
niche comedy with Detroiters and ITYSL. That
seems to set the stage for him to really show
off the... Full range, right? To move beyond
just comedy. Yeah, and to move into roles where
he's not just the funny sidekick or part of the
gang, but actually anchoring things. Exactly.
Which leads us straight to the after party. That
felt like a really crucial role for him. It really
did. Because it shifted him, like you said, from
being maybe the reliable, scene -stealing ensemble
guy. Which he's brilliant at. Oh, absolutely.
But it moved him to being the actual structural
center of the show. That's a great way to put
it. Yeah. He was the main cast member playing
Ani Gagie. in that Apple TV plus mystery comedy.
And, you know, a murder mystery, especially one
like that where every episode mimics a different
film genre. Yeah, that structure was wild. It
requires an anchor, someone the audience can
latch onto and trust through all the stylistic
shifts. Richardson. was that anchor he really
held it together he played anik across both seasons
18 episodes from 2022 to 2023 he had to be earnest
kind of the dedicated amateur detective but also
sympathetic smart enough to piece things together
and still funny It's a lot to juggle. It's a
real technical showcase for an actor carrying
that kind of narrative weight while navigating
different comedic and dramatic tones each week.
Yeah, he nailed it. And while he was doing that,
anchoring a major TV series, he was also really
diversifying his film work, moving beyond just
the straight comedies. Right. Using maybe some
of that dramatic range or physical presence that
Second City Training gives you, but in different
genres. What are some key examples there? Well,
his film roles. started showing really impressive
range. He played Paul in Promising Young Woman
back in 2020. That was a critically acclaimed
thriller and much more dramatic, frankly, unsettling
role for him. Yeah, that was a surprise seeing
him there, but he was great. Then he was Charlie
in that big sci -fi action movie, The Tomorrow
War. in 2021 proving he could handle the scale
of a blockbuster the action set pieces right
holding his own with chris pratt exactly and
then the horror comedy werewolves within in 2021
he played the lead finn wheeler that role used
both his comedy chops and his ability to carry
the main narrative thread and importantly he
was also a producer on that film there it is
again producing credit yep always looking for
that creative involvement it seems We should
also mention how he successfully navigated stepping
into existing franchises, too, which isn't always
easy for comedic actors known for specific personas.
Good point. He handled the sequel pressure well.
He played Gilbert, the owner of the Old Salem
Magic Shop, in Hocus Pocus 2 in 2022. Which is
a huge deal for a lot of people. That sequel
was anticipated for decades. Exactly. And he
fit right into that iconic pre -existing world
without... you know losing his own specific comedic
energy he added to it he's showing he can play
in these big sandboxes okay but there's this
whole other massive part of his career that we
absolutely have to talk about which maybe gets
underestimated sometimes oh yeah the voice acting
It's not just a side gig for him. It's like a
whole parallel empire. It really is. And crucially,
he's often taking the leading roles in these
animated shows, not just popping in for a guest
spot. That demands a totally different skill
set than live action. Absolutely. It's all vocal
performance. Character, emotion, timing everything
through the voice. And the sheer volume of his
main roles is staggering. It tells you he's considered
among the top tier of voice actors working today.
Yeah, just listing them almost doesn't do it
justice. We should maybe think about the style
of these roles, too. He's not just doing one
type of voice. Good point. He shows incredible
vocal range. Let's see. Looking at the main animation
leads, he was Munin in Rise of the Teenage Mutant
Ninja Turtles back in 2018 -19. Kind of a chaotic,
high -energy sidekick type. Then he voiced Garfield
Gary Garrelson in Marvel's MODOK series in 2021.
Much more of a hapless kind of... grounded, put
-upon co -worker vibe there. Totally different
energy. Then in Housebroken, the animated show
about pets and therapy from 2021 to 2023, he
played Chico, a cynical cat that demands a specific
blend of, like, world -weary energy and sharp,
wry wit. He does cynical but still somehow lightable
really well. He does. And then, okay, the huge
one. Taking on a true cultural icon, Norville
Rogers, Shaggy, in the Max series, Velma. From
2023 to 2024. That's a big legacy to step into.
Casey Kossum, Matthew Lillard. Exactly. You can't
just do an impression. You have to find a way
to reinterpret the character, make it your own
while still honoring the original. It's a massive
vocal challenge and it really showcases his flexibility.
And the lead roles kept coming. Simon Priolo
in Mulligan on Netflix in 2023. Julius in Sausage
Party. Foodtopia just this year, 2024. And that's
just the leads. Beyond that, he is absolutely
the definition of a sought -after character voice
actor. He pops up everywhere. Five episodes as
Dr. Champ in BoJack Horseman. Which is premium
adult animated comedy. Right. He did Venn Dome
in Star Trek, Lower Decks, Swamp Thing in Harley
Quinn, Mirror Leeds in Central Park. This breadth
shows he's comfortable and effective in everything
from sophisticated adult animation to big franchise
reboots. It's incredible. And his future slate,
the sources show this vocal demand isn't slowing
down at all. Not a bit. He voiced Brill in Ruby
Gilman, Teenage Kraken last year. Looking ahead,
he's already lined up for the Angry Birds movie
three. That's slated for 2027, I think. Wow.
Planning ahead. And another animated film called
Hypergalactic, which is in post -production now.
So big movie voice roles, too. And on the live
action side, he's keeping busy there too, integrating
into more big franchises. Yeah, he's stepping
into the Star Trek universe again, this time
live action, with a role as quasi -sacrifice
in the upcoming Star Trek Section 31 movie. Okay.
And he's listed for an episode of Rian Johnson's
Poker Face next year, 2025. So he's actively
making sure he's present and relevant. across
multiple major cinematic and TV universes, both
in person and with his voice. He's everywhere.
Okay, so we've tracked the foundations, the ensemble
breakthrough, the move to creative control, the
sheer versatility across genres and voice acting.
It feels like all these threads, all this diverse
work kind of converged and led to this ultimate
peak of individual recognition for him. Yeah,
the moment where the industry didn't just see
him as a great ensemble player or a funny guy,
but as a stand -up performer in his own right.
And that moment came via another global phenomenon,
Apple TV plus Ted Lasso. Right. He appeared as
Edwin Akufo, an antagonist character, which was
key. Definitely key. He was in three episodes
across the later seasons, 2021 to 2023. And what
was so striking about Akufo, especially for Richardson,
was that he was the absolute polar opposite of
Richard Splett. Night and day. Where Splett was
all sweetness, humility, accidental success.
Akufo was calculated, manipulative, obscenely
wealthy. And driven by this almost childish need
for revenge when he didn't get his way. Exactly.
Spoiled, powerful, and genuinely menacing in
his own way. It felt like a very conscious choice
for Richardson to play someone who felt like
a real, albeit comedic, threat within the generally
warm world of Ted Lasso. He really brought a
necessary dramatic edge, didn't he, even in just
those few appearances. He provided this crucial
friction. And that performance, playing so against
type, it immediately got people talking. The
industry definitely took notice. Oh, instantly.
It showed his range wasn't just, you know, comedy
to drama, but within comedy, from pure -hearted
sweetness to this kind of refined, entitled villainy.
And that attention translated very quickly into
serious awards recognition, hardware. Yep. Back
-to -back, primetime Emmy Award nominations.
for Outstanding Guest Actor in a Comedy Series.
First nomination came in 2022 for the episode
Midnight Train to Royston. Right. Just getting
the nomination in that category is huge. And
then the very next year, 2023, the ultimate validation,
he won. He won the Primetime Emmy for Outstanding
Guest Actor in a Comedy Series for his performance
in the episode International Break. Huge win.
Absolutely huge. Can you maybe put that into
context for us? Why is winning in the guest actor
category considered such a high bar, such a significant
achievement, especially for comedic performer?
Well, it speaks volumes about efficiency and
sheer impact. To win outstanding guest actor,
you essentially have to parachute into an established,
often beloved show. Right, like Ted Lasso. Exactly.
And in very limited screen time, maybe just one
or two episodes total, you have to deliver a
performance that is complex, incredibly memorable,
and arguably defines or elevates the episodes
you're in. So you don't have a whole season to
build the character. No luxury of slow development.
You have to land it fast, command the scenes
you're in, fit seamlessly into the show's world,
and make a massive impression in maybe, what,
15, 20, 30 minutes total. Richardson proved he
could step into a cultural juggernaut like Ted
Lasso and create this character, this villain,
Akufo, who felt completely realized, totally
essential to the plot and just unforgettable.
So winning that specific Emmy, it really affirms
that he's mastered the art of the like the high
impact cameo, the scene stealer who takes it
to another level. Absolutely. And the win puts
him in truly elite company. Just look at the
list of past winners in that category. It's comedy
royalty. Like who? We're talking Mel Brooks,
who won it multiple times. Tim Conway, Bob Newhart,
Justin Timberlake has won it. Dave Chappelle,
Nathan Lane. Wow. OK, that's a serious list.
It's one of TV's most prestigious comedy accolades.
So to stand among that group, it confirms everything
we've been talking about. He didn't just master
the improv stage at Second City or the ensemble
dynamic on Veep. He can also deliver that short,
sharp, show -stopping individual performance
that earns the absolute highest recognition in
television. It's cement him as a powerhouse performer,
full stop. Someone who can handle basically any
role you throw at him. Hashtag outshag adder.
So, okay, let's try and pull back then and summarize
this whole trajectory. We started by asking,
how does one actor manage to be so incredibly
versatile? You know, across all these different
fields from hyperlocal Detroit sketch comedy
to serious dramatic thrillers to voicing iconic
animated characters. Right. And I think the key
takeaway. For you listening, the thing to really
grasp from Sam Richardson's career so far is
that it seems to be a masterclass in how you
can achieve both passion -driven creative freedom
and mainstream critical success. They don't have
to be mutually exclusive. How did he balance
that? Well, it looks like he used that incredibly
rigorous character -focused training from Second
City to become this amazing chameleon. That allowed
him to absolutely excel in those high -profile...
Critically lauded ensemble roles. Richard Splett
in Veep, Edwin Acufo in Ted Lasso. Roles that
got him noticed by everyone. Exactly. And that
visibility, that acclaim, it seems like it bought
him the cultural capital, the leverage to then
turn around and champion the stuff that was maybe
closer to his heart. That super specific hometown
comedy like Detroiters and keeping that creative
partnership going with Tim Robinson. So it's
like a feedback loop. Success in the mainstream
fuels the ability to do the personal niche project.
Precisely. It's a career built on succeeding
brilliantly in the established system while simultaneously
building his own thing on the side, rooted in
his own unique background, simultaneous excellence.
And if we connect that all the way back to the
very beginning, those origins we talked about,
the deep family ties to U .S. Congress and to
traditional chieftaincy in Ghana. Yeah, that
foundation in actual leadership. It brings us
to a really interesting final thought for you
to maybe chew on. We've tracked his success in
acting, writing, comedy, but given that grounding
in serious cultural and political leadership
and seeing his consistent drive to take on executive
producer roles. Wanting that control. Right.
How might that background, that experience with
governance and, you know, high stakes family
history, how might that influence his future
path? Are we going to see him maybe transition
more into directing? or show running places where
he's not just shaping a performance but shaping
the entire narrative the whole cultural conversation
maybe on an even grander or possibly more serious
scale down the line that's the provocative question
isn't it he clearly knows how to execute a vision
he's proven that as a producer and co -creator
so now the question is yeah what vision what
story does he want to tell next given everything
he brings to the table that's definitely a deep
dive for another day for sure well thank you
for joining us on this one