reSee.it Podcast Summary
Theo Von announces new tour dates, updating fans that he will be in St. Louis on April 18, with tickets going on sale Thursday, February 22 at 10:00 a.m. local time using the pre-sale code Rat King, and general on-sale Friday, February 23 at 9:00 a.m. local time. He notes that Atlanta tickets remain for April 5 and tells listeners to buy at theo.com, advising them not to overpay on overpriced secondary sites.
Today's guest is Trevor Wallace, described as a wonderful content creator and comedian with a new Amazon Prime special called Pterodactyl. Trevor is thanked for joining and the conversation begins.
They start with observations about parking attendants: boredom, price arbitrariness in Los Angeles, and anecdotes about a parkers' mentality. They joke about the math behind parking fees, the half joking theory that pricing reflects personal moods, and a memory of a podcast location where a parking attendant later stopped wearing shoes in the bathroom. They discuss office space, the tiny standing room of Trevor’s office, and a porta potty with an oversized air conditioner, jokingly describing the extreme conditions of the parking occupation.
Trevor reflects on the history of their podcast studios, noting that H3 used to be in the same building and that famous spaces like Rogan’s moved around, with one version in Woodland Hills and another in Austin. They joke about whether they are in Los Angeles or Nashville, acknowledging the frequent moves between cities and the tax advantages of Tennessee.
He describes a recent show at the Wiltern and notes that a lot of eclectic attendees showed up, especially when Sundays are a holiday for some audiences. They shift into a broader discussion of travel and the comedic life, including Trevor’s experience with Amsterdam’s Red Light District. They describe the layout and lighting, the presence of a Starbucks, and the general chaos of the scene. They reminisce about their own first experiences with the district, reflect on the mixed emotions of fear and curiosity, and compare the intensity of performing in that environment to other settings. They discuss the dynamics of dirty talk, the power of words in intimate moments, and the meta aspect of podcasts that blend interviews with explicit content, including the reality that pitches and ads interrupt the flow.
Throughout, they intersperse ad reads, including a DoorDash DashPass promo, a Babel language learning deal, and BlueChew, followed by a BetterHelp sponsorship. They also joke about the changing landscape of online content and the blurring of boundaries between comedy, sex, and monetization, acknowledging that platforms push creators toward more provocative formats.
Trevor shifts to cultural and historical topics with humor, discussing the rise of cremation as a trend, cost comparisons in major cities, and hypothetical hybrids such as splitting a body for top and bottom remains, or scattering ashes in provocative ways. They riff on turning cremation into a performative art form, even joking about keeping certain remains as keepsakes for friends and family and imagining add-ons that might be sold alongside cremation packages.
They touch on news and pop culture, including stories about a teacher in Tucson fired for an OnlyFans account, debates about adult content and professional credentials, and the legal and ethical questions surrounding such cases. They briefly mention the Dane Cook missing person case and the cultural fascination with celebrities’ misfortunes and disappearances, then joke about jury duty and the quality of jurors and their relevance in modern society.
From there, they pivot to the Salem Witch Trials, summarizing tests used to determine witchcraft, such as the touch test, the dunking test, and examinations for devil’s marks, noting that confessions were often coerced and tens of thousands faced accusations in colonial Massachusetts. They compare this historical intensity to modern media and the ways audiences react to controversy and sensationalism today.
Finally, they discuss their own careers and plans: continuing to build new material, exploring film or TV projects, and possibly relocating to Austin to capitalize on the creative energy there. They close with mutual excitement about future collaborations, planning another appearance, and teasing possible live events, with a sense that the world of comedy continues to evolve as they chase new formats and audiences.