Session 14: Class Clown- The Funny Ones Are Never Okay

Some people make jokes because they’re funny.
Others make jokes because they learned early that making people laugh was safer than letting them see the truth.

In this episode of Once Upon a Session, we explore the psychology behind humor, avoidance, and emotional masking through two unforgettable class clowns: Lehabah from Crescent City and Carrion Swift from Quicksilver.

Together, we unpack what happens when humor becomes armor, why the funniest people are often carrying the heaviest emotional loads, and how being “the comic relief” can sometimes mean no one notices when you’re struggling.

Because sometimes laughter isn’t about joy.

Sometimes it’s survival.

Disclaimer: We’re licensed therapists, but not your therapists. This podcast is for reflection and conversation, not a substitute for therapy.

✨ Follow Once Upon a Session for new episodes exploring stories, psychology, and healing.

Transcript

SPEAKER_02 0:13

So, why are the funniest characters always the most emotionally unstable?

SPEAKER_04 0:18

Because humor is literally a copy of scale.

SPEAKER_02 0:21

And some of these characters are one joke away from a breakdown.

SPEAKER_04 0:24

Like if someone is constantly laughing during traumatic situations.

SPEAKER_02 0:29

That's not comic relief anymore.

SPEAKER_00 0:32

That's emotional survival.

SPEAKER_02 0:35

This is Once Upon a Session, where two therapists turn their TPR pile into treatment plans. And every story becomes a session. I'm Vanessa.

SPEAKER_04 0:43

And I'm Nerisa.

SPEAKER_02 0:45

I'm the one who uses humor to process uncomfortable emotions.

SPEAKER_04 0:48

And I'm the one who laughs first and unpacks it emotionally three business days later. Yeah. Hello, welcome back. Alright, just to make a note before we dive in, I don't know why I have this British accent. Actually, I do know why I have this British accent. It's because I am not low.

SPEAKER_02 1:08

We're both licensed therapists, but we're but we're but we're but we're but we're not not we're both licensed therapists, but we're not worth your therapist.

SPEAKER_03 1:21

We're not worth your therapy. We're both licensed therapists, but we're not worth your therapy.

unknown 1:28

Oh my god.

SPEAKER_03 1:30

Wow.

SPEAKER_02 1:32

I don't know. We're both licensed therapists, but we're not your therapists.

SPEAKER_04 1:36

Everything we share here is for conversation, reflection, maybe a little inspiration.

SPEAKER_02 1:41

But it's not a substitute for therapy. If you're struggling, please reach out to a mental health professional and give me the care and support you deserve.

SPEAKER_00 1:53

Is this how we're starting? Oh my god. Is it funny or are we going? Oh my god.

SPEAKER_04 2:03

Now that you're all checked in, have a seat on our couch. This is how we're starting today. This is what's happening.

SPEAKER_02 2:12

Oh my god. I didn't realize. Yeah. Yeah.

SPEAKER_04 2:16

It's great. It's great. It's right on car for the course. How does the saying go?

SPEAKER_02 2:25

I don't know what it means, but it sounds good. It sounds like whatever, guys.

SPEAKER_04 2:29

You know what we mean. Figure it out. Alright, what's going on? Well, we just checked in about an hour ago for the last episode. Yeah. Because we're recording a back at the back. Oh my god. Oh, we're reading Catcha Pippy.

SPEAKER_02 2:45

Yes, we're reading Catcha Peppy.

SPEAKER_04 2:47

And if you don't know what we're talking about, then go listen to the previous episode. We're talking about Tower of Dawn and Empire of Storms. I want the tandem read for Throne of Glass. Yeah. And it's going so fast. Yeah. I don't know. That's crazy. No, it is. It's gone. But it's so crazy reading two books at the same time, but it's so necessary.

SPEAKER_02 3:09

Yeah. And there's a difference between like reading two books at the same time and reading a and doing a tandem. Right. Right? Because you're reading chapter for chapter. Right, right. Mostly at the same time. Versus reading two separate stories. Yeah. So exactly. Yeah. So it's a good idea.

SPEAKER_04 3:25

Take it for clarifying that. Because people probably think like, oh, you're just reading one, then you're reading the other. No, it's a whole scheduled thing. It's a tandem. Like she said.

SPEAKER_02 3:36

So what's something lately where humor actually made a hard situation easier to handle?

SPEAKER_04 3:41

Um, okay. So I know I talked to you a lot about how I hate the way I sound when I listen to our episodes. And like there were some moments on the last one that were so cringe. Like it was just the way I like said something or laughed. It was just something. And like I had to start laughing at myself so I got more comfortable with how I sounded. And I'm sure I sound like a fucking dork in this episode and the last one. But like it's like I had to kind of laugh at myself and just tell yourself, like, chill, like people really aren't paying attention the way you think they are. Or maybe you are, and if you are, then you laugh too because yeah. So that's something where I have to kind of use humor to um handle my insecurity.

SPEAKER_02 4:33

Yeah.

SPEAKER_04 4:33

Yeah.

SPEAKER_02 4:34

That's good.

SPEAKER_04 4:35

Yeah. Get back.

SPEAKER_02 4:37

Okay. Alright. Emotional damage acknowledged.

SPEAKER_04 4:40

Yeah. I'm emotionally damaged because you didn't answer and we're doing a get back because I have PDSD, and I'm just kidding. Let's get into today's session.

SPEAKER_02 4:50

Today we're talking about the class clown, the person everyone sees as funny, chaotic, and always making people laugh.

SPEAKER_04 4:56

And psychologically, humor can either be a healthy coping skill or a way to hide what someone's actually feeling.

SPEAKER_02 5:02

So today we're breaking down the difference between being genuinely funny and using humor to emotionally survive.

SPEAKER_04 5:10

Yeah, I loved when we used to work in that place together. And I I'm only saying that because like I experienced it with you then. Like it's not like it doesn't happen anymore. But I remembered like us just like having difficult conversations with clients and then they would just start laughing. And I'm not talking about like psychotically inappropriately, right? But like they would be like, ha ha. And I and I remember one time I was like, Well, why are they laughing? It's not funny at all. Like, you know? Um, but then I realized that people are just kind of that's how they're surviving, that's their coping skill.

SPEAKER_05 5:48

Yeah.

SPEAKER_04 5:49

Yeah. And I do it too, so yeah, when I'm uncomfortable sometimes, I laugh.

SPEAKER_02 5:55

Mm-hmm. Yeah. Yeah. I do it too. A little bit.

SPEAKER_04 6:00

Do you? Yeah. I don't really feel like you're a humor to cope person.

SPEAKER_02 6:05

No, I'm not, but like I'll like chuckle to myself. Oh. Not like a big thing.

SPEAKER_04 6:11

Yeah. No, I laugh.

SPEAKER_02 6:14

Okay, so subjectively, humor is actually considered one of the more socially accepted defense mechanisms.

SPEAKER_04 6:22

And unlike some other coping mechanisms, humor can genuinely be healthy when it's used in a balanced way.

SPEAKER_02 6:29

Humor helps people regulate stress, reduce tension, and connect socially.

SPEAKER_04 6:34

And honestly, for a lot of people, being funny becomes part of how they survive difficult environments emotionally.

SPEAKER_02 6:41

But psychologically, there's a difference between using humor as expression.

SPEAKER_04 6:46

And using why would you say it like a question? And using humor to avoid vulnerability altogether.

SPEAKER_02 6:54

Okay. A lot of people learn really early that if they can make other people laugh, they can control the energy in the room.

SPEAKER_04 7:02

And sometimes that means people focus on the joke instead of asking how they're actually doing.

SPEAKER_02 7:07

And over time, people start becoming emotionally performative without even realizing it.

SPEAKER_04 7:12

Like they know how to entertain, lighten the mood, and keep everyone comfortable, but struggle to express sadness, fear, or emotional needs directly.

SPEAKER_02 7:21

And a lot of class clown representatives.

SPEAKER_00 7:27

Oh my god, a lot of class clown representatives are actually waiting for your call.

SPEAKER_04 7:34

Call them now. 1-800 once upon a session.

SPEAKER_02 7:39

And a lot of class clown personalities.

SPEAKER_03 7:52

No, she's just not love. Oh no.

SPEAKER_02 7:55

Okay. And a lot of class clown personalities are actually really emotionally intelligent.

SPEAKER_04 8:01

Because you have to be socially aware to constantly read a room, shift the mood, and know what people need emotionally.

SPEAKER_02 8:09

But the downside is that people who are always the funny ones sometimes feel pressure to stay easygoing all the time.

SPEAKER_04 8:16

And that can become really isolating when people stop checking on you emotionally because they assume you're always okay. So I'm reading this for you right now.

SPEAKER_02 8:24

And underneath a lot of humor-based coping, you'll often find anxiety, insecurity, loneliness, emotional avoidance, uh or fear of being fully vulnerable.

SPEAKER_04 8:35

Yes, because sometimes making everyone else comfortable becomes easier than letting yourself be emotionally seen. Sometimes the funniest person in the room is also the person working the hardest to hide what they're feeling. Yeah. Oh my god, I think I was telling you a couple weeks ago, I was watching the Kevin Hart roast and like they kept making fun of his dad, like for being a crackhead. And I was like, are they just being funny or is this real? Yeah, I remember. So I went and I looked and I was reading a little bit about his history and childhood, whatever. And yeah, his dad really had a substance abuse problem. And like this is how he used his comedy to cope, you know, his humor. Um, yeah, it's crazy. And like Robin Williams, like, hello, he made everyone laugh all the time, and like he ended up on himself. So it's yeah, it's real.

SPEAKER_02 9:33

And it's not even just about getting um who was the first person we were talking about. Who was the first person you were just talking about?

SPEAKER_03 9:43

Um it went in and out. Come on, like what the fuck?

SPEAKER_02 9:50

No, Kevin Hart. Oh, Kevin Hart. Yeah, so I was gonna say it's not like um they're just playing a role, you know, like these people are naturally funny, exactly. And that's the key piece that's like connecting it to that. It's yeah, because they're coming from somewhere because they're doing no absolutely that was a really good point.

SPEAKER_04 10:08

Yeah, they're really struggling, and like not for nothing. My cousin too, like Shane, he was like so happy and always ki-hee and haha and making people laugh, but like he was really struggling, you know. Um, so it's just to look keep an eye on your friends who are a little too kihe ha ha. Like check in with them because you never know.

unknown 10:31

Yeah.

SPEAKER_01 10:31

Yeah.

SPEAKER_04 10:32

Alright, sorry, we're already giving advice. We just got here. All right, segment rap. Next fiction absolutely loves the funny character because those certain characters usually balance out tension and emotionally regulate the story for both the audience and all other characters.

SPEAKER_02 10:53

A lot of a lot Wow.

SPEAKER_00 10:58

A lot of a lot of gelata.

SPEAKER_02 11:02

A lot of class clown characters, yeah. Okay, a lot of class clown characters become the emotional relief of the group.

SPEAKER_04 11:13

That was really good. Class clown characters, catch you with Pippi. They keep conversations lighter, break tension during stressful moments, and often become the person everyone feels safest around.

SPEAKER_02 11:27

But what makes these characters interesting psychologically is that humor is rarely the only thing going on underneath.

SPEAKER_04 11:33

A lot of fictional class clown characters are actually carrying grief, fear, pressure, identity issues, loneliness, or emotional exhaustion beneath the performance.

SPEAKER_02 11:46

And because they're constantly making other people laugh, both the character and the audience sometimes underestimate how emotionally overwhelmed that can actually be.

SPEAKER_04 11:57

Until the story finally forces them into a moment where the humor stops working. Just just keep going.

SPEAKER_03 12:04

It's fine, it made sense. Oh my god, let's go.

SPEAKER_04 12:17

It's fine, it's perfect.

SPEAKER_02 12:20

And honestly, a lot of these characters are some of the most emotionally intelligent people in the story.

SPEAKER_04 12:26

Because they understand people really well, they know how to shift the mood, soften the tension, and emotionally manage a room almost instantly.

SPEAKER_02 12:35

But constantly being the emotional relief for everyone else can become exhausting.

SPEAKER_04 12:40

Because eventually the person making everybody laugh still has to figure out what to do with their own emotions too. Sometimes the comic relief character is carrying the heaviest emotional weight in the story.

SPEAKER_02 12:53

Oh my gosh, yeah.

SPEAKER_04 12:56

Yeah.

SPEAKER_02 12:57

We already woke up. I mean, we're we're talking about who's on our couch already? Yes. That just felt fast. No, it wasn't.

SPEAKER_04 13:05

It's been mad long.

SPEAKER_02 13:07

It's been 20 minutes. Okay. Exactly. Okay. Alright, let's get into it.

SPEAKER_04 13:12

Okay, who's sitting on your couch today?

SPEAKER_02 13:15

I'm bringing La Haba from Crescent City.

SPEAKER_04 13:18

Oh, La Haba. As previously mentioned in the last episode as well. Honorably mentioned, actually. And I'm bringing Carrie and Swift from Quicksilver. So basically, we chose two characters who made people laugh while carrying way more than they let people see. Yeah. Alright. I shall go first this time. Alright, guys, so Quicksilver by Callie Hart. Oh, this that third book is coming out the end of the year too. The end of the year. The end of the year too. Okay. So Quicksilver is a high stakes romancy filled with dangerous alliances, shifting loyalties, survival, and power. Within the chaos of the story, Karrion Swift stands out as witty, charismatic, chaotic, and endlessly entertaining. His humor and charm make him feel like a comic relief at first glance. But underneath the performance is someone carrying the pressure of identity, expectation, and legacy. Carrion constantly manages how other people perceive him, using humor, charisma, and performances as both connection and protection. His story explores what happens when someone becomes so used to performing a version of themselves that they no longer know how to safely exist without a mask. Yeah. How did you feel about Carrion when you first met him? Wasn't he banging up Terrace?

SPEAKER_02 14:52

Yeah.

SPEAKER_04 14:55

Oh, yeah, yeah, yeah. Oh my god, when remember when King Fisher like smelled Carrion on her, and he was like, Oh, is this your brother? And she was like, uh Anyway, okay, guys, read this book too. Quicksilver's amazing. Okay, presenting problem behaviors, hiding vulnerability behind humor and performance, controlling reception through charm and charisma, difficulty expressing authentic emotional needs directly, struggling with identity tied to legacy, expectation, and perception. And Carrion was a big deal. I'm not gonna spoil it, but he was a big deal. At the end, I think we find out. Uh, core themes identity versus inherited legacy, performance versus authentic self, humor as emotional protection, fear of being truly known. His core belief was if I control how people see me, they can define me first. Uh so treatment goals, interventions, explore identity outside of performance and reputation, increase comfort with emotional authenticity and vulnerability, challenge belief that connection must be earned through charm or entertainment, and build tolerance for being emotionally seen without controlling perception. What progress would look like um expresses emotion without immediately hiding behind humor, allows people to know him beyond the performance, separates self-worth from reputation, legacy, and perception, and develops relationships rooted in authenticity instead of emotional management. Alright, so the outcome carrion's growth is not about becoming less funny or charismatic, it's about no longer needing performance to feel emotionally safe. Beneath the humor is someone struggling with identity, expectation, and pressure of how others perceive him. The deeper shift happens when he realizes he doesn't have to constantly manage the room, control perception, or entertain people in order to deserve connection. And that's it for Carrion. Oh my goodness. Yeah, he was really funny, and I I liked his banter. Um but then like you realize what's really happening. Yeah, when you find him.

SPEAKER_02 17:18

Yeah. But I wasn't it's like, yes, of course I was surprised, but like something about it was like I know he's something.

SPEAKER_04 17:27

Yeah, right. He's not just who he appears to be, right? Yeah. I also just thought about like all like the men in the books, just how like um they're such like you know, big strong warriors, but like they're so funny sometimes too. Like just the way the the banter and stuff. Like, I just love it. Not to say big strong men can't be funny, that's novel, but you know what I mean. Like they're carrying so much.

SPEAKER_01 17:56

They're carrying.

SPEAKER_02 17:58

Ah, that was a good one.

SPEAKER_04 18:01

Thank you. Sorry, no, I'm kidding.

SPEAKER_02 18:03

See, I told you.

SPEAKER_04 18:05

Okay, alright, sorry. Go ahead.

SPEAKER_02 18:07

What?

SPEAKER_04 18:08

It's your turn.

SPEAKER_02 18:10

Oh I'm discussing Crescent City, specifically House of Earth and Blood by Sarah J. Mass. And listen, we already know, everyone knows about oh no, do they not know about Crescent City? Like, because we talk a lot about throwing the glass.

SPEAKER_04 18:29

No, but we've talked about Bryce and Hunt and You're right, all of them.

SPEAKER_02 18:32

All of them. So you know the system, you know the magic, the politics, the different species, all that.

SPEAKER_04 18:37

Urban sea, blah blah blah, yes.

SPEAKER_02 18:40

Okay, so you remember, like at the center of that story, that's Bryce Quinlan who experiences that loss, you know. Um, so I'm trying to think, like she has these relationships, and one of them are with La Haba. Yeah, but anyway, you see how people show up for each other, how they cope, how they protect, and how they find ways to connect, even when everything around them feels unstable. That's where I'm picking up from, by the way.

SPEAKER_03 19:11

Okay.

SPEAKER_02 19:12

And of the characters who really embodies that sense of connection, energy, and emotional grounding is La Haba. La Java is a fire sprite, and from the moment you meet her, she stands out. She's expressive, dramatic, funny, a little chaotic in the best way.

SPEAKER_01 19:30

She's so cute. Yeah. I love her.

SPEAKER_02 19:32

She brings energy into every space she's in. She jokes, she teases, she lightens the mood, especially in moments that could otherwise feel heavy. And at first it reads his personality. But the more time you spend with her, the more it starts to feel like intention. Because La Java exists in a world where she doesn't have a lot of power. She un she's underestimated, she's controlled in certain ways, and she's not always taken seriously. So what she does have is how she shows up and she uses that. She uses humor, presence, personality to take up space in a world that doesn't naturally make space for her. And that's what makes her such a strong class clown class. That's what makes her so she's class clown. It's not just about avoiding emotion, it's about creating connection. It's about making people feel something lighter, even when things aren't. And at the same time, there's a limit of how much she lets people see. Because while she's always present for others, we don't always see her center herself in the same way. And that's where the depth is because the humor, the lightness, the dramatics, there's just not who she is. So when I'm looking at La Java, I'm not just seeing someone who's funny or lighthearted. I'm seeing someone who's learned how to create connection without always letting people fully see her. And that's where it gets really interesting clinically. Presenting problems, reliance on humor and playfulness to manage emotional vulnerability, difficulty expressing deeper emotional needs directly, limited sense of control or power within her environment, tendency to maintain connection while limiting emotional exposure. Some core themes. Humor is connection and protection, using playfulness to build relationships, um, identity and self-worth, power and agency, navigating a world where her control is limited and reclaiming space through personality. Yeah. Emotional expression versus performance. Like that balance.

SPEAKER_03 21:43

Yep.

SPEAKER_02 21:44

So what's happening with La Haba here is that it isn't just being playful. She's adapting to her environment. She's learned that her personality, her humor, her energy, and the way she shows up is what allows her to connect. And to be seen. And in a world where she doesn't have a lot of power, that becomes really important. So instead of expressing needs directly, she expresses through presence. She creates connections. She brings lightness, she makes space for herself, but that doesn't always mean she's allowing herself to be fully vulnerable in return. And when that becomes your pattern, it can make it harder to feel safe being seen without the performance. So some treatment goals would be to increase awareness of how humor is used to manage vulnerability, support development of direct emotional expression, strengthen sense of self-worth independent of what she provides to others, explore safe ways to experience connection without performance. Some interventions would be use reflective exploration to identify moments where humor is used as deflection, introduce emotional labeling to increase awareness of underlying feelings, encourage gradual vulnerability in safe relational context, reinforce identity development outside of relational roles or performance, expected outcomes, greater emotional awareness beyond surface level expression, increased comfort with vulnerability and being seen fully, stronger sense of identity outside of bringing light to others, more balanced and authentic relational connections. So for me, this isn't just about being funny or lighthearted, it's about what happens when the way you connect with people is also the thing that keeps us from being fully seen. Alright, treatment team meeting. Clipboards out.

SPEAKER_04 23:37

Because these characters aren't just funny, they're using humor to navigate stress, fear, and emotional vulnerability. Alright. Well, if La Haba walked into your office. Oh my god. I love her. Yeah. She's so cute. Athy. I just kept hearing her. Like, I was looking at her the whole time. You were just doing your your treatment plan. And I was just like, wow. Like she's just so confident and cute. And like she's really fiery.

SPEAKER_02 24:12

Yeah, can you imagine if she was real and she was just hanging out by your books? And she was like, hey, what's going on in this book?

SPEAKER_04 24:18

You know, like I would love her, but she can't gotta stay away from the wood.

SPEAKER_02 24:22

Yeah. That's why she would need to ask us what's going on in this book.

unknown 24:26

Yeah.

SPEAKER_02 24:28

Like we would have to read to her.

SPEAKER_04 24:30

Yeah.

SPEAKER_02 24:30

I love her on her little couch and her bangs and bangs and if Lahaba walked into my office as a client, my immediate thought would be, this is somebody who learned how to survive emotionally by becoming light for everyone else. In the first five minutes, I'd notice how quickly she uses humor and playfulness to create connection. She'd probably present as energetic, warm, funny, maybe even emotionally easy to talk to. But underneath that, I'd immediately start wondering how much of herself she actually feels safe showing directly. I think humor functions as both connection and protection for her. And I'd also notice how aware she is of other people emotionally. She feels like someone who is constantly reading the room and adjusting herself accordingly. Yeah.

SPEAKER_04 25:24

Yeah, that is really true.

SPEAKER_02 25:26

Mm-hmm.

SPEAKER_04 25:28

Uh-huh. I loved her. Alright. Yeah. If Carion walked into my office, I think the immediate question in my mind would be, who are you when nobody's watching the performance? Um, he presents like a charismatic, socially intelligent, emotionally quick thinking, like a witty. I can see him being like a witty and you know, just funny. But underneath that is someone who feels deeply uncomfortable being emotionally exposed without humor, charm, or performance, softening the vulnerability. So that's kind of cool. I would feel like, yeah, you know, like because of course they're gonna come in and be like, ha hee hee, you know. And that's what we're gonna see at first. Yeah.

SPEAKER_02 26:12

Okay. Alright, so what she'd say the problem is versus what I'd know it is. Yes. I don't think Lahabad would walk in saying, I struggle with vulnerability. She'd probably frame things through other people first, like feeling overlooked, underappreciated, emotionally exhausted, or feeling like she gives a lot without fully receiving the same depth back. But what I'd actually see underneath that is someone whose sense of worth became tied to what she provides emotionally to other people. So instead of expressing emotional needs directly, she expresses through presence, through humor, through humor, through energy, through showing up for people, and over time that can make it really hard to know if people would still stay connected to you if you stop performing emotional lightness. Yeah. I wonder if that's how she felt, why she this sacrifice that she made.

SPEAKER_04 27:13

You know, she's like, um, you know, at first, like, um Hunt and Ethan Bryce, they were like, oh, this little like whatever, like this little sp fire spray, like whatever. But then like she grew on them. And like even grew on Hunt, and like it was just so cute. Oh, and then she made that ultimate sacrifice. Yeah. I think he would say things like relax, it's not that serious, or someone has to keep things entertaining. Um, but the reality is that humor becomes emotional armor for him. The performance keeps people engaged without allowing them to get too close to what he's actually feeling. Yeah. And I I we saw that play out in the book, so alright.

SPEAKER_02 28:02

What we'd actually work on first. The first thing I'd work on is attachment and emotional safety because I think Lahaba knows how to create connection, but may struggle with feeling fully safe inside connection. I'd also focus a lot on emotional regulation and emotional expression beyond humor, helping her identify what she's actually feeling underneath the performance. And I'd want to explore how often she minimizes her own emotional needs in order to maintain closeness with other people because eventually that pattern can turn into emotional invisibility.

SPEAKER_04 28:35

Yeah, yeah, yeah. I think for Karion, the first thing we work on is helping him notice when performance becomes protection, and then exploring how much of his identity has been shaped by expectation, legacy, and the pressure to constantly manage how people perceive him. Yeah.

SPEAKER_01 28:54

Okay.

SPEAKER_04 28:56

Countertransference. Oh my god, it is it's gonna be so hard for us to not get caught up with either one of these things. Either one because they're so like funny and cute and Karen is handsome and like like a handsome, funny, witty man. That's weakness right there. Whoof.

SPEAKER_02 29:15

Alright. Yeah, so what what should I kind of transfer? Let's see. I think La Haba would absolutely activate protective feelings in therapist. She's charming, funny, emotionally warm, and those clients can sometimes make you feel emotionally connected very quickly. So I think there'd be an urge to overhelp or rescue a little because underneath the humor you can feel that there's something more vulnerable there. And honestly, funny clients can distract therapists too because everyone's laughing and connecting while the deeper emotional avoidance quietly slips by.

SPEAKER_04 29:53

Yeah, that's actually kind of what I have here too. Um so yeah, for Karin with countertransference, I think there'd be a strong pull um to stay in the banter with him because he's genuinely engaging and likable. Again, like I would want a hee hee ha ha. Like, oh my god, he's so funny. Yeah. But then also an awareness that the charisma can distract people from realizing how emotionally guarded he actually is underneath it. Alright, the intervention.

SPEAKER_02 30:22

I'd probably use a combination of attachment-focused work, emotional literacy work, and trauma-informed interventions. A lot of reflective exploration around moments where humor shows up right before vulnerability. I'd help her practice emotional labeling, like slowing down enough to ask, what can I actually feel underneath this joke? And I'd also want to reinforce identity development outside of relational performance, helping her build a sense of self-worth that isn't dependent on bringing lightness or comfort to everyone else.

SPEAKER_04 30:57

Um, a lot of the work here would focus on identity exploration, emotional authenticity, and vulnerability tolerance, and honestly, probably a lot of relational work around helping him express connection without feeling like he has to perform, entertain, or emotionally manage everyone around him first. And I feel like ultimately that's what like when you're using humor in this situation, it's like, yeah, you're also doing it to manage everyone around you. Like you're trying to make everyone be in a light mood, like you know, and keep them distracted. Because you again, you don't want them to like really look at you and be like, Why are you always laughing so much? Or why are you so funny all the time? Like, do you have any other emotions besides funny? Like, you know? Yeah. Yeah. Alright, hard truth.

SPEAKER_02 31:44

Alright. Alright, so I think eventually I'd say something like, You've gotten really good at making yourself lovable through what you give emotionally to other people. But I don't know if you fully believe you'd still be worth worthy of connection if you stop performing stop performing for it.

unknown 32:05

Perform them.

SPEAKER_03 32:07

Perform them is the Latin art, does it?

SPEAKER_02 32:11

Um the hard truth.

SPEAKER_04 32:13

Yeah.

SPEAKER_02 32:13

Yeah.

SPEAKER_04 32:14

Oh, okay. Sorry. Um, the hard truth for carrying is that constantly controlling how people see you can become its own form of isolation. And eventually performance stops feeling like protection and starts feeling like loneliness. Yeah, you're doing a lot of performing there.

SPEAKER_01 32:33

That's it. That's it.

SPEAKER_04 32:35

Sorry, I just felt like your performum turned into a whole joke, and then I didn't realize it was done.

SPEAKER_03 32:42

Yeah. Right.

SPEAKER_04 32:44

Okay, let's bring it back to real life.

SPEAKER_02 32:48

You know, honestly, I think this is something a lot of people relate to, especially people who become the funny one or the easy one in relationships. Because humor can absolutely be genuine, but sometimes it also becomes armor. And when your role becomes making everyone else comfortable, happy, connected, or emotionally safe, it can get really hard to let yourself be fully seen underneath all that.

SPEAKER_04 33:13

Yeah. That's true. Yeah. I think also like sometimes people use humor like for attention. Like, you know what I mean? In in some way. And like, I'm not trying to say negative or positive attention. I'm just saying, like, attention, you know. Yeah. Anyway, I think a lot of people relate to carry-in because performance is such a socially rewarded coping mechanism. A lot of people become the funny one, the charismatic one, or the easy-going one without realizing how much of their real emotional world stays hidden underneath the persona. So true. Yeah. Alright, it's time for the pain.

SPEAKER_03 33:57

The pain and the plot. Right.

SPEAKER_04 34:02

Yes. You know, we gotta start doing, I think you had mentioned this, like every week doing our own pain in the plot.

SPEAKER_02 34:08

Yeah.

SPEAKER_04 34:09

Yeah. We should do that during checking.

SPEAKER_02 34:11

Yeah.

SPEAKER_04 34:12

Checking.

SPEAKER_02 34:13

Checking.

SPEAKER_04 34:14

Checking, please. Yeah. Yeah.

SPEAKER_02 34:16

Our pain in the plot. Okay. So La Haba?

SPEAKER_04 34:20

Yep.

SPEAKER_02 34:21

Okay, so the moment for La Haba was when La Haba chooses to stay behind, shifting from playful light energy into a quiet, intentional sacrifice. The pain. Being underestimated and overlooked. Using lightness to take up space in a heavy world. If I keep things positive, I can still belong here. Connection through what she gives, not what she asks for. Choosing to be brave without expecting to be saved. The shift. Move from class clown to someone acting with purpose. Humor and playfulness fall away, revealing clarity and intention. No longer performing connection, she embodies it. The plot. Her choice changes everything for the people around her. Her value is fully recognized, but only in that final moment. Her role shifts from background presence to emotional impact. Her absence leaves a weight that her presence once filled. So she really said, I'll make myself unforgettable, and then did. And I think that's the part that stays with you. Yeah. Would she have been valued the same way if she didn't have to prove it like that?

SPEAKER_04 35:38

Yeah, that was another fallen warrior. And I never, honestly, just like the way I was reading her and her personality, exactly as you're describing it, I would have never like expected that from like I wasn't expecting that at all. So like, yeah.

SPEAKER_02 35:57

Yeah.

SPEAKER_04 35:58

Alright. Well, I don't have a specific moment, but this is kind of like a recurring thing. Right before a life-threatening confrontation, Karrion makes a sarcastic comment about the situation, controlling the tone of the room through humor while everyone else is focused on surviving. So, like, yeah, there's there was several times in the book where like they were like on the brink of something happening, and like Karrion's just cracking a joke.

SPEAKER_02 36:25

What?

unknown 36:26

What?

SPEAKER_02 36:27

It's just because my eyes are so like they're squinting because it's so sensitive right now. Why are you laughing?

SPEAKER_04 36:33

I'm laughing because it looks like I'm like trying to stay like I'm I didn't even notice you. Okay, anyway. Um, yeah, he's cracking jokes. All people like, we're about to die, bro. Like, hello. Anyway, so the pain is humor and performance becoming identity armor, controlling perception before others can define him, fear of being emotionally exposed beyond the persona. Um, and if they focus on a performance, they'll never see the pressure underneath, which is like totally him. Um, the shift carrion allows the moment to be emotionally real without immediately, immediately managing it through humor. He acknowledges fear instead of performing around it, and vulnerability becomes safer than emotional performance. I could never see it, but sure. Let's go.

SPEAKER_02 37:25

With who carrion? Yeah, but remember, we're not up on all the books.

SPEAKER_04 37:29

Oh, you're right, right. I feel like he's a bigger deal in the second book.

SPEAKER_02 37:33

Yeah, well, now that we know what he is, yeah. I mean, now that we know more info.

SPEAKER_04 37:38

Yeah. Anyway, the plot, deeper emotional authenticity within the group dynamic. Karrion becomes emotionally known instead of just socially entertaining. Relationships develop with more honesty and vulnerability, and his identity begins separating from performance and perception management. He's funny, but it also feels like he's constantly deciding how much of himself people are allowed to see. Yeah. So I um I don't think the I don't know if the pain is worth the plot here.

SPEAKER_02 38:14

Yeah.

SPEAKER_04 38:14

Maybe it's not.

SPEAKER_02 38:15

Mm-hmm. But then again, we don't know because we Right, exactly.

SPEAKER_04 38:20

Sorry, you did mention that. Yes, we don't know because we haven't the series isn't finished and we didn't even read the second book yet. Yeah. So yeah.

SPEAKER_02 38:30

But we will.

SPEAKER_04 38:31

We will. We'll get to it.

SPEAKER_02 38:34

Okay. Alright, is it time for mini fun? Tampaka.

SPEAKER_04 38:40

Alright, mini fun games go.

SPEAKER_02 38:43

Would you say it without the joke? Okay, would you Okay. Okay, would you still say it if you couldn't? Okay. Would you still say it if it wasn't? I feel like Joey Grandma's chicken noodle soup. It's chicken soup. Okay. Would you say it if you couldn't make it a joke?

SPEAKER_04 39:08

No.

SPEAKER_02 39:09

Be honest. No sarcasm, no humor, no softening it.

SPEAKER_04 39:13

Okay. So how does this work?

SPEAKER_02 39:15

Okay, so you just gotta answer. Would you say it without the joke?

SPEAKER_04 39:21

Okay. Would you would I say it without making a joke? Yeah. Calling okay, got it. Alright, calling someone out directly.

unknown 39:30

Okay.

SPEAKER_04 39:31

Nah, I would make you know, I would say it in the way that I say things when people can't tell if I'm joking or being serious. So I guess I would make it a joke.

SPEAKER_02 39:42

Yeah. I don't know.

SPEAKER_03 39:45

I would just I feel like you can just call them out directly. Yeah, yeah.

SPEAKER_02 39:50

Yeah.

SPEAKER_01 39:51

Okay.

SPEAKER_03 39:51

Yeah.

SPEAKER_02 39:52

Expressing that something actually hurt your feelings. Oh, I say this directly. I I don't know.

SPEAKER_04 40:00

No, I say it directly. Yeah. I don't joke about that because I'm not joking when I'm hurt. Asking for support instead of brushing it off. No, I would ask that directly.

SPEAKER_02 40:13

Oh no, yeah, no, I would just say it.

SPEAKER_04 40:15

Yeah, exactly.

SPEAKER_02 40:17

Okay. Saying you're overwhelmed instead of joking about it. No, I would just say it. I would say it. I say it all the time.

SPEAKER_04 40:23

Yeah. Admitting something bothered you longer than you let on. No, I would say it.

SPEAKER_02 40:32

Yeah. Telling someone they crossed a boundary.

SPEAKER_04 40:37

Um It depends. No, actually no. I feel like I would say it, but I might not say it right away.

SPEAKER_02 40:49

Mm-hmm. Saying that actually didn't sit right with me. Yeah, I would say that.

SPEAKER_04 40:56

Yeah, I would say it without making a joke.

SPEAKER_02 40:59

Yeah.

SPEAKER_04 41:00

Asking for reassurance without making it sound casual. No, sometimes I gotta throw in like a little like, so you're not so you're just gonna go all day without texting me? Ha ha ha. But no, I'm serious. Yeah.

SPEAKER_02 41:14

Saying you need space without making it seem like a joke. No, I wouldn't say it. Yeah.

SPEAKER_04 41:20

I guess we don't joke around.

SPEAKER_02 41:22

Yeah.

SPEAKER_04 41:23

Letting someone know they disappointed you. Oh, I would just say it. Yeah.

SPEAKER_02 41:28

I literally just did that with bleep the other day, remember?

SPEAKER_04 41:32

Oh yeah. Yeah. That was good too. Yeah. That was so strong. But not like in an aggressive way. It was just like you really stuck to your gum. Yeah. It was beautiful. Um, saying I'm not okay without laughing after. I laugh sometimes.

SPEAKER_05 41:48

Mm-hmm.

SPEAKER_04 41:51

So I would make a little joke about that. I would joke about like I'm not okay and then haha. Like make a joke. Well, I think sometimes you gotta like personally.

SPEAKER_02 42:00

And then depend on where you are. Yo, you know it's so funny. You remember in um the gals house she was like, um, oh Amanda, we have to highlight your things now. Yeah, yeah, this is what they would No, that's what you just did. Like when you pointed at where we are, it highlights it. Asking for clarity instead of pretending you don't care.

SPEAKER_04 42:25

No, I would ask for clarity.

SPEAKER_02 42:29

If I don't, yeah, it depends.

SPEAKER_04 42:32

Yeah, I would ask for clarity. Right. Um okay. Saying you feel left out or overlooked, I would joke around about that. I would make a joke. Yeah, because like I wouldn't want the other person to feel bad, but like also like feel bad.

SPEAKER_02 42:51

Yeah, you know, see your me. Yeah, telling someone you needed more from them.

SPEAKER_04 42:58

No, I would tell them.

SPEAKER_02 43:00

I don't know. If like money, like what if it's money?

SPEAKER_04 43:05

Oh.

SPEAKER_02 43:07

I'm like, I need more. So I'm broke and I just need a little money. Just a little more.

SPEAKER_03 43:14

How much? Yeah, three million.

SPEAKER_02 43:16

Yeah. Okay. Does the joke make it easier to say without really saying it?

SPEAKER_04 43:22

Oh, the joke definitely makes it easier to say without really saying it.

SPEAKER_02 43:26

Like you're technically communicating it, but you're also giving them an out and not take it seriously.

SPEAKER_04 43:32

Yeah.

SPEAKER_02 43:33

Yeah. And that's really what it is. Yeah, right. It's a vibe check.

SPEAKER_04 43:37

Yeah, and that's why like I'm like sarcastic. Mm-hmm. But like I be meaning what I'm saying. Yeah. People like, haha, and I'm like, no, I'm serious. And they're like, Oh, we can't tell. Like, yeah, I'm serious. If I ever say I'm just kidding, I'm not I meant what I said. Yeah. I'm just softening the blow for you, but I don't know why. Because that's the truth. Anyway, yeah, that's a whole other problem.

SPEAKER_02 44:04

When you do that though, it's just you just say it or just I would just do it. Just say the thing. And then not even like even Wow. Just say the thing. No, right? What's the thing? But the thing is like the thing is. Um, it's kind of just like saying like no one's not even weird preserved read. Bye. I don't know what the thing is.

SPEAKER_04 44:34

Yeah. No, I'm just repeating what you said.

SPEAKER_02 44:36

Oh.

SPEAKER_04 44:39

So then are you actually expressing it or are you protecting yourself?

SPEAKER_02 44:44

Exactly. Because if they laugh it off, you don't have to sit with how it really feels.

SPEAKER_04 44:49

Yeah.

SPEAKER_02 44:50

Because sometimes the joke isn't just humor, it's a way of saying something real without risking being fully seen.

SPEAKER_04 44:57

Yeah, I guess that's what I was just saying. So it's like like when I say I'm joking, I'm not. Mm-hmm. And it's so funny because my significant other, like, I'll say something really mean and I'll be like, I'm just kidding, and he'll be like, No, you're not. Yeah. And I'll be like, Yeah, yeah.

SPEAKER_02 45:12

No one thinks you're just kidding if you say just kidding.

SPEAKER_04 45:16

Okay.

SPEAKER_02 45:17

Not just you, I'm saying, like, if someone told me just kidding, like anyone. I know you hate my hair like this.

SPEAKER_04 45:25

Right, right. Yeah. Yeah. So, right. But I guess sometimes people really are just kidding, but I don't believe. I don't know why that phrase exists. Because I think most of the time when people use it, they're not just kidding. You know?

SPEAKER_02 45:41

No, I do like I think it can be because I do that sometimes. And I feel like when I use it, it's more of a oh look, this connects exactly to your situation right now. And it's a quick thing and it's funny, and then you just drop it and then it moves on. But it doesn't have to be like a premeditated thing, you know, like if we were talking about something and then like we walk up in the elevator right now and it happens, we're like, oh my god, see, like this is just like the thing.

SPEAKER_04 46:09

Yeah.

SPEAKER_02 46:10

You get what I'm saying?

SPEAKER_04 46:11

But well, what does it have to do with just kidding?

SPEAKER_02 46:15

That's why you understand. Like, let's say there was a situation, yeah, and then the other person, it's not like I would let's just say you broke up, you and your toenail broke up, right? Let's just say you and your toenail broke up, okay, and then you know, we're taking it seriously here, but then but then I go in the elevator and I see this lady with the chip toe, and I'm like, oh look, y'all got chip twins. Just kidding. You know, like it could just be a matter of taking advantage of the circum the moment.

SPEAKER_04 46:52

Okay, thank you for the example.

SPEAKER_02 46:55

But it's it's like taking there's a difference between like taking advantage of the moment where something might be relevant, like and it's only ever relevant because why else would I care about it?

SPEAKER_04 47:07

Yeah, no, I understand that after your example. Sorry, thank you. Broke up with until now. I like it. Okay, okay, joke or cry for help.

SPEAKER_02 47:18

I already feel attacked.

SPEAKER_04 47:20

Oh, be honest. No overthinking. All right, this is gonna be a rapid fire.

SPEAKER_02 47:25

Yes.

SPEAKER_04 47:26

Yeah, alright.

SPEAKER_02 47:27

Okay, joke or cry for help. I'm fine. I just need a 12-hour nap and a new life.

SPEAKER_00 47:35

That's uh that's for real.

SPEAKER_04 47:37

Yeah, that's a cry for help. That is, but also like I don't it's a joke too. Alright, I gotta pick one. Shit. I think it's a cry for help too. Yeah. It's fine, everything's fine. I'm thriving. That's a cry for help because you be saying that shit all the time, and it's not fine. And you be sending the damn emoji, but the it everything's fine, but Ross. Everything's fine when it's not. Yeah. Or like the dog that's sitting in the house burning down, and it's like everything's fine. Yeah, that's a cry for help.

SPEAKER_02 48:16

Mm-hmm.

SPEAKER_04 48:17

Okay, go.

SPEAKER_02 48:18

Don't worry about me, I'll figure it out.

SPEAKER_04 48:23

I don't know. It depends on how the tone is being like how you're saying.

SPEAKER_02 48:27

Yeah.

SPEAKER_04 48:28

Because if you're like, oh yeah, don't worry about me, I'll figure it out.

SPEAKER_02 48:33

Don't worry about me.

unknown 48:35

Yeah.

SPEAKER_04 48:35

I'll figure it out.

SPEAKER_02 48:36

Yeah.

SPEAKER_04 48:37

Right. That might be a cry for help. Everything's gonna be a cry for help for me. Okay. I just laughed through the pain, it's fine. That's a cry for help. But it could be a joke, also. Because sometimes you do have to laugh through the pain.

SPEAKER_02 48:56

Yeah.

SPEAKER_04 48:57

So yeah. But I don't know.

SPEAKER_02 49:01

If I don't joke about it, I'll cry.

SPEAKER_04 49:05

I say that sometimes. But I don't really want help. And that's me in my opinion. I think I'm actually making a joke. Like, I don't need you to s soothe me if I cry, you know, if I don't joke about it.

SPEAKER_02 49:23

Yeah.

SPEAKER_04 49:24

It's a joke or cry for help.

SPEAKER_02 49:26

A joke.

SPEAKER_03 49:36

Three hours later. Like, what do you want to play the game? You gotta answer. Alright, go.

SPEAKER_02 49:41

Okay, a joke.

SPEAKER_04 49:45

I'm not stressed. I'm just highly aware. Or I'm just high.

SPEAKER_02 49:51

Mm-hmm. Um, maybe that's I don't think it's a joke, but I don't think it's a cry for help either.

SPEAKER_04 49:57

Yeah, I don't think so. Yeah. I think that's the truth.

SPEAKER_02 50:00

It builds character. You see that?

unknown 50:04

Max.

SPEAKER_02 50:05

What? The sun just came out? It's not sunny. You don't see that bright light just came from nowhere?

SPEAKER_04 50:12

No, that was it's been the same.

SPEAKER_02 50:15

Okay.

SPEAKER_04 50:16

Okay, I love that for me. I'm serious when I say that. It's not a joke. But if if it's like something bad happens and you're like, uh, I love that for me.

SPEAKER_02 50:29

Hmm. I don't know. I don't think it's a cry for help. Yeah. This is actually hilarious when you think about it. That might be a joke. I think it's a joke.

SPEAKER_04 50:38

Yeah, exactly.

SPEAKER_02 50:39

Yeah.

SPEAKER_04 50:39

No, yeah, I'm good. I just haven't processed it yet. I think that's fair. That's not a joke or a cry for help.

SPEAKER_02 50:47

I think, um I think when we say joke, we're not in this sense meaning like it's a joke, but it's not to be taken seriously. Right?

SPEAKER_04 51:00

Oh, I'm thinking like we're meaningful.

SPEAKER_02 51:02

Like not we're ha ha. We're trying to make a joke about it. But maybe we are. That would make more sense.

SPEAKER_04 51:08

That's where I'm I've been doing this whole time.

SPEAKER_02 51:11

No, I think that's what it is. That makes more sense.

SPEAKER_04 51:15

Okay.

SPEAKER_02 51:16

Okay.

SPEAKER_04 51:19

Um I'm just gonna ignore it and see what happens.

SPEAKER_01 51:22

Ignore what? Oh. Oh my god.

SPEAKER_04 51:28

Can you come back to Earth, please? Love of Christ, we're almost done.

SPEAKER_02 51:33

I think this is a this is a cry for help. But maybe it's a joke. It's a jokey, it's a funny cry for help. I thought you were referring to yourself right now.

SPEAKER_04 51:46

Okay. It's not that bad. I've had worse.

SPEAKER_02 51:49

It's not that bad. I've had worse. I feel like I don't I think that could have been a um cry for help. Yeah, okay.

SPEAKER_04 51:59

At least something interesting is happening.

SPEAKER_02 52:02

I don't know, maybe that's a joke.

SPEAKER_04 52:03

I think that's a joke.

SPEAKER_02 52:04

Yeah. It's this is fine. I'm adapting. That could be true.

SPEAKER_04 52:11

Mm-hmm.

SPEAKER_02 52:12

Mm-hmm.

SPEAKER_04 52:13

I just need to be dramatic for a second.

SPEAKER_02 52:15

I think that's true.

SPEAKER_04 52:18

Yeah. Yeah. It's character development, I guess.

SPEAKER_02 52:22

Joke.

SPEAKER_04 52:22

That's a joke, yeah.

SPEAKER_02 52:24

I'm just built different. That's always a joke. Yeah.

SPEAKER_04 52:30

Oh, my favorite. It is what it is. Uh that we restrain in order time. Restrain in order, yes. Okay.

SPEAKER_02 52:42

I'll deal with it later.

SPEAKER_04 52:44

Also, restraining order. No, I'm just kidding. My trigger fingers can't deal with it later. I'll deal with it later. I don't know. I don't think that's a joke or a cry for hope. That could be accurate.

SPEAKER_02 52:59

It depends on what you're kind what you're gonna deal with later. Well, this is true. Because like your house is on fire or like your there's a bomb going off and you're like, yeah, I'll deal with that later. Whatever.

SPEAKER_04 53:13

Well, yeah, but uh what human well you never know actually.

SPEAKER_02 53:16

I'm like, what human will deal with that later and not deal with someone who doesn't want to be around later.

SPEAKER_04 53:23

Well, they're gonna die from a bomb. Exactly.

SPEAKER_02 53:26

So they'll deal with it later.

SPEAKER_04 53:28

Yeah, well, yeah, they will.

SPEAKER_02 53:30

Yes.

SPEAKER_04 53:31

I'm okay, just slightly unwell. That's a cry for hope.

SPEAKER_02 53:35

I think that's a joke. No, yeah, that didn't affect me at all.

SPEAKER_04 53:40

I don't know.

SPEAKER_02 53:43

I guess it depends on how it sounds when they say it.

SPEAKER_04 53:47

Yeah.

SPEAKER_02 53:47

Yeah.

SPEAKER_04 53:49

I'm just gonna pretend that didn't happen. That's a joke to me.

SPEAKER_02 53:54

Yeah.

SPEAKER_04 53:55

Yeah. Wait, these are all cries for help.

SPEAKER_02 53:58

Exactly. That's the game because sometimes the joke isn't just funny. It's the only way it feels safe to say something real. Yeah, these were mostly cries for help.

SPEAKER_04 54:08

Yeah, they were. Alright, any final thoughts about using humor to cope. What you gotta say to the people, they're listening.

SPEAKER_02 54:18

Okay, so I think it's easier sometimes for you to use humor to cope. Um and you just need that hit. You know? Like you need it. Yeah. And that's not a bad thing.

SPEAKER_04 54:35

I agree with that. I think initially sometimes you need humor to like process what's happening, but you shouldn't just make a joke and move on. Like move on for the moment, but come back to it.

SPEAKER_02 54:49

But you know what? Why?

SPEAKER_04 54:52

Because oh, like you mean after after the joke. Make your joke and then but don't like be like oh haha, I used a joke and processed it, so it's fine now. Like come back to it, cuz something's going on, and you're not gonna be able to do it.

SPEAKER_02 55:05

You know, I think I think that people might start to get so good at what you're saying, and then it's like they just get stuck in this joke cycle because they constantly need that hit, and they're constantly like feeling down, or they could just be in a situation where like they need you know, they get more time to practice that skill of like joking, like the more you practice, the better, the funnier you're gonna be, and then the quick the wittier you're gonna be because you'll be faster, you'll be able to be like, Oh yeah, that's what she said.

SPEAKER_04 55:39

So do you think like that's like a negative thing?

SPEAKER_02 55:43

No, not always. Like, I feel like the thing that makes it a more neutral thing is what you said, like about don't leave it, like come back to it. Because if you can make a joke out of it to help yourself process in that moment, right, you know, that way you don't have to have a weird moment, you don't have to, you know, you just get through it, right? And then later on you come back and you process it. Yeah, fucking beautiful amazing.

SPEAKER_04 56:08

Yeah.

SPEAKER_02 56:09

But if you get stuck in the cycle, it's like forget about it. You're Chandler.

SPEAKER_04 56:13

Yeah, yeah, exactly. No, I like when you were saying that, I was like, wait a minute now, because I I feel like I'm pretty witty and quick with it, and I'm like, oh shit, is this a bad thing? But like, I don't know if that's just my personality also, or I'm just like, sometimes I just like I don't know, saying stuff, you know.

SPEAKER_02 56:36

Yeah, but you also said that you have like I believe it was uh maybe one or two episodes ago, sessions ago, you're like, you know, I've always had to defend myself. I think it was mommy issues. Yeah, it's so it makes sense that you've had self you've had time to practice, you know, trying to be fast, trying to get your little jabs in where you could. You know, yeah, that's a good one. So it makes sense that you would be able to like pick up really quickly, and maybe that's why you're skimming what people are saying, you know, like the trigger brain.

unknown 57:06

Yeah, that's true.

SPEAKER_04 57:08

Because it's just quick, like also, like to close, if you have a if you know anyone who's who wears a size five and a half if you know anyone who is just constantly making jokes and that's the only thing you ever see from them, like you never see them angry or sad or just any other emotions, like just check in on them a little bit, you know? Be aware, be mindful, because there could be more going on. Yeah, like if you're just all the time making jokes, you know? Um, but yeah. Yeah, all right. Well now we're gonna end this funny episode. And then we're gonna move on to something a little sad. Yes. Yeah.

SPEAKER_02 57:57

So that next week we're talking about grief, and not just losing someone, but losing versions of yourself too.

SPEAKER_04 58:06

The relationships, identities, and futures people have to grieve after everything changes.

SPEAKER_02 58:12

Because some losses don't just hurt, they reshape you.

SPEAKER_04 58:18

Ugh. Yeah, it's gonna be a rough one.

SPEAKER_02 58:22

Yeah.

SPEAKER_04 58:22

Yeah. Alright, well, that's it for this session. We'll see you next time. Bring your tissue. Yes, we're gonna be totally upset, and we both we both personally have had to go through and are still going through this process, and we'll talk more about it next week.

SPEAKER_02 58:44

Yeah.

SPEAKER_04 58:45

Yes. All right.

SPEAKER_02 58:46

Well, we want you to be a part of this world with us. Send us your book recommendations, character obsessions, or topics you want us to cover.

SPEAKER_04 58:54

You can find us on Instagram and TikTok at once upon a session pod.

SPEAKER_02 58:59

Or email us at info at onceuponassessionpod.com if you want to share thoughts, suggestions, or just scream about a plot twist with us.

SPEAKER_04 59:08

Right.

SPEAKER_02 59:09

Um, so are we charging for the session?

SPEAKER_04 59:12

Emotionally, always.

SPEAKER_02 59:14

See you next session.

SPEAKER_04 59:16

Same couch, same chaos. Oh, we're not gonna tell a joke.

SPEAKER_02 59:21

Wait, do we ever tell a joke?

SPEAKER_04 59:23

No, I just figured like we would tell a joke because it's funnier coping. But I'm gonna do jokes up top.

SPEAKER_02 59:30

Okay. I know a top and I know a bottom. What's the joke?

SPEAKER_00 59:41

Is that your joke?

SPEAKER_02 59:42

No, but that just happened to be a joke. That's a good one. No, there was a joke that I there was a joke. There was a joke that I heard. Yeah. Don't do this. Oh, it was like no, no.

SPEAKER_04 59:58

Ah You know what's a joke? This.

SPEAKER_02 1:00:01

No.

SPEAKER_04 1:00:02

This is not remembering. You know what's a joke? Our bristeth dictionary is a joke.

SPEAKER_02 1:00:08

No, brisset is Brisseth is what? So funny.

SPEAKER_04 1:00:13

Bristeth, guys, we have our own Bristet dictionary.

SPEAKER_02 1:00:17

Oh yeah, let's do that for the end of this episode. Yeah, let's let's go through our Brisset, not everything, but just a couple of things.

SPEAKER_04 1:00:25

Okay, guys, so let me tell you what the Bristeth dictionary is. Yeah. First of all, it's meant to be all Bristeth, not bris bristeth British. It's like our language. Yeah, it's us saying shit in the moment that's so funny, and it's like words that mean things that we say. Like nobody else understands this. So, like, we're giving y'all the insights.

SPEAKER_02 1:00:49

And if you think it sounds stupid, it's because you don't understand it.

SPEAKER_04 1:00:52

Yeah, exactly. But we'll try to explain, like, as we go.

SPEAKER_00 1:00:55

Okay. Okay. Pot of laugh. Pot of laugh.

SPEAKER_04 1:01:02

Wait, pot of laugh? I feel like I was reading something.

SPEAKER_02 1:01:05

I think you were.

SPEAKER_04 1:01:07

And I just mixed it up. But what was I trying to say?

SPEAKER_02 1:01:10

Lot of pot. Um, lot of pot. It was like lot of pot or something like that.

SPEAKER_04 1:01:16

Yeah.

SPEAKER_02 1:01:17

Mm-hmm.

SPEAKER_04 1:01:18

A lot of path or something. I mixed it up. Path of life. Maybe so like we started using pot of lath to to refer to as like, I don't know, it was something inappropriate. Yeah. Like he's got a nice pot of laugh.

SPEAKER_02 1:01:35

Oh my god.

SPEAKER_04 1:01:36

Oh, that was Dr.

SPEAKER_02 1:01:37

um Doug. No.

SPEAKER_04 1:01:42

That was Dr., you know the pot of lath. He had a nice pot of lath.

SPEAKER_02 1:01:46

Oh my god.

SPEAKER_04 1:01:47

Okay.

SPEAKER_02 1:01:48

Corn on the cab. Corn on the cab.

SPEAKER_04 1:01:51

Yeah.

SPEAKER_02 1:01:52

Okay. Um that's croak. She eats leaves.

SPEAKER_04 1:01:58

Oh. She eats leaves as if she's leaving early. Yeah. Oh my god.

SPEAKER_03 1:02:08

Does the carper match the drapes?

SPEAKER_02 1:02:11

That was so bunny scissors. Yeah.

SPEAKER_04 1:02:15

Oh my god.

SPEAKER_02 1:02:16

Erexican.

SPEAKER_04 1:02:18

Oh shit. I hate it.

SPEAKER_01 1:02:22

Um I can't say this thing. What? But I'm gonna I'm gonna say it and then we'll cut it out. I had suck sticks. Where do you see?

SPEAKER_02 1:02:38

Where do you see right underneath how's it goob?

SPEAKER_03 1:02:42

How far down are you?

SPEAKER_02 1:02:44

Right under a rexican under brat.

SPEAKER_00 1:02:46

Oh, I had suck dicks.

SPEAKER_02 1:02:48

Yeah.

SPEAKER_04 1:02:49

Yeah. Billion? Big dick Ricky? Oh my god. Big dick Ricky means male. How did we get there? Lucy means female.

SPEAKER_03 1:03:03

Do the chew.

SPEAKER_04 1:03:04

Oh. Go is then fuck us thyself. Ragamita. Oh my god.

SPEAKER_03 1:03:14

Dod Yosef. Dod Yosef. I'm on sleek.

SPEAKER_02 1:03:22

My sweeter Fenn.

SPEAKER_03 1:03:24

What the hell? Why is she laying on a table covered in napkins?

SPEAKER_02 1:03:27

That's the one I was looking for. Because what's the case? That's the girl. Yeah. That was so weird.

SPEAKER_04 1:03:32

Uh skid of screen, Scott. We still use that a lot. We still use that a lot. And that means screenshot. Temperature mometer.

SPEAKER_02 1:03:40

Flirty as frick. Hold on.

SPEAKER_04 1:03:42

Catatonis.

SPEAKER_02 1:03:45

Oh je can't. Okay. What do we we we got the stuff already? Yeah, we're done.