Kill Tony #25 — Erik Griffin, Jayson Thibault

Set: Dean jokes about finding the little mermaid character Ursula more attractive than Ariel, discussing the logistics of mermaid/octopus sexuality. The set is brief and underdeveloped, cut short by the buzzer.

Interview: Tony coaches Dean on stretching out his premise, being less nervous, and talking about what he actually thinks rather than rushing through material. Emphasis on finding a voice and not cutting bits short due to anxiety.

Set: Kate does material about being a bad judge of men, citing a date with a guy wearing a hat that says 'cock' on it. She extends the bit with absurd comparisons (Hitler) and self-deprecating observations about her dating choices.

Interview: Panel discusses whether the hat actually said 'cock' or had a rooster graphic. Tony and guests provide coaching on being authentic and vulnerable rather than trying to be funny with false premises.

Set: Frank describes homeless people coming into his workplace, focusing on an aggressive schizophrenic man selling candy bars and another homeless man judging him. Strong material with a clear punchline about crazy people judging crazy people.

Interview: Panel asks what Frank does for work, praises the set, and coaches on establishing the setting more clearly at the beginning so audience can visualize the scene.

Set: Mike jokes about his gay brother coming out and comparing homosexuality to being left-handed, then extends to disability metaphors (special scissors, can openers). Material is structurally sound but delivered with nervous energy.

Interview: Panel coaches Mike on performance and comfort level, emphasizing how his energy improves when discussing his brother personally. Discussion centers on creating empathy for subjects and being comfortable on stage.

Set: Mark discusses dealing with dry skin seasonally and carrying lotion around, makes masturbation jokes about his red dick, then pivots to women not knowing they're pregnant despite missing periods.

Interview: Panel discusses cadence and delivery issues, questions authenticity of material, and emphasizes the importance of doing regular open mics to develop voice. Tony passionately coaches on not being a one-timer.

Set: Eric does Southern regional material about California terminology like 'karma' and 'first world problems,' making fun of how Californians talk. Strong delivery with distinct voice and confidence.

Interview: Panel discusses his delivery, suggests slowing down slightly, and coaches on addressing audience preconceptions about Southern identity upfront. Praise for his likability and authentic voice.

Set: Sean does material about confronting a man who didn't pick up after his dog, the man taking his picture as a threat, and Sean's logic about mistrial if he punches him. Quiet delivery with solid premise.

Interview: Panel critiques his quiet voice and microphone technique, discusses his confidence level, and coaches him on projection. Discussion about not being arrogant while maintaining confidence.

Set: Sara does material critiquing pretentious artists—Renaissance painters and street artists who think they're renegades. She questions the profundity of street art with only a stencil and a question mark.

Interview: Panel praises her voice and delivery, coaches on picking a specific direction for jokes rather than broad umbrella topics. Emphasis on narrowing focus and deepening material.

Set: Sara's set largely fails; she attempts off-the-cuff crowd work about getting into the Comedy Store, makes a defensive response about a blowjob joke, and becomes emotional. Minimal prepared material.

Interview: Panel addresses her listening skills and tendency to internalize comments as personal attacks. Discussion centers on emotional maturity, the difficulty of being in a boys club, and not taking things personally.

Set: Kim does material about her office job vs. a girl who started a cuddling business, expressing jealousy. She discusses her workplace injuries (stapler finger) versus the cushy cuddling gig.

Interview: Panel coaches on specificity and clarity of joke premise. Emphasis on knowing what the joke is about and expressing it clearly rather than listing details.