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Hi everyone, if you were listening carefully last week, you might have heard that this
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But you'll actually hear about that next week, because this week we wanted to bring you
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I'm Sony Music Entertainment and campsite media.
This is infamous.
I'm Natalie Robeman.
I'm Vanessa Grigoriatus.
And today we're going to be talking about a really fascinating story about a comedian
called Hassan Minhad.
So I have seen a little bit of his stand up, but like tell me more about him.
Okay.
So he is a comedian who first came to fame being a correspondent on the daily show.
So like Samantha B or one of those people before she had a show.
Exactly.
Yeah.
And I've had his own Netflix specials and then his own weekly new show called Patriot
Act, which was also on Netflix.
The most important thing to know about him is that he is in the running to replace Trevor
Noah as the new host of the daily show.
Oh God.
So John Stewart to Trevor Noah, Trevor Noah, maybe to this guy.
Yes.
Big question mark on that, which is part of why this story is so interesting, because that's
kind of the stakes.
He might be taking over this incredibly important role in late night TV.
And there are some questions about his credibility.
So I think some people might remember that he spoke at the 2017 White House correspondence
dinner where he called Donald Trump the liar and chief.
Oh, he did.
Very spicy.
The grand irony of all of this is that it turns out he may have been lying about some things.
Oh, yes.
Okay.
So I heard about this because there was a story in the New Yorker about it, right?
Exactly.
Big story in the New Yorker last week.
And so I went and interviewed the reporter who wrote that story, Claire Malone, to kind
of give us a deep dive through all the specifics.
I mean, I think the thing is that most of the time comedians either make things up or exaggerate
things or bend the truth a little to sort of make a joke funnier, right?
And what is so fascinating about this story is that it seems like Hassan didn't do that.
He lied to place himself at the center of historic events and to garner sympathy for himself.
And to me, in doing so, he's really called into question his role as a comedian slash journalist
and as the potential next host of the daily show.
Right.
Because when you're the host of the daily show, you have to be sort of a tabloirasa, right?
You have to just not be somebody that people feel is not telling the truth like a kind of
fry in Williams or any of these newscasters who have had scandals where they've said,
I was on the plane, when the bombs went off and you're like, but you were in a hotel
and you were totally saved.
Exactly.
You need a level of credibility that maybe your average standup doesn't require.
So Claire and I discuss all of that more.
So here's my conversation with Claire Malone.
So you wrote this story, Hassan Minhaj's emotional truths for the New Yorker.
Can you very briefly tell us what you discovered through the grapevine I caught wind that there
were some questions around some of his stories and people, I think, given the position of
the daily show as this weird category of people get their information from there, which
is sort of like, I'm not sure if some of this stuff is true and I went down the garden
path from there.
And as it turns out, he's made his name in his standup specials, which is separate from
Patriot Act, a sort of news infotainment show that he did on Netflix.
His standup has a lot of stories in it that are very personal anecdotes that are tinge
with the political.
So bits that aren't really like comedic bits, but more setups to their storytelling, storytelling
about interaction supposedly with police or threats that he's received.
And it turns out he fabricated a number of stories that it was not apparent to his audience
were fabricated.
So essentially fact-checked, pedantic is that certainly sounds.
Some of his stories and discovered that they were probably not true and then got him
to sit down and talk about it and he admitted where he had made up details, though his,
I should say, his reasoning is that a lot of these stories contain what he calls a
quote emotional truth, which is basically like, this stuff happened to people who Muslims
post 9-11 where they were entrapped by law enforcement, I'm sort of bringing attention
to it by sort of putting myself at the center of the story.
Just to go back to the very beginning, maybe you can go into details, maybe you can't,
but did you get an anonymous tip where you just add a party and you heard, you know, I'm
not sure that the oldest checks out, like how did the first colonel come to you?
Yeah, I mean, I will be vague about it, but it was kind of, yeah, I think there was
a sense in the comedic world in certain circles, I think that there was something a bit off,
we always thought of it as this like, great area, right?
Like comedy isn't journalism, but since John Stewart sort of popularized the daily show
as a way that people get a lot of information, like, what does that hosting chair mean?
And like, what is, what if some of this like sort of questions around his truthfulness
mean if you were a person up there conveying facts and information?
You know, you write like his project blurs the minds between entertainment and opinion
journalism, and I think we could talk a lot more about how it's a weird thing
that we're even getting our political information or news from comedians.
Like, that's a strange place we found ourselves in.
But anyway, yeah, that that's the state of affairs.
So when did you first start looking into it?
I would say I first was sort of talking to people in like June, and then kind of
took maybe six weeks to two months off.
Let's say a month of talking to people, fact checking some of this stuff,
and then reaching out to his team and saying, am I right about this?
Is what, you know, are there other things?
You know, what's the story behind these choices that he's made?
So let's go through one by one the things that you discovered.
So in his second special bookings, Jester, there's a story about the FBR
informant, brother Eric, who supposedly infiltrated his family's mosque in 2002.
And I'm in the back of the mosque.
And in the middle of the sermon, this super ripped white guy shows up to the mosque.
Just bald, all-trapped, no neck, barbed wire tattoo.
Dude, he looked roided out.
He's just like, Hi, I'm brother Eric.
I made a convert to Islam.
And my dad's like, how son, you see that?
It's a miracle.
That's the power of Islam.
I'm like, Dad, Eric is a federal agent.
24-fimous.
And to me, brother Eric, all my friends from the mosque, right?
I'm like, what's up, Eric?
You got creative team, glue to me and I'll do it.
He's like, shh, come here boys.
Come here.
Let me ask you a question.
You boys ever think about.
Jihad.
I go, Hey, Eric.
He's like, what?
I go, Hey, Eric.
Do you know what I want to do one of these days?
He's like, what's that?
I go, I want to get my pilot's license.
Then I hear a police siren, woo, I look outside.
15 police cars are in the parking lot.
Emron called the cops.
They bum rush the 24-hour fitness.
They run past brother Eric.
They grab me.
They drag me outside.
They slam my head against the hood of the car.
Boom!
Now shit is getting too real.
Can you tell me how you went about reporting
that that was not true and what you actually found out?
In the stand-up, Hassan says this happened to me
my junior year of high school in 2002.
The Craig didn't start working for the FBI until 2006.
So there's little things like that.
Craig Montez was a real FBI informant
in the post 9-11 era who went into mosques,
pretended to have converted to Islam.
And he was surveilling Muslims in mosques
in Southern California.
People who were subject to that FBI surveillance
sued and that case made its way to the Supreme Court.
And details of Craig and Craig's life
became very public because of that case.
So I just found Craig and talked to him.
I think it was pretty apparent to me
that what Hassan was doing,
almost from a writing perspective,
which is he uses the setup of that story of Craig Montez
and supposedly being entrapped by the sky
when he's in high school.
As a setup to talk about the real story of,
right, a young Muslim man in a nearby town,
very similar background to Hassan,
a young man who in the post 9-11 era
spent a lot of his adult life in prison
that for what his lawyer say was a coerced confession.
And he is now out of prison.
Through the Patriot Act, the feds were watching us.
In Lodai, California, one town next to me.
There was a 16-year-old kid.
His name was Hamid Hayat.
He gave a false confession.
His kids served 20 years in prison.
He just got out of prison this past June.
Man, he's my age, he's 36.
I think about Hamid all the time.
So what he's trying to do is like get to that serious point
and it sort of seems to me when you watch it.
You can kind of see what he's doing.
Yeah, you can see it from a narrative perspective
because what he's doing is he's putting himself
at the center of this story and being like,
look, it happened to me.
And here's how it could have gone badly, but it didn't.
I'm like, what if I complied that night like Hamid?
Could being a smart ass saved my life?
That's why when I finally got my own shot
to do my own show on Netflix,
I named that shit Patriot Act.
It was my middle finger to brother Eric.
So he's trying to drive home a real point,
but right by using a not real setup
that puts him at the center of this controversy.
Throughout the reporting process
and just thinking about this a lot,
I came to see the fabrications as part of a,
almost like a writing tick that he has.
And I started to think about it as like,
he has like a forest gump problem
where like the way he tells stories
he always puts himself in the story.
Yes.
Yeah, rather than like kind of writing around it
in an observational way.
It's a writing thing actually when you come down to it.
Because obviously like comedy specials are like,
this is written, right?
This is like, yes, we're being told the story,
but the structure of specials is actually quite interesting,
especially if like you do narrative journalism, right?
You think about that stuff a lot.
So that's how I was thinking about it.
He had a sort of a narrative centering,
which a number of people I talked to in the comedy world
also sort of took him to task for
for kind of always putting himself
in the center of the narrative.
But just on a pure structural level,
I think that's what he was trying to do.
And that is Hassan's explanation
for a certain portion of the fabrications
and making up characters.
It's to get to the point faster.
It's to kind of get to what he, again,
the emotional truth, I'm using these fictional devices.
That is such an interesting point
kind of the forest gumpification
of his choice of storytelling
and the way that he's choosing to structure these jokes.
Because, yeah, as you just said,
I think a lot of people may not realize,
but when somebody's filming an hour comedy special,
that's not the first time they've done it.
They've been working that hour out for months, if not a year.
And...
Or years, totally.
Or years.
And then, you know, when they finally tape it,
they tape several and they pick the best one.
Yeah.
And it's all very planned and structured.
And I was trying to think through
why one would do this.
And to me, it seems like...
I can't separate it from auto-fiction.
There's been this rise towards first person narratives
and I don't know where that comes from.
Like, the cynical, maybe like, boomer perspective would be
that it's just millennials are so self-obsessed
and that's the only thing they can think to write.
But I also think another perspective
is it comes out of perhaps a...
an unwillingness or a sensitivity
to not want to write somebody's perspective incorrectly?
Or it's, I mean, I think it's also just storytelling
or like a one more one-man show aesthetic.
They seem to be a prevailing...
I don't want to call it a trend in comedy
because it's like something that's existed.
But I think it is a trend.
I think it absolutely is a trend.
Hannah Gadsby.
Hannah Gadsby, John Leney's latest special.
There's a much more of like a, hey, here's my,
here's my drug intervention
and here's how I was like a terrible person at rehab.
You know what I mean?
We all quarantined.
We all went to rehab and we all got divorced
and now our reputation is different.
It's confessional.
You know what that kind of thing?
Confessional.
And I also think the whole storytelling,
one-man show aspect in comedy of late,
I just think it's kind of tied to like,
every comedian has a podcast where they get on
and they talk about how fucked up they are
and they talk about like what they believe.
I think I have this in the piece a little bit,
which is like comedians have become,
you know, a certain set of them
are the weird public intellectuals,
you know, the weird opinion journalists.
And then I think on the other side of that,
there are also people who are like,
yeah, well now I'm gonna devote myself
to skewering liberal piety is because half of the people
who are in my profession
are trying to talk about morality through their specials
or trying to talk about like deep-seated trauma.
So I think that what's being produced is very personal.
It does talk about like darkness in society
in different ways.
And there's lots of comedy scandals
in the last few years of comedians
who have had false.
Absolutely.
And to me, it's inextricable from the politics
and wider social trends of our time.
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You're listening to infamous from campsite media.
So you'd, you know, you kind of got a tip.
You started looking into it.
Did you then sit down and watch the specials
and pull out specific claims?
Like, what was your step there?
I did watch the specials, and I was talking to people,
and particularly the anthrax story.
Yes, let's talk about that.
Will you tell me what that story was?
Because of his personal identity as a Muslim,
Indian-American, he was getting a lot of actual threats
online.
Netflix had received a physical letter threatening him.
He has this story where he says he's, you know,
this is after he's done some of these controversial episodes
about Saudi Arabia and India.
And he comes to his apartment.
He gets his mail.
Listen to me.
I rip it open.
And all this white powder falls into the stroller.
And it falls on my daughter's shoulder.
Her neck, her cheeks.
And she's staring at me.
And I run upstairs, and I tell Bina,
and this time I can't lie.
We rushed down to NYU.
But this time, he go through the emergency room.
In the moment they see the baby, they just
ripped the clothes off her, and they take her away.
And me and Bina were sitting in the waiting room for hours,
and we're not talking.
Finally, around midnight, nurse comes in.
And she's holding my daughter.
But she's with an investigator.
And the investigator reaches into his pocket,
and he pulls out a plastic baggy, filled with white powder.
He goes, Mr. Minhaj, you're very lucky.
This isn't really anthrax.
But I've been in this department long enough to know this shit
just doesn't come out of nowhere.
So I have to ask you something, young man.
Who on earth have you been antagonizing?
It's meant to drive home the idea that he has been endangered.
While doing this comedy show, so what Hassan says happened
is that there was a letter delivered to his apartment
that had white powder in it, that he joked to his wife,
well, what if there was anthrax in it?
And that's the seat of the story.
I should note here, he says he never reported the letter
to Netflix, even though Netflix
was worried about his security at that time.
And there was a security guard who had been hired
to kind of look out for him.
So the part about going to the hospital
and all that stuff, he admitted that never happened.
He says the seat of the truth is like, yes,
I did get a letter.
And yes, we did feel endangered.
So then how did you go about finding out
that the anthrax thing never happened?
Well, it had raised eyebrows among people on the show
because there was awareness that people were threatening him
online.
There was a security guard who had been hired.
Security was a concern.
So when people heard about that, I think it did raise
and I'm like, huh, you know, why didn't I hear about that,
including people who were really involved in the security?
So I went to his old building.
I talked to the people who worked at the front desk.
When incidents of suspected anthrax happened in New York City,
I don't think it'll surprise anyone
based on the events of the post-September 11th world,
where actually there was a threat
into the anthrax attack at the Daily Show,
which is sort of interesting.
Oh, that's interesting.
Yeah.
So it isn't the comedy news show history.
Anyway, when there is even a suspected anthrax exposure,
there's a system.
So hospitals, NYPD, Department of Health,
like there are people who are made aware of that
because it's a serious issue anywhere,
particularly in New York.
So there were ways to reach out and say like,
hey, you know, during this time period,
was there any suspected anthrax incident
and none that I could find?
And nor had anyone at his building
known about an incident like this,
nor did anyone involved at the show
and his security know about it.
Just gotta say, I love this shoe leather reported.
Real boots on the ground are going,
you're talking to the door man, this is great.
So one of the other key points
that he sets up in the King's Jester special
is that he goes and he has this meeting
at the Saudi Embassy.
Good luck with your show, Mr. Minaj.
We'll be watching.
They escort me and Jim out of the embassy.
Now we're sitting on the train.
We're not talking.
We get back to New York City, I open up my phone.
Everybody at the office is texting me.
Are you okay?
Are you all right?
Are you watching the news?
I'm like, what the fuck is on the news?
But I'm not done on a sand I'm breaking news.
Washington Post journalist, Jamal Kashoggi,
murdered inside of a Saudi consulate.
I go, oh shit, I was just in one of those.
Can you tell me what you discovered there?
Yeah, so if people remember, NBS,
there was a point in time before Kashoggi's murder
where the crown prince was on this basically like US tour.
And so during that time, Patriot Act Hassan,
I don't think the show had gone on the area,
but they were sort of exploring the possibility
of doing a sit down interview with NBS.
And so they went to DC to go to the Saudi embassy.
It happened, you know, Hassan went with someone
and like the Patriot Act sort of made a pitch to the Saudi.
And what actually happened is they made that pitch
in like, sometime I think in September.
Kashoggi, I believe, was murdered in October.
The way he tells it, again, to go back to the forest,
writing problem where I think a lot of the fabrications
come from is he essentially compressed the timeline.
And we, the audience, are meant to believe
that the news of Kashoggi's murder has just broken
and people are genuinely worried for Hassan's safety.
Again, I think it's just, it's like this idea
of sort of like putting himself at the center
of the story a little bit.
But I was able to find out that the meeting happened
around a month earlier prior to Kashoggi's murder.
So thanks to his acclaim and rising fame,
he was put on the time 100 list and he went to the garlic
and then he tells this story about a chair
being kept empty for Saudi activists.
Why is this chair empty?
She goes, sweetie, that chair is for Lushan.
I'm like, who?
Lushan!
She's the Saudi female activist.
That's being tortured right now for driving in Saudi Arabia.
And in the special, he says that there has been
a ceremonial chair left open
and it's for this woman who can't be at the gala
because she's in prison in Saudi.
And from the shadows emerges an individual
and into the room steps,
Jared Kushner,
who, by the way, is WhatsApp friends
with the crown prince of Saudi Arabia?
And he sees the empty chair.
No.
Lushan's symbolic chair
and he walks over
and he sits down in her chair.
There was no chair set aside at the gala
nor did Jared Kushner sit in it.
This is the weirdest one to me
because you don't even need to do that
from a storytelling perspective.
You don't need to have an empty chair.
It's gilding the lily.
It is gilding the lily.
It's a hat on a hat.
Yeah, I mean, I asked her about that.
I asked, couldn't you make the point about this
just based on Kushner's very public record alone?
Like, why did you do this?
And he just, he kept on coming back to,
I wanted to make that particular point
about women activists in Saudi.
And that's the way I got to that angle on the story.
He basically defends the,
the fictions in that story as like again,
this is my right as artists to create
a symbolic empty chair.
Correct.
Yeah, yeah.
Okay, I mean, it doesn't seem very funny to me,
but look, who am I to judge?
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This is Infamous from Campside Media.
So you've done all this reporting.
And now you need to go and get comment from him.
How did that work?
Did you reach out to his publicists, go back and forth?
Did they not want to give comment at first
where they were willing to sit down straight away?
They did not want to give comment at first.
And I think the dynamic of the strikes
was used a little bit at first as like, oh,
you seem to be asking about things I have to do
with the Netflix special.
We're not sure we can talk about.
As though it would be promoting, so they were worried
that talking would be breaking the promotion rule.
Because SAG and WJ people aren't
supposed to promote projects that are under the strike.
Yeah, correct.
Around Labor Day, I reached out again and said, listen,
the story is happening.
I'd like to talk.
And I heard back from a different publicist
and had a little conversation and sort of said, at the end,
I think he should talk to me.
And he did end up talking to me.
Is that essentially it?
We always thought of it as an interesting question
about what is journalism?
What is a journalist now is, I think, more fluid
than I think journalists would like it to be.
Who Americans trust?
Where they get trustworthy, the information
is actually like a really big question.
And so I was genuinely curious.
I wanted to know if I was wrong, but I also
wanted to know if I was right why the choices had been made.
So we ended up having a sit down.
What was that meeting like?
He suggested that we meet.
I think we were originally supposed to be at the Olive Tree
Cafe, which is above the comedy seller.
And then there was work going on.
So we ended up doing the interview itself
in the showroom that's like the basement
of the fat black pussy cap.
It's bigger than the comedy seller itself.
But yes, it's a small venue.
So anyway, it was the afternoon.
It was not night time.
It was like an empty thing.
And obviously, the venue was very pointed.
Is this his home turf club pointed in one way?
Well, I asked him.
I was like, it seems like a pointed location
to have me here.
And I let him start off the conversation.
And I think he was basically like, yeah,
I wanted to do it here because this
is like the center of American stand up.
And he then kind of gave his, I would say,
kind of kick off preamble of like, listen,
this is how I think about my comedy.
And that's, you know, he continued
throughout the conversation to draw this distinction
between his stand up work and his work on Patriot Act
as two separate ways of approaching comedy.
So in Patriot Act, he said, informational is always first.
He comes second.
And in his stand up, he has more latitude to kind of,
again, play with characters, fiction, hyperbole.
And so he kind of like gave his very,
essentially his theory of comedy and the hard line,
I guess he draws between those two,
Hassan Manage person on us.
So he kind of kicks off with this preamble, then what happens?
Yeah, I would say I essentially like asked him
to go through the incidents.
And his response was largely the same to each one.
I would ask him, is that how it happened, as you told it?
And in most cases, it hadn't.
And he does come back to his comedy
as drawing attention to things that a lot of Americans
don't pay attention to, right?
You know, the idea that he is bringing the perspective
of a practicing Muslim who came of age in post 911 America.
And that's not a perspective that's out there
on the mainstream.
And then there was an interesting, critical reversal of like,
yeah, but what does that say about the audience
that they needed that from him?
I think that's a really, really great point.
And before we talked, I did a lot of reading
on this concept of clactor comedy,
where you deliver a line to Garner applause
rather than an actual laugh.
Tina Fey talked about it being coined in 2008 by Seth Meyers.
Just this idea that people would be like,
oh, you know, something really bad happened to me,
but I fought on, you know?
And that's not a joke,
but in this era of post Obama and onwards,
it is very self-congratulatory.
Yeah, it's certainly during the Trump era.
I mean, Colbert's show became very overtly resistency.
I think the fact that Trump was so,
I mean, we gotta give it to him, funny.
Funny both on purpose and often not on purpose.
Comedy became a default way to discuss politics
because our politics became so comical
that it did then take on.
Oh, are the comedians just like making fun of the present
or now it does feel like it carries a different way
because there was a Muslim ban, right?
And then it carries a lot of dark weight to it.
And so I think comedy was co-opted in lots of ways
by the Trump era.
People have said this a million times over.
Veepe got less funny because-
It became real.
Reality became Veepe, right?
But also because it's like, oh shit,
like is this where we talk about real life now?
And that felt very different.
Yeah, absolutely.
And I think that there was this moment
within the Trump era of art as protest
and that art becomes protest.
And I don't know, whether that's good or bad,
but looking back and this ties back
to what you said was some of the reception to the piece
is that there does seem something
self-congratulatory to me about being a white audience
hearing these oppression stories
and being able to pat yourself on the back
for being like, I never did any of those extreme things.
And you know what, here I am clapping for a brown man
who survived that.
And then you get to turn off Netflix
without actually doing anything to alleviate
any oppression or exploitation experienced by anybody.
And I guess I should say what to be a pedantic factor.
I don't know, listen, as we all know,
Netflix doesn't share their audience numbers.
So like, I don't know what percentage of the audience
was white, what percentage was brown or black or whatever.
But like, I think there's been a lot of talk
about lived experience in a way that that plays
into our understanding of the world and understanding
of politics and I think people on the left wing,
liberal mainstream, whatever you want to say,
bring up the idea of like, we need a broader spectrum
of lived experiences brought in.
And I think people on the right,
because people on the right have picked up the story too
and said, you know, look, it's a lie, right?
You can just make up this, you know, a victimhood culture.
So obviously, like everything,
this has just become refracted through partisan lens,
which I think says a lot about just,
yeah, identity politics in general in America.
So do you think this means he can't get
the daily show job now?
And what does this mean for comedy in general?
That's a great question.
I think there's a couple things,
some of which are structural, which are interesting.
I think Trevor Noah left that show presumably
because he could make more money touring
than he could being the host of what was once
like this marquee show.
Cable is a dying industry.
It's slowly dying.
It still makes money, but it's slowly dying.
I think cable shows have less prestige than cable shows did
during like, let's say the era when John Stewart
was really appointment viewing for a lot of people.
It's not appointment viewing now.
It's like all these comedy shows.
I think we often watch them clipped on YouTube, right?
I think there's a number of prominent names
that have been floated.
House on is certainly one of them.
I have a sense that he was up there.
I will confess to being sort of surprised
by the attention.
It's you've gotten a lot of attention
in a way that I was surprised by.
I think he could very well still get the daily show.
I think there are lots of things that executive's way
when they're deciding who's going to be the host
of their show.
And listen, I don't think you even have to be a crisis PR
specialist to know that news cycles have been falling.
He has the experience.
He is a very handsome, talented performer.
He has a charming stage presence for sure.
And I think it's inarguable that he's a,
he is a telegenic person.
He was in like debate in high school.
He's a person who has a way with words
but is not new to hosting at all.
I am in no way thinking that he's not going to get it
because of this.
I'm sure there's lots of people who are existing in the world
who have no idea this controversy happened
or who aren't taking part in a conversation about
whether we should be done with this genre of comedy.
And I think a lot of people like eating their sad lunch salad
at work and watching 20 minutes of the daily show.
You didn't need to call me out like that.
And I think, honestly, a lot of content now
is produced to be background noise to people's lives.
Like television shows are greenlit on the basis of,
I know you cook dinner and watch fill in the blank show
about dating, you know?
Like that's, and so I think like there's comfort.
There's, this genre is comfort.
And yeah, I kind of come back to like,
doesn't make money, is it good for business?
It's probably staying.
That is absolutely perfect.
Thank you so much, Claire.
Thanks so much for listening to our story about Hassan Manage.
And again, thank you all so much for tuning in to infamous.
We strive to bring you topics that are juicy
and behind the scenes, but also thought provoking.
And the idea of a very prominent comedian
who made his name off of politics
and is up for the daily show hosting slot
definitely qualifies.
Personally, I feel that these alleged deceptions
are a bit too egregious to really make him still
sell out big arenas as a comedian
or get that daily show slot.
But as Claire says, a crisis PR person,
a good one can play his cards really right from here.
And so anything could happen.
It's very possible that you'll still see viral clips
of Hassan as you're eating your sad desk salad.
So we'll be back next week with one of our
multi-part storytelling stories.
This time about a pickup artist and the women
who fought back against him.