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Oscar: I'm not even focused up here, at the moment...
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I'm just kind of like, what's happening subterranean?
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Sean: Lots of plates spinning over here. Oscar: Yeah. What's happening?
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Sean: Hey, what's going on, everybody?
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For <i>First We Feast</i>, I'm Sean Evans, and you're watching <i>Hot Ones</i>.
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It's the show with hot questions and even hotter wings.
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And today we're joined by Oscar Isaac.
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He's a <i>Golden Globe</i> award winning actor whose work spans everything from the <i>Broadway</i> stage, to beloved indie films, to the biggest box office franchises in <i>Hollywood</i>.
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You can also catch him starring in the rage fueled, dark comedy series "<i>Beef</i>", which returns for its second season on <i>Netflix</i>, April 16th.
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Oscar Isaac, welcome to the show. Oscar: Hey, Sean.
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I'm very delighted to be here.
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Sean: At least in the beginning. Oscar: Yeah.
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Sean: What's going through your head as you prepare to take on this gauntlet? Oscar: Just surrender.
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Just surrendering the war with reality. I'm here. I'm ready. All right, we're in. Meow. Okay. All right, little cat. "Garlic Delight". Mmm. Mmm.
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Sean: So, "<i>Beef</i>" creator, Lee Sung Jin, says that the second season of the show is about the internal repression of rage you see in the workplace.
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A different engine from season one's road rage clash.
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As an actor, what's it like to play someone who's constantly suppressing their beef rather than acting on it?
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Oscar: Yeah, it was interesting, 'cause I think, like, I was a couple of weeks in, I was finding myself getting really hoarse and I was having trouble getting air out and I was like: "I feel like it I'm just so strangled." .
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And so, it was manifesting itself as like a very strangled feeling.
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That was, like, not on purpose.
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It just, I think, was from playing somebody that's being so squeezed.
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You know, Sung's just so great at that humor of people kind of being squeezed, and they make these sounds. Sean: As you learned.
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Oscar: Which is what life is, really.
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Life squeezes us and these are the sounds we make. That's ummy. Sean: You like that one? Oscar: Yeah. I like pickled things.
2:41
Sean: So, I've heard you describe acting as humiliation management. Can you unpackage that? Oscar: Yeah.
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You know, that's the, that's kind of like the tightrope walk, right?
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That's why it's a little bit of an extreme sport, 'cause you put yourself out there.
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There's no separation between you and the work, you know.
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And you arrive in a room with lots of people, there's lights on and expecting you to find some sort of honest moment, or whatever that is, and...
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but, you know, I mean, they say public speaking's, people are more afraid of that death. Sean: Like, anything. Sean: Yeah. Oscar: Yeah.
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So, that's part of the thing of just, like, you put yourself out there and, you know, and some people deal with it by, like, punching themselves in the face before a take, and some people wanna humiliate themselves more, some people need to control everything.
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And so that, for me, it gives me a lot of empathy for the way people need to manage those things to try to arrive to somewhere that's interesting to them.
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Sean: How easy is it for you to switch into iambic pentameter?
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Like, is there a metronome in your head...
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Oscar: We were just talking about iambic pentameter. Yeah.
3:40
Sean: Is there, like, a metronome in your head that you can lock into to describe hot sauce flavors?
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Or is it something that requires a lot of work with the script before?
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Oscar: I mean, a little bit of both, but we naturally speak.
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If you speak English, you kind of naturally speak in iambic pentameter.
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If you start to break it down, like, you know, we naturally speak in iambic pentameter.
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If you start to break it down, you know...
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You know, it just kind of keeps going in that way.
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And it's just fun to see if you can force things into that rhythm.
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And it can, sometimes, elicit almost like Chris Walken-esque readings of things, 'cause you're, like, that, that splits right in the middle, and, you know, it's fun. Little sweetness.
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There's, like, a lull, so I get the guard down.
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Sean: Oh Oscar: Before the...
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Sean: You're recognizing it. Oscar: ... the villain comes. Yeah. Sean: You know too much.
4:31
So, in working in the "<i>Star Wars</i>" franchise, I've heard you say that a TIE fighter is more comfortable than an X-Wing.
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From an actor's perspective, what is, like, the difference in those cockpits?
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Oscar: The X-Wing is a lot tighter.
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I think it was also just the nature of the way we filmed those scenes, 'cause, uh, especially on the first one, it was outside on a gimbal.
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And so, you know, I'd be kind of squashed into this X-Wing, like, the sun bearing down and, like, the camera's kind of up there, like, really high up.
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And, uh, and that was just, it was really intense.
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And they were screaming like: "Okay, look left, look right."
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, they're just like: "All right, the guy just died.
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Be afraid, but not too afraid. Be heroically afraid." . You know?
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So, and I'm just kind of, like, moving on this, like, on this horrible ride.
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Uh, and then the X, the TIE fighter, you know, the way we shot that, they kind of made a lot more room in it so the camera could go around and I'm back to back with, uh, Boyega on that one.
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And that was actually, it was, like, one of the first things that we shot.
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And, and I just remember the whole thing being a bit lighter.
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So, in my mind, TIE fighters are the way to go. Which one?
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It's the "Smoking Dragon"? Edgy. Little edgier. Sean: Yeah.
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We're getting edgy over here. Oscar: All right. Sean: Getting dangerous. Oscar: Right.
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Sean: So, when you have a particularly critical or taxing scene circled on the script, like, for example, Victor Frankenstein's deathbed.
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What is the day like in the build up to it?
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Like, is it different from other days on the call sheet or more similar than one would think?
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Oscar: Yeah, it's an interesting one that you bring up.
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That day, I spent it, you know, I was like: "I'm gonna focus.
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I'm not going to really, you know, expend a lot of energy.
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I kind of wanna just maintain myself in a state of as much relaxation as I can be so that I'm available for stuff to come up." .
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And I listen to my sad sack music and I, you know, looked at pictures of people that have passed and people that mean something to me, when I was at someone's deathbed, you know, just kind of bringing up some of those things.
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And I went in and we shot the scene and, 5 or 6 takes, and Guillermo was very happy with it, it felt, everyone felt really good.
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There were some tears in the crew. It's like, we got it. Great.
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And then, the way Guillermo edits, he's kind of quilting the movie as he goes.
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He's got like a pretty full edit with music on it the very next day, which is kind of terrifying.
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But he's like: "Do you wanna see it?
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You want to see it cabron?" , and I'm like: "Okay." .
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And I was like, and I watched it, and I just was like: "Was that take four that we use?"
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, he's like: "Yeah, that was take four", I was like: "I don't know if that was take four", he's like: "It's take four." . And then we looked.
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And it wasn't take four, it was, like, it wasn't the right take.
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But then I saw the take and it wasn't that much better either.
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I was like, all right, and I was sitting down, we were gonna shoot an insert.
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And then he's like, he comes and sits next to me, he's like: "What's the matter?"
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, I was like: "Well, you know, I'm feeling a little...
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I'm feeling a little insecure."
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, and he's like: "Well, you are an actor."
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, and I was like: "No, no, I know, I know.
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But I just feel, like, maybe I should have like looked up and said, you know, I'm sorry, or I should...
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he's like: "No, no, those are all ideas.
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You know, you were really in it.
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And, and I, my spidey sense says that it's great." .
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And then he's like: "Go take a break and we're gonna shoot this insert." .
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And I went to my trailer and I just relaxed and I made a phone call, or whatever, and forgot everything and came back in and he was set up for something else.
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I was like: "What's this?"
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, he's like: "We're gonna do it again.
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We're gonna do you're closeup again." . I was like: "Why?"
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, he's like: "You know, if nothing comes, then I'll just make fun of you for the rest of your life." .
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And so, I didn't have time to like, listen to anything or think of anybody or, you know, and we just did it and a lot of different things came out, and that's what ended up being in the movie.
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So, you know, it's, it's one of those funny things where you try to control it and it's not totally up to you how it comes out, you know?
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And it's usually better when you get out of the way. Mh. I love you, Amarillo.
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I feel, um, I think I'm good so far. Sean: So far, so good. Oscar: Yeah.
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Sean: I'm all right if you're all right. Oscar: Yeah.
8:27
Sean: Is it true that your costume in "<i>X-Men: Apocalypse</i>" was so heavy and claustrophobic that you'd have to retreat to a cooling tent in between takes? Oscar: I would. I would.
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I did the, one of the big reasons I did the job, I was like: "Fassbender, Jennifer Lawrence, and McAvoy, and all these amazing actors? Yeah."
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, and then I never saw any of them, because I was so overheated and like, I couldn't turn.
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So, I just got put in this cooling tent, and sometimes someone would come by and be like: "Hey, Oscar." , I'm like: "Huh?" , you know?
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And by the time I turn around, they were gone already, so...
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it was, it was a very challenging, uh, it was very challenging, but I'm thankful for the cooling tent. Wish I had one now.
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Sean: Is it true that your uncle, a huge "<i>Star Wars</i>" fan, brought custom shirts for the cast when he visited the set? A gesture that moved J. J.
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Abrams to make him an extra in the film. Oscar: He did.
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My uncle, my uncle, Guillermo, he had made these "Estar Guars" shirts, and he was such a, such a huge, huge fan and a collector.
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And, actually, speaking about shirts, I'm wearing this shirt which is "Hidden Temple Toys", which, um, my dear cousin Ed and his wife Jen, they have this collectibles toy shop in Selma, North Carolina.
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And sadly, my cousin, last month, lost his life in a car accident.
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And he was like an amazing superhero of a human, you know?
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And I do believe you are what you love.
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And he really loved superheroes and he loved collectibles.
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And, uh, and he was just like a protector of, of people that are less fortunate and people that are vulnerable and, like, a beautiful, beautiful man, so...
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And he was always like: "Oscar, you got to do <i>Hot Ones</i>.
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You got to do <i>Hot</i> <i>Ones</i>, man." .
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I was like: "I don't know, man.
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I don't know if I can handle it."
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, he's like: "You got to do it, man. Don't be a pussy."
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And, uh, and so, you know, to get to be here and I was like: "All right, I'm taking you with me, Ed." , so... Yeah. Sean: Love that.
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And thank you, Ed, for the referral, by the way. Oscar: Yeah. Oscar: Okay. How am I doing, Gino?
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My son's, like: "Just don't embarrass me, dad.
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Please, don't embarrass me." .
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Sean: All right, so this one is called "Homegrown Hell" here. Oscar: Okay. Sean: In the six spot.
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Oscar: And these are the ones for this season, 'cause you change them every season, right?
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So, you're getting used to these a little bit now. Sean: Yeah.
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This is the second to last shoot of this season.
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So, about to say goodbye. Oscar: All right.
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Sean: Actually, to this lineup right here. Oscar: Ti this lineup.
10:41
Sean: So, savoring every last drop, while I've got it. You know?
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It's always so sad to say goodbye to these ones.
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Oscar: But there's no color changing, at all, on the lips.
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I mean, you've got, you got it down. Sean: I'm practiced. You know?
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I've put my 10,000 hours in at this point. Oscar: That's good.
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Well, we all got to be good at something. Sean: That's true. This is what I got.
11:02
Which theater was more essential in your journey as an actor?
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The Coconut Grove Playhouse or the old Area Stage Theater? Oscar: Oh.
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Oscar: That's a, that's a very sweet question.
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Um, without a doubt, Area Stage.
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I mean, I love the Coconut Grove, it was just always such a staple there, which has since, is gone.
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Uh, but Area Stage, John Rodaz and Maria Rodaz, um, I remember that was the first time I even saw a play that wasn't, like, a musical or anything. Streight play.
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A friend took me and I watched, uh, I saw "Oleanna", David Mamet's, "Oleanna".
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I just, my mind was blown. I was 17.
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And I waited afterwards to, like, meet the artistic director.
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I was like: "I would like to work with you, sir." .
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And, uh, and then, about a year later, I auditioned for, like, an original play, and I did that and I got, I got to do that play.
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And I became really close with John and he became a mentor to me.
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And we did quite a few plays after that together. And, um... Yeah.
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Sean: That's where the first domino fell.
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Oscar: Yeah, yeah, we keep in touch.
12:00
And he came up to see me do a play.
12:01
The last play I did a couple of years ago and... Yeah.
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And they have an acting school down in Miami. Okay.
12:11
Now we're getting silly, right? Yeah.
12:21
I mean, I guess I'm pretty numbed out already, so...
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Sean: Good place to be on this show.
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Oscar: I'm not feeling too many sharp hits, but I see what's coming.
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Sean: For me, I just feel this one in my chest. You know?
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And the throat starts to...
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Oscar: See, I was gonna say it's staying neck up for me right now, but we'll see what happens later in the day.
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Sean: Yeah, hopefully we can catch the same wave lenght at some point over here.
12:41
So, you've collected the Infinity Stones of A-list directors, from the Coen brothers, to Ridley Scott, to Guillermo del Toro.
12:49
And that's kind of just scratching the surface. Yeah, yeah. Starting to come.
12:52
Oscar: It's waving and saying hello. Sean: Yeah. Oscar: Hello. I'm here.
12:55
Sean: Of the directors you've worked with, which one would you say requires the fewest number of takes in aggregate before moving on to the next scene?
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Oscar: Oh, that was Paul Schrader.
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It was like one, two, max. Soderbergh, as well.
13:08
I mean, that was like one of my very first things I ever did.
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And he just, he's editing it in his head so much that he knows exactly the snippet that he needs.
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I remember I was, I remember following Benicio, we did a movie called "<i>Che</i>" Che Guevara, and I was following him into the United Nations, and I think he, there was someone behind me.
13:24
He goes in, the door kind of hits me, and then I keep going, and then someone else literally, like, falls and gets stuck in it, and we keep going.
13:26
And he's like: "Moving on." .
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And I was like: "Did you see that?"
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, He's like: "Yeah, yeah, yeah. Anyway, next thing." , you know. So, I was...
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you just never know what's going on in there.
13:37
Sean: Is it true that you and director Alex Garland debated what the robot's private parts should be called in "<i>Ex Machina</i>"?
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And if so, do you remember how you landed where you landed? Oscar: Yeah.
13:47
This was, so this was my dad. My dad's a doctor.
13:47
And I, you know, it's an incredible script. It's so amazing.
13:52
And I showed it to him and he's like: "I don't buy it."
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, and I was like: "Like, the whole thing?" , he's like: "Yeah." , I was like: "Why?" .
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And he's, like, and it was just because of this, he's like: "You wouldn't call it an, you wouldn't call it a cavity." .
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And he's like, he's like: "Ew.
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You wouldn't call it a cavity."
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, I'm like: "What do you mean?"
14:08
, he's like: "It's an ori...
14:11
cavity's like a cavity in your teeth, you know, you'd call it a an orifice or a..." , Yeah.
14:16
And I was like: "All right, dad." .
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And if, what if I change that? Then it's awesome? He's like: "Yeah." .
14:19
And so, I think we went with orifice? Hole?
14:25
I don't know, I don't know what we went with.
14:27
I'm not sure, but it wasn't cavity.
14:27
Sean: As long as it wasn't cavity.
14:27
Oscar: As long as, as long as it wasn't cavity.
14:31
Sean: And you know, speaking of cavities, mine are kind of lighten up, right now. Oscar: Yeah, yeah, yeah.
14:35
Sean: But not enough to stop me. Oscar: Yeah. I feel like this...
14:38
It'll change the situation and then I won't be able to recover.
14:41
So, I'm gonna, I'm holding off as long as I can. Sean: All right. Then I will, too.
14:45
We'll see if we can hold off after this one. Oscar: All right.
14:47
Sean: This is "Da' Bomb Beyond Insanity". Oscar: Yep.
14:49
And this has not changed at all? Sean: No.
14:51
You talked about out with the old, in with the new.
14:54
Except for this one, which always holds down its spot.
14:56
Oscar: All the ingredients or the style, it's always the same. Sean: Exactly. Every single time.
15:01
It's our control in the experiment. Oscar: That's so gross. Sean: Looking over. Can we get a thumbs up? There it is. Yeah. Oscar: Okay. Okay, okay.
15:26
Sean: So, you've been an incredibly prolific actor over the last couple of decades, stacking up dozens and dozens of credits along the way.
15:32
So, what I wanna do here is test your recall.
15:35
What I'm gonna do is I'm gonna give you the tagline to an Oscar Isaac film, and then I'm gonna challenge you to try to connect the tagline to the name of the movie. If you're ready. Oscar: What's that?
15:48
Sean: "To erase the line between man and machine is to obscure the line between man and gods." Totally.
15:54
Sean: Do you know which Oscar Isaac movie it is? Oscar: Oh! Uh... um. Oscar: I said that?
16:02
Sean: No, it's a tagline in the movie.
16:04
Oscar: It's a tagline in a movie that I was in? Sean: Yeah.
16:06
Oscar: Give it to me one more time. Sean: Yep.
16:08
Sean: "To erase the line between man and machine is to obscure the line between man and gods." Oscar: A little wordy. Um. "<i>Ex Machina</i>"?
16:18
Sean: Bang, bang, bang, bang. One for one. That was good. That was good. How about this one? "New York City, 1981.
16:24
, a dangerous place to build an empire".
16:24
Oscar: "<i>A Most Violent Year</i>", right?
16:28
That was, you were using... Oscar: '81... Sean: ...
16:30
the context clues, right there.
16:30
Oscar: '81, yeah, it's very important about that year.
16:30
Sean: They'll get harder.
16:32
Sean: They'll get harder. "Let the past die..."
16:32
Oscar: (<i>speaks Spanish</i>) "Kill it if you have to." Oscar: Yeah. Um. "Let the past die. Kill it if you have to". Wanna go back in time.
16:46
It's gotta be, like, a...
16:46
something about, uh, going back. Going to the past.
16:49
Hit me one more time with it. Sean: "Let the past die. Kill it if you have to."
16:57
Oscar: "<i>Apocalypse</i>"? Is it "<i>X-Men</i>"?
16:59
Sean: It's "<i>The Last Jedi</i>". Oscar: I'm sorry. I dont know... I'm sorry. Sean: Make no apologies.
17:06
Oscar: I'm so sorry, Sean. Sean: Make no apologies.
17:08
Oscar: You seem so disappointed.
17:11
You really let that one sit.
17:11
Sean: "Beyond fear destiny awaits. It begins." Oscar: "<i>Dune</i>". Sean: There you go. Oscar: Yeah. Yeah. No fear, baby. Sean: Back on the horse. Oscar: No fear!
17:20
Sean: "Only monsters play God."
17:22
Oscar: "<i>Frankenstein</i>". Sean: There you go.
17:23
"He's playing the hand he was dealt." Oscar: Um. Uh. "<i>Card Counter</i>".
17:31
Sean: You are doing great.
17:32
Oscar: "<i>Card Counter</i>".
17:33
Sean: Using the context here. How about this? "Warrior hero.
17:38
The untold story of the man behind the legend."
17:41
Oscar: The man behind the legend. What's the...
17:43
what is the man behind the legend?
17:45
Sean: It's a legendary man.
17:48
Oscar: Did I do a legendary man?
17:48
Sean: It's an untold story.
17:51
Oscar: I don't think I do legendary mens.
17:54
Sean: Is Robin Hood a legend? Oscar: Oh, God. Yeah.
17:55
I'm just thinking about myself. You know? Just thinking about...
18:01
I'm just up in here too much, right now. Sean: I get it. I get it. One last one for you.
18:04
Oscar: It's about others.
18:04
It's about serving others. It's Russell Crowe. He's the legend.
18:09
Sean: "Every couple meets their match."
18:12
Oscar: Every couple needs their match.
18:16
Is this the "<i>Beef</i>" tagline? Sean: What a pro.
18:17
I mean, I haven't seen it, but... Sean: What a pro. Oscar: All right. Sean: What a pro.
18:19
Oscar: I mena, all right. Two, uh... two?
18:24
Sean: Six out of eight is good on this show.
18:25
It's a recurring game that we play. Oscar: Okay. All right. Sean: And you're...
18:28
Oscar: Does it mean I'm just, like, so egotistical that I just, I just know them? Like, I got this. Sean: But you know what? The work paid off here. Oscar: Good, good. As long as it paid off.
18:39
Sean: Are you ready to move on here to sauce number nine? Oscar: So ready. I'm so ready. I'm ready.
18:43
Sean: So, up next is a "Squash Reaper X" sauce. Oscar: Okay.
18:46
Sean: Here in the nine spot. Oscar: Okay, baby. Okay, baby.
19:00
I'm just trying not to shit my pants right now.
19:00
I feel like that's the feeling that I'm having.
19:02
So, I'm not even focused uo here, at the moment...
19:02
I'm just kinda, like, what's happening, subterranean.
19:08
Sean: Lots of plates spinning over here.
19:10
Oscar: Yeah, yeah, there's some tectonic shifts.
19:12
Sean: Can you give us one highlight and one lowlight of having a cat as a co-star?
19:16
Like, what are the pitfalls and what are the rewards of sharing so many scenes with an orange tabby for "<i>Inside Llewyn Davis</i>"? Oscar: Mostly pitfalls. Sean: Yeah. I'd imagine.
19:26
Oscar: Um, there was, uh, like, six different cats, that all had different skill sets, or just, you know, were just naturally inclined...
19:35
Sean: Areas of specialization. Yeah. Oscar: Exactly.
19:36
Like, this one is basically kind of dead.
19:39
So, just uh, if you just needed to sit there...
19:41
Sean: Docile cat, that's the one. Yeah. Oscar: Yeah, yeah.
19:43
Oscar: And then, but the one that they'd often give me was like the more feral one.
19:47
And they would tie it, they would tie it to me with, like, this wire, so that, if it did run out, it wouldn't get away.
19:53
And I had to run down the steps to try to catch the subway and, almost every time, it would jump.
20:01
And then, because it couldn't get away, get really pissed at me and then just attack my leg.
20:07
Sean: And you're tethered, so you can't even escape.
20:08
Oscar: I couldn't get away. We're both like: "Aaah!" . Yeah.
20:11
That was, that was awful.
20:12
Sean: Be careful around the eyes. Oscar: Yeah, yeah. Sean: Yeah, yeah, yeah.
20:14
Oscar: Yes, you're right. Thank you.
20:16
Oscar: Um, and, uh, yeah, the the animal trainers, God bless them, seemed to be more like animal agitators.
20:23
They would, like, get them really nervous and then give them to me, you know?
20:23
Uh, so that was, that was tough, but we got through it. Sean: All right, Oscar. Oscar: Okay.
20:35
Sean: You know the, you know the drill. Oscar: I do. Oscar: Okay. Vamos. All right. Let's see how you doin'? Get a little... Sean: Little dip. Oscar: Okay. Sean: And with that. Oscar: Salud. Sean: Salud.
20:58
Oscar: And this is, like, the millions and the millions up there?
21:01
Sean: We're up in the clouds.
21:06
But the good news is the wings of death are behind us.
21:09
You have conquered the <i>Hot Ones</i> gauntlet. And to close things out.
21:13
It's been such a remarkable journey through your acting career, through the spice, but to close things out, I wanna bring it full circle.
21:21
Your high school yearbook quote was: "I like to be different and I'm into the arts.
21:25
When you look at me, you can tell." .
21:25
How accurate is that to the Oscar of 2026?
21:33
Like, does that yearbook quote hold up?
21:35
Oscar: I mean, let's just hear it again.
21:35
I just gotta hear it again. Sean: Sure.
21:36
It's: "I like to be different and I'm into the arts.
21:38
When you look at me, you can tell." . Oscar: I mean...
21:42
Sean: Does that hold up 25 years later?
21:44
Oscar: I mean, look at me. You can tell. Sean: When I look...
21:48
Oscar: I'm into the arts. The dark arts, you know. Sean: And you know what?
21:54
You've conquered the dark arts of spice today.
21:58
Now there's nothing left to do, but roll out the red carpet for you. Oscar: Thank you, Sean.
22:01
Sean: This camera, this camera, or this camera.
22:01
Let the people know what you have going on in your life.
22:05
Oscar: "<i>Beef</i>", season 2. No, this one. "<i>Beef</i>", season 2. Uh, April... Sean: 16th.
22:14
Oscar: This guy's fucking good, man. You're really good.
22:17
April 16th, like Sean said. "<i>Beef</i>", season 2.
22:23
It's, uh, it's gonna be good.
22:24
And, uh, you can tell, when you look in my eyes. It's gonna be...
22:27
Sean: That's a guy who's into the arts.
22:28
Osar: Yeah, this guy's in the arts, he knows. He knows what's good. Thanks, man. Oscar: Sweet, man.
22:40
I did ask for the Bad Bunny of the coconut ice cream.
22:44
Sean: Oh, well, you know what?
22:44
Oscar: When I saw that, I'm like: "That's my jam." . Sean: We do have that. Hold on. Oscar: I heard. Sean: Hold on.
22:49
And we're quick on the draw. Or at least... we sometimes are.
22:52
Oscar: I think I've earned it.
22:55
I think I've earned the a...
22:56
Sean: Yeah, you've earned this. Oscar: ... the Benito Coco. You didn't have to.
23:08
I gotta have some of yours now.
23:12
Sean: For the, you know...
23:12
Oscar: You gotta give me some of yours. Sean: ... for the plot. There we go.
23:19
Sean: Great job, great job. Oscar: Thanks, buddy.
23:26
Sean: Hey, what's going on <i>Hot Ones</i> fans?
23:28
You know you can catch me every Thursday interviewing celebrities over the wings of death.
23:32
But if you're looking for a little more Scoville laced action, tune in Tuesdays for <i>Hot Ones Versus</i>.
23:35
It's the show where celebrities go head-to-head, they either tell the truth or suffer the wrath of the last dab.
23:44
So, tune in Tuesdays for a front row seat to the fiery fights and celebrity clashes.
23:49
That's <i>Hot Ones Versus</i>, Tuesdays on <i>First We Feast</i>. Don't miss it.