Kamau’s interview with Shannon Lee opens with a discussion about her role as steward of her father Bruce Lee’s legacy, which she frames as “stewarding” and “nurturing” rather than “parenting” his legacy, focusing on protecting its energy and helping people understand it beyond kicks and punches. She emphasizes Bruce’s philosophy of self-actualization and his four-step formula: research your own experience, accept what is useful, reject what is useless, and add what is your own.

The conversation turns to her viral statement about being “tired of white men in Hollywood trying to tell me who Bruce Lee was,” rooted in Quentin Tarantino’s portrayal of Bruce in Once Upon a Time in Hollywood, which she calls less than kind, generous, and accurate. Drawing on a former Buddhist nun’s teaching, she distinguishes anger from “wrath,” describing wrath as a protective force deployed to defend compassion and prevent unnecessary suffering, and explains how Tarantino’s doubling down in the novelization and interviews pushed her into that protective wrath.

Shannon reflects on the toll of decades of legacy work: her introversion, “Bruce Lee exhaustion,” and the struggle to maintain her own identity while constantly “doing right” by her father. She describes ending relationships that didn’t have her best interests at heart and reframing the work as part of her legacy, guided not only by Bruce’s energetic boundaries but her own.

In addition to her father, she speaks about stewarding her brother Brandon Lee’s more constrained legacy, complicated by studio control over The Crow and unpaid merchandise royalties, which powerfully triggers her wrath.

The interview closes with her core practices: “be here now,” accept death so you’re not afraid to live, and trust that you are held by life and the universe, returning to simplicity as the remedy for complexity.

Support The Bruce Lee Foundation at https://bruceleefoundation.org, The AAKOMA Project at aakomaproject.org, and the Freedom Community Clinic at freedomcommunityclinic.org .

Who's With Me is produced by Rabbit Grin Productions. Music by Chris Dowd. Distributed by Pushkin Industries.

See omnystudio.com/listener for privacy information.

W. Kamau Bell opens the interview with Sara Sidner by giving her flowers and praising her long record of reporting from conflict zones.

Sidner explains her attraction to covering conflict despite disliking it, seeing it as a way to witness honesty and possibly help resolution, a dynamic she connects to her family background. She describes being mixed race, the “quintessential person to hate” for white supremacists, and her commitment to showing her humanity even to those who hate her, insisting she does not truly hate anyone.

The conversation turns to their shared experience as only children and Sidner’s deeply “country” childhood in North Florida: no shoes, many animals, and even picking up snakes, followed by a move to Miami Lakes and a more urban life. Her British mother from rural England ensured she knew her Black family and culture, giving her “double country” roots and vivid Southern Black church and music memories like “Great Balls of Fire.”

She recounts early poverty in Florida with no electricity, running water, or TV, pumping well water and entertaining herself outdoors, which later made television mesmerizing and helped spark her interest in journalism through shows like 60 Minutes and 20/20.

She describes how traumatic stories and war coverage live in her body, from George Floyd’s murder to bombed children in hospitals, and argues that external conflicts stem from unresolved inner conflicts and ego.

Sidner insists on being “human being first, journalist second,” willing to intervene in emergencies even if it “kills the story,” and says if she ever loses her humanity she must leave the profession.

Sara discusses publicly sharing her breast cancer diagnosis, the unexpected community of survivors it created, and her current “cancer‑free” status, while highlighting the Breast Cancer Research Fund’s work, especially on aggressive cancers and the 40% higher mortality risk for Black women.

Donate to the Breast Cancer Research Fund at give.bcrf.org

Chapters:

00:00:00 Conflict, Humanity, and War Coverage

00:10:04 Florida, Miami, and Multiple Lives

00:20:23 Education, Privilege, and Mom’s Work

00:32:03 Big J Journalism School, Low Pay, and Ethics

00:42:30 Human First, George Floyd, and Refusing to Lose Humanity

00:52:14 Cancer Journey

Who's With Me is produced by Rabbit Grin Productions. Music by Chris Dowd. Distributed by Pushkin Industries.

See omnystudio.com/listener for privacy information.

Kamau chats with comedy legend Margaret Cho about her evolution from prodigy stand-up to comedy elder, activist, and craft‑obsessed lifer. They bond over their shared San Francisco roots and how he sees her as a “comedy mother.” Cho embraces that role, saying she loves taking ownership when younger comics build on what she did and “make it better.”

They dig into her landmark solo show I’m the One That I Want, which kicked open the door for comics to be vulnerable and “give a damn” onstage. Cho contrasts traditional self‑deprecation with a philosophy of self‑affirmation, arguing that comics can “choose yourself,” insist “I matter,” and avoid self‑deprecation that, for comics of color, can reestablish white supremacy in front of mostly white audiences.

Asked for her “state of the comedy universe,” she critiques the Kevin Hart roast as disheartening, praising Cheryl Underwood while condemning the racist jokes about lynching, George Floyd, and Underwood’s husband’s suicide, as ugly and unimaginative. This leads into a broader discussion of how comedy has drifted from speaking truth to power and punching up toward being “cozy with power,” with some comics mistaking racist or “forbidden word” jokes for genuine edginess.

Cho’s decades‑long LGBTQ advocacy runs through the episode. The host notes she identified as queer early and helped define the universe of what comedy could be, especially in San Francisco’s queer scene. She warns that comics “testing” boundaries around trans people without understanding the stakes contributes to real‑world harm: “when you take trans lives lightly… trans people die.” She calls current conditions “really sad” and “scary,” citing bathroom and identity laws, driver’s license issues, and the re‑legalization of conversion therapy, and says “we’re in the middle of a transgenocide” that demands action to keep trans people safe and restore equality.

The episode also touches on grief and community as Cho and the host remember their friend, brilliant but troubled comic Jim Short, reflecting on his neurodivergence, volatility, and genius, and wishing more people would discover his work.

Support Friendly House, which provides assistance for low‑income women dealing with addiction, at https://friendlyhousela.org.

Who's With Me is produced by Rabbit Grin Productions. Music by Chris Dowd. Distributed by Pushkin Industries.

See omnystudio.com/listener for privacy information.