
← Parenting is a Joke1 sep · 44 min
Adam Cayton-Holland Is On the Big Screen
Host Ophira Eisenberg brings back this favorite episode with Adam Cayton-Holland in celebration of his new film See You When I See You recently featured at the Sundance Film Festival, the Nantucket Film Festival, and more. They talk about the peculiar math of building a creative life around two young children, five-year-old Malcolm and a two-year-old, and how becoming a parent turned the ambitious comedian who once imagined “conquering the world” into someone who now negotiates club weekends down to the hour so he can catch the first flight home. His new special Wallpaper gets its title from his observation that once you have kids, you become the supporting character in your own life, and he admits that dialing back his career was less a sacrifice than a necessary recognition that his children changed what he wanted from his time; after two days away, he misses his boys enough to optimize every travel itinerary around getting home. That shift extends to his wife, who initially imagined she would be “alpha mom” but discovered she also needed time to be a person outside motherhood, and to the small rituals of being a touring dad, like bringing his wife coffee beans and his sons treats from airports—after learning the hard way that three stuffed animals are considerably less useful to a two-year-old than plane pretzels. The conversation also moves into Cayton-Holland’s history as a Denver comedian who helped build the city’s DIY comedy scene with The Grawlix, his early work as a substitute teacher, and the strange realization that he was good with little kids but terrible with middle schoolers, whom he describes as having adult feelings and no acceptable outlet except cruelty. The emotional center of the episode is his family history and the death of his younger sister Lydia, whose depression, OCD, and suicide forced him to confront his own anxiety and fears about passing mental illness to his children; he talks about EMDR therapy, the recurring traumatic memories he eventually learned to “file away,” and how writing his memoir Tragedy Plus Time gave him a way to tell Lydia’s story with the care he felt it required. Rather than treating comedy as automatic healing, he explains why he initially stopped performing altogether, then eventually returned through a one-man show where audiences understand that the story can be funny without pretending everything is okay. Parenting brings the conversation back to the everyday indignities of raising children, from a five-year-old who threatens to call the police because his mother ran a yellow light to the nightly competition over which parent gets chosen at bedtime, while Cayton-Holland quietly counts his teeth when his mind wanders—and still somehow insists there are 32 of them when he actually has 28.
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