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"I don't know why I'm doing this," he muttered into the microphone, his voice a low, rhythmic drone. "I could be at home, categorized by age-appropriate algorithms. But instead, I’m here. In a room. With you."
He paused, letting the silence stretch until it became uncomfortable, then unbearable, then—briefly—profound.
"Anyway," he said, checking his watch. "That’s eighteen minutes on pears. Let’s do some material about the collapse of the liberal elite."
"Perfect," the director replied. "Cut to a close-up of a middle-aged man in the third row looking slightly confused. That’s the 'Vehicle' brand."
He began a routine about a specific brand of artisanal pear cider. It started simply enough, but three minutes in, he was still talking about the font on the label. Five minutes in, he was reenacting a fictional, aggressive conversation with the pear farmer. By ten minutes, he was lying flat on his back on the stage floor, repeating the phrase "hand-picked by heritage workers" until the words lost all linguistic meaning and became a terrifying, shamanic chant.