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The traumatized Mohammad subsequently hides this abuse from his school and family; finally inflicting self-harm upon himself in order to escape labor enlistment and his abuser. Upon discovering her deceased husband in their apartment, she desperately tries to veil the body from her employers, which is problematized further by a group of invited guests who visit their shared home amidst a holiday week. Leila’s fear of deportation at the discovery of her husband’s passing leads her to perform a series of clandestine acts, in effort to safeguard the refugee status of herself and her son. Upon discovering the presence of one another, they form concrete identities in consolation for their burgeoning relationship.

In 1996, Helen Lee dubbed the departure of second-generation Asian Americans from the non-English-speaking immigrant churches that they were raised in as the “silent exodus”. This nationwide phenomenon was taking place largely because first-generation churches failed to provide the second generation with culturally relevant care that would enrich their ethnic, national, and spiritual identities. Glory, the church of focus in this study, was founded by and is home to many silent exiles. In hopes of being an enriching church for second-generation Asian Americans, pastoral staff and leaders have created spaces within Glory for racial identity and faith to be in conversation with one another. However, in regard to the music of the church, they were stumped on what could be done to make it uniquely and proudly Asian American. This conundrum inspired a key question in this study: What is distinct about the way that Asian Americans worship God through music? This study argues that the worship music at Glory Church is distinctly Asian American not by what is sonically perceived, but rather by what is physically performed and collectively experienced. The Korean-English, or Konglish, term nunchi bwa-ing (눈치 봐-ing) is utilized as a keyword to describes Christian musicking in a multilingual setting and foregrounds the Korean/Asian American worshiping body. This study concludes by looking forward and arguing that Asian Americans ought to amplify their worship music to the larger Contemporary Worship Music scene as it has the potential to be a powerful site of intergenerational healing.

JASON SEGEL, Steven Yeun, Mo AMER, JOHN Mulaney and TYLER James WILLIAMS on learning to embrace the hives, buy the BMW and push your crazy puppet musical idea even if everyone's telling you it's stupid S \"So, same time next week?\" Abbott Elementary star TYLER James WILLIAMS jokes with the others - Steven Yeun (Beef), JASON SEGEL (Shrinking), Mo AMER (Mo) and JOHN Mulaney (JOHN Mulaney: Baby J) - after a particularly therapeutic hour of conversation in early May. Was it also cathartic? JOHN mulaney That was the challenge that I wanted to give myself, to maybe be \"vulnerable.\" [...]those little pauses are where you're supposed to reflect on, \"OK, where am I now?\" Forgetting Sarah Marshall is about a breakup because that was about as sophisticated as I was at 24 years old. MULANEY I don't know if you (to AMER) felt this with your first stand-up special, but you basically have [age] zero to 25 to ruminate on things and come up with a sensibility and figure out the jokes you like.

Steven Yeun, I think you know, Sonny, Ali and I, we really kind of connected in these Sonny is the creator -- I call him Sonny. We just really connected on our shared experiences. Sonny and I especially, we're coming from like -- we're from the middle of the country. I'm from Michigan, he lived in Iowa and Texas for a while. GUESTS: Steven Yeun