[CW/TW: SI, su*c*d*, depression, anxiety, mental health]

Bo Burnham, please God, don’t ever read this…unless I’m right.

Okay friends, do you hear the faint, crinkling sound in the distance? That’s the sound of me carefully crafting my tin foil hat because, boy howdy, do I have some new theories for you. A couple of things before we get started: 1) No, I will never, ever drop how good this special is, and, 2) Yes, my brain absolutely never shuts off, and this is sincerely how it works.

With all of the particulars out of the way, please join me in the good ol’ conspiracy corner for a rootin’ tootin’ good time.

ALRIIIIIIIIGHT. The other day, I was watching Inside for the first time in a couple of months to decompress (you know, like a normal person), when, suddenly, I had a full-on, Jimmy Neutron brain blast. I’ll give you a moment to buckle up. All set? Great.

I think there’s even more to Bo Burnham’s Inside than I initially thought. I think this is actually the last entry in a trilogy consisting of what., Make Happy, and, obviously, Inside, and how all of Bo Burnham’s clothing in Inside is symbolic/intentional. I also have a slightly insane, smaller theory, but we’ll keep it a secret for now 😉. I know. I know. But hear me out. I’m about to blow your mind straight out of your skull (also, if you haven’t read my 10+ page piece on Inside from last year, I would recommend using it for your primer).

Once more for emphasis: Jesus Christ, Bo Burnham, DO NOT READ THIS. But, if I’m right about this analysis, blink twice.

Before we dive into Inside, let’s go all the way back to 2013’s what. For those unfamiliar with what., it’s Bo Burnham’s second comedy special. You might be asking yourself why I think this is the first entry in our trilogy, especially when he has four comedy specials. Cue the Elyse Myers impression: “Great question, I would love to tell you.” In the beginning of what., one of Bo Burnham’s familiar, omnipotent, computerized voices is used to introduce him on stage, and in a big moment of foreshadowing states, “He’s isolated himself over the last five years in pursuit of comedy, and in doing so, has lost touch with reality.”

I honestly think this is purely coincidental, but for someone who timed out hitting a water bottle in what. to make a point, mentions in Make Happy that he gets flack for planning his specials “down to the gesture,” and who even set their AC to 69° for “Sexting” in Inside, it’s worth mentioning (this isn’t even close to the wildest thing I’ll throw out here, btw). Now, there are certainly bits in what. that don’t fit into my theory. Hell, there are even a couple of parts in Inside that don’t exactly align with my theory either, but I want to direct your attention to a few more specific parts in what.

In Bo Burnham’s opening song, there’s one line in particular I think sets the scene: “You used to do comedy when you felt like comedy.” This is followed up by “dance, monkey, dance.” Sound familiar? It’s because it’s absolutely a common theme in both Make Happy and Inside. What about a part of his intro song with a bit where he has “prolonged eye contact” with an audience member while there are blue lights shining in the background? Sounds a bit like “All Eyes on Me”, eh? (Again, we aren’t even close to one of the craziest things I’ll throw out here today.)

Let’s go back to the water bottle I mentioned earlier. Bo Burnham, henceforth referred to as BB because this piece is going to be long enough as it is (and, apparently, seven extra characters is where I draw the fucking line), seemingly drops his water bottle on stage. But, as it turns out, this is actually a bit; one of his trademark original songs plays, and it includes the line, “Art is a lie. Nothing is real.” Remind you of anything? Maybe of a monologue from Make Happy and the idea of him performing to a fake audience in Inside, perhaps? 👀 👀 👀

For the rest of my, like, evidentiary support (Legally Blonde, anyone?), I want to focus on four main parts of the special: the songs “Sad” and “Left Brain, Right Brain”, BB’s monologue from about 45 minutes into the special, and the ending song, “We Think We Know You”. Before I hop into “Sad”, I want you to go back and listen to “Comedy” from Inside.

Welcome to three minutes later! “Sad” consists of lyrics with different examples of situational irony (I’ll never fully understand how exactly to use this phrase because my ninth grade teacher used Alanis Morisette’s “Ironic” to teach us about irony, and nothing in the song is truly ironic) interwoven with lines of commentary like, “The world isn’t funny; it’s sad,” “‘Cause tragedy will be exclusively joked about,” and “Goodbye sadness, hello jokes.”

Now, if the first lyric I listed is ringing a bell, it’s because the computerized voice who introduces BB in Make Happy says, “The world is not funny.” In fact, it’s one of the first lines in the entire special (eyes emoji intensifies). BB’s whiteboard in Inside also has several references to joking about tragedy, AND the entire point of “Comedy” is to make a point about white savior comedians trying to “heal” the world with their jokes. See? This piece basically writes itself (except for the parts where it takes me days to write this, and uh, BB wrote the actual material I’m writing about).

Next up, we have “Left Brain, Right Brain”. This whole bit/song kicks off an “unexpected” check-up to see if “the treatment is working.” He explains to the voice that he’s still having symptoms including “internalizing his feelings” and having difficulties “relating to other people.” The voice lets him know his “emotions and logic are at war” and his “creativity and analysis are at war.” This entire song goes back and forth between his practical left brain and his emotional right brain.

After a back and forth where Right Brain scolds Left Brain for taking all of BB’s problems and goes so far as to say, “I hope you’re happy ‘cause he’s sure not,” the two finally make amends and decide performing comedy together is essentially the way to heal BB. To me, this is another representation of the duality we see a lot throughout all three of BB’s specials; his stage persona and his real person are always at odds. This becomes even more apparent during the last 15-20 minutes of the special.

Around the 45 minute mark, BB gives a monologue where he talks all about how “people don’t realize it’s an act up here.” He addresses how sometimes people will meet him in public and be taken aback he’s not the same confident, extroverted performer he presents on stage. Although “Repeat Stuff” falls between this monologue and the end of the special, it sets up our big finale of “We Think We Know You”.

In “We Think We Know You”, BB has three “fake” interactions with an agent and two people he didn’t really know but went to school with/knew before his comedy took off. His agent tells him he loves his stuff, but BB is going to have to essentially change everything about his comedy to be big, while the other two people comment on the same idea from BB’s previous monologue: people expect him to be his stage person. They also throw out a lot of preconceived notions about BB. In true BB fashion, he mixes all three interactions into three sentences, which he whittles down to one sentence…“We Think We Know You”.

I know this is all a lot to process, so I’d recommend pausing here for a brief intermission to grab some snacks, a drink, and more tin foil because we’re just getting started.

ANNNDDDDDD we’re back. Now, I’m not going to go as #deep (we love a reference) into Make Happy as I did what. because we went over a lot of it last time. Think of this section as more of a refresher. I’m going to try to give a more Cliff’s Notes version here, with fancy bullet points and everything.

Make Happy starts with someone sitting on the same bench, in the same outfit as what. We think it’s BB…until BB comes out and shoos them off stage.
He re-establishes the whole theme of this trilogy from the very beginning with the lyric, “You wanna be happy? Well, get in line.”
“Kill Yourself” is in the same family as the scene in Inside where he literally projects the idea about not killing himself.
Towards the end of the special, BB says, “If you can live your life without an audience, you should do it,” and cuts to a shot of the audience that’s eerily similar to the idea of the camera being turned back to us in Inside.
“Can’t Handle This (Kanye Rant)” is basically where Inside begins.

Caught up? Sick. We’re about to take a big ol’ journey together, so please keep all hands and feet in the ride at all times because it’s about to get wild.

As I mentioned earlier, I think these specials are a trilogy. There are way too many similarities between them and way too many of the songs play off of each other for it not to be. However, there’s one more big theme I want to mention here. We’ll come back to it because the latter half of my theory is a little (completely) crazy, but I want to go ahead and plant the seed here.

All three specials mention the BB brand. In what., the manager character mentions that BB needs to “keep the Bo Burnham brand alive and well.” In Make Happy, BB directly jokes about buying shirts from his website and this all being “a front for the brand.” In Inside, if you recall, there’s an entire segment built around brands and their responses to all of the horrific world events we’re currently experiencing. I promise we’ll come back to this later, so keep this all in mind.

I probably already sound like Charlie Day in the famous Pepe Silvia episode of It’s Always Sunny in Philadelphia from my trilogy theory alone, so I’m going to break down this next theory for you even more… to solidify sounding like Charlie Day in the famous Pepe Silvia episode of It’s Always Sunny in Philadelphia.

In Inside, Bo Burnham wears several specific colors: white, black, gray, and, in the case of “How the World Works” and the video analysis segment, stripes. I think when BB’s in white, he’s representing his stage persona. When he’s in black, he’s the “real” BB. The gray hoodie is a “gray” area where he’s a mix of both. Also, just for funsies, BB wears stripes in “How the World Works” and the video reaction segment, and stripes were, uh, once used to IDENTIFY INDIVIDUALS WHO WERE TO BE SECLUDED AND OSTRACIZED FROM SOCIETY.

Convinced yet? Hang tight.

Let’s start with the idea of the black and white clothing. BB enters the room where Inside takes place in a black shirt, but “Content” shows him in a white shirt. He also says, “Robert’s been a little depressed.” I think BB, the real person, is re-entering comedy, thus awakening his stage persona who speaks for him in this line. I also think this is why “Comedy” starts with BB in a black shirt. When BB’s in the black shirt, he sings lyrics like, “The more I look, the more I see nothing to joke about” and “Should I be joking at a time like this?”.

After an interaction with one of his well-known omniscient voices, the tone of the song completely shifts, and lo and behold, he wears a white shirt while he “writes” the special. There’s only one moment his stage persona seems to have a moment of clarity (which he’s known to joke about) and says, “Should I be joking at a time like this?” while looking directly at us. He’s waiting for us to answer, but obviously, we’re not there in the traditional sense. There are a couple of times in “Comedy” where it cuts back to BB in a black shirt with lines like, “I swore I’d never be back, but I’m back on my feet,” but these cuts only really happen with the more realistic lines.

I’d be remiss if I didn’t quickly mention another thing here. In “Comedy”, there’s a line where BB says, “Somebody help me out ‘cause I don’t know.” I didn’t touch on this last time, but this obviously sets up the ideas in “How the World Works” and “Problematic” of celebrities/white people asking those who are discriminated against how they can help instead of educating themselves on how to do better. This obviously isn’t about clothes, but yet again, this is how my brain works, so we’re doin’ it live. I digress.

During the intro, BB is in a white shirt, and I think this intro is a representation of his stage persona and the real BB assimilating, but we’ll dive into it later. In “FaceTime with My Mom (Tonight)”, BB wears a white shirt.

Now Baillee, you might be asking, how does this work into your theory? Well, dear reader, as BB mentions in Make Happy, we’re all performers. BB is letting his stage persona speak for him because he’s trying to hide his current mental state from his mom. His stage persona isn’t just for performing his comedy specials, but he’s started using this persona in his “real” life (within the confines of this special).

Next up, we have “How the World Works”, where BB’s in a striped shirt. As I mentioned earlier, stripes used to be used to identify those individuals who were to be kept inside, away from everyone. You could be so bold as to say Socko is a representation of his stage persona because it’s a white sock, but tbh, it’s not a hill I’m willing to die on. I sincerely think it’s just a sock, but this is also a man who pretends to drop water bottles, so I could be totally wrong here.

Socko does make a comment to support the idea that “Comedy” sets up “How the World Works” with the lines, “Why do you rich fucking white people insist on seeing every socio-polictical conflict through the myopic lens of your own self-actualization? This isn’t about you”, though. *shrugs*

Remember the groundwork I laid for you earlier with the idea of BB’s brand? It’s finally time to make good on the wildest theory I’ll present you with today. At the beginning of the segment, the Inside brand logo is a black box surrounded by a white background, and Inside is starting to leak out of the black box into the white background, aka the “real” BB is leaking out into his stage persona. BB also wears a seemingly black shirt in this segment. I am now going to present to you something that has become a bit of a running joke with the friends I’ve told but who still support me.

In the Inside brand segment, BB famously says, “Who are you, Bagel Bites?”. If you’re like me, and you’re watching this like it’s the key for cyphers from the Zodiac killer, you’ll notice there’s a brief pause between “you” and “Bagel Bites”. Bagel Bites abbreviated is BB, aka Bo Burnham. I think he’s really asking “Who are you, Bo Burnham?”.

The idea of him being a “brand” is interwoven between all three specials, and I think this entire segment is actually a commentary on why people are grilling him about why he left the public eye/why he isn’t commenting on everything happening in the world. To recap, Bagel Bites = BB = Bo Burnham. I also may have tricked you a little bit and had an ulterior motive for calling him BB throughout this piece. ¯\_(ツ)_/¯

The line, “It’s also a bit of a scary time because customers expect a lot more from their brands than they did in the past” completely confirms this IMO because he’s saying people expected a lot more from him than they did in the past. BB’s always done commentary, but with how absolutely terrible things are in society, they’re expecting more out of him.

Now, I’ll admit, the big holes in my theory are poked with “White Woman’s Instagram”, “Bezos I”, and “Bezos II”, but listen, even his other specials have bits that aren’t directly correlated with the bigger themes of the special but still have a lot of commentary, so I maturely say to you, “Hop off it” (the character from “Welcome to the Internet” does appear in “White Woman’s Instagram” to give you a connection if you’re jonesin’).

In the “Is it necessary?” monologue, BB is notably in a black shirt. To jog your memory, this entire scene is BB reflecting on whether we can just stop talking about every single thing happening to us and around us, etc… The “real” BB is asking why we can’t just be quiet for five minutes while his stage persona is known to command a stage.

“Sexting” is actually what inspired this entire piece. When I watched Inside during its theater run last year, I noticed how BB goes between a white shirt when he’s singing and gyrating, but the selfie he sends shows him a black shirt, not a white shirt. I didn’t have this whole theory fully fleshed out yet, but this tiny, tiny detail spurred this massive piece (Infinite Jest, eat your heart out), so you know which scene to personally thank (and/or sarcastically thank).

The selfie he sends is him a black shirt because he’s the “real” BB - everything happening in his white shirt is what he wants to be happening in his head. In all actuality, he’s sitting in a folding chair and just texting. This is the same BB who sends the brick of text. Similar to what., these two BB’s are assimilating into one, and we really start to see it in his “Thank You” video when he tells us more content is on the way while holding a knife; we’re watching his stage persona deteriorate and assimilate in real time.

We cut to BB recording the song “Look Who’s Inside Again”, and he gets extremely frustrated because he takes “a huge fucking breath” while trying to record the song. This is because his stage persona is supposed to be perfect. It’s the part of himself he presents to the world, and his stage persona is cracking. He can’t hide the imperfections anymore, and it’s why he’s wearing a black shirt when he’s watching his old YouTube videos. The “real” BB is watching this stage persona. It’s also one hell of a segue into “Problematic”.

In “Problematic”, BB’s in a gray tank top. I think this marks the start of him literally and metaphorically stripping away the layers of his stage persona as he literally and metaphorically works out how to navigate some of the jokes and songs of his early career. It’s also a callback to “Comedy” and “How the World Works” because he’s asking us if he can be held accountable.

Then, we have “30”. In the scene leading up “30”, BB is in the famous gray hoodie because we’re starting to get into another gray area. He’s joking around about this special being made, but he’s also clearly hurting, and we’re able to see the pain - it’s no longer just being thrown into lyrics. BB’s starting to get more and more vulnerable, and I think it’s why he’s in his underwear in “30”. We’re peeling back those layers yet again.

[CW/TW: From here on out, there’s going to be a lot of SI, mentions of su*c*d*, etc… I know I gave a warning uptop, but it’s exceptionally prominent throughout the rest of the special]

After “30,” we have the scene where BB is literally projecting the idea of not killing himself onto his actual person. Both the BB in the video and the BB who he’s projecting onto are wearing white shirts. This is because his previous stage persona is being projected onto his assimilated stage persona, and I think this isn’t shown in a linear fashion - I think this “happens” more so around the time of “All Eyes on Me,” where the “real” BB and his stage persona are completely at odds. On that note, it’s time for Intermission.

Watching this a year later, I think Intermission is a callback to the brand segment; he’s literally rolling up his sleeves and getting to work. We’re about to have a “clearer” view of the struggle between the BBs. This is affirmed in “I Don’t Wanna Know” (where he’s in the “background” while seemingly being in our “background” as we watch, I might add). I think “I’d ask you if you’re watching, but I don’t wanna know” is him referring to us watching his stage persona completely burst open to reveal the “real” BB. As in, are we actually seeing what’s happening?

Now comes one of the biggest pieces of evidence to support my theory. In the video game scene, he’s in a white shirt literally (I hate how many times I’ve had to use literally, but so is the life of an analytical movie writer) controlling himself in a black shirt. The BB in the black shirt only smiles when he’s playing the piano, aka on stage. The BB in the white shirt makes several comments during gameplay including “He’s been in here a while,” “I don’t know why they feel the need to give the hint so quick,” and “It’s fucking boring, but that’s the point.” Let’s break it down:

“He’s been in here a while” - aka the “real” BB hasn’t been visible for a long time
“I don’t know why they feel the need to give the hint so quick” - aka there are pieces up until the very end of this special, re: BB being at odds with his stage persona
“It’s fucking boring, but that’s the point” - aka he’s not always his stage persona

He falls asleep at the end of the “game” in a white shirt because he’s exhausted. His “stage persona” is exhausted because he’s been fronting it for years. He goes to sleep in the white shirt because of how exhausting it’s been to play this part for so long.

I really, really think we start to understand what we’re dealing with in “Shit”. BB’s always thrown in lyrics about his mental health, but it’s never this pointed. The music’s familiar, and his mannerisms are cheeky and “fun”, but these lyrics are extremely dark. He’s also in…drumroll please… his white shirt. Again, he’s fully cracking. He can’t hide it anymore. He tells us as much in the next scene, where he tries to joke about his mental health being at an all time low. He does a brief song about it, and he never, ever looks at us. He’s shirtless in this scene because it’s another extremely vulnerable moment.

Onto one of my personal favorites, “Welcome to the Internet”. I think this song is actually part of a mini-arch with “White Woman’s Instagram”, “Bezos I”, and “Bezos II”, but I’m not going to go into it. However, I do think it’s also a bit of the Faustian deal BB took. In “Look Who’s Inside Again”, there’s a lyric about him doing anything to get out of his room, so he started making YouTube videos, and it’s where he was eventually discovered. As we all know, the internet has become a festering cesspool compared to what it was back in the early aughts, so BB got what he wanted, but the price was his privacy and mental health.

We have a quick interlude where BB talks about not wanting to finish the special and jokes he’s “talking to no one” (because he sincerely is), and we move to the next scene. BB sits in a mostly dark room with a spotlight on his face (in a pretty tight shot), and as a pre-recorded audience’s applause and cheers swell, an exaggerated smile fills his face. And, you guessed it, he’s in a white shirt.

I think the next segment is a bit under-appreciated, and it’s extremely telling. Fake natural lighting shines on a shirtless BB’s face as he starts a “set”. At first glance, the setup is bizarre, but if you really, really listen (slash write these insane pieces as I’m wont to do), it’s not a throwaway bit (to be fair, nothing BB ever does is really a throwaway bit).

BB talks about how “it’s nice that we can get together, and we can laugh.” You don’t need me to tell you he’s obviously alone. He also says, “All human interaction whether it be social, political, spiritual, sexual, or interpersonal should be contained in the much more safe, much more real interior digital space.” This, my friends, is a big ol’ theme throughout the entire special. I want to take one specific line through the lens of my stage persona vs “real” BB theory. BB is talking about how human interaction/joining the outside world is like mining and goes, “Suit up, gather what is needed, and return to the surface.”

I don’t know about y’all, but I don’t think he’s just talking about the mining comparison. I think he’s talking about gathering what emotions he needs to write his comedy and then returning to the “surface” aka returning to his stage persona. I also want to talk about the seemingly bizarre Pirate joke. If you haven’t guessed, I think it’s intentional.

After the really heavy part in “Can’t Handle This (Kanye Rant) in Make Happy, BB says, “I should probably just shut up and do my job, so here I go.” The Pirate joke is to cushion the blow of all of the previous commentary and to create a balance for us as the audience. It’s this idea of being able to say whatever you want… as long as there’s a good punchline for the audience to laugh at.

I frequently listen to “That Funny Feeling,” BB’s and Phoebe Bridgers’s, both (and yes, my Spotify Wrapped is always a nightmare), and surprisingly, I’m not here to focus on the lyrics. Rather, I want to focus on what BB says before the song starts, “I can’t really play the guitar very well or sing, so apologies.” This is the total opposite of what we see from BB’s stage persona, and he’s wearing….A 👏 BLACK 👏 SHIRT 👏.

The entirety of “That Funny Feeling” is about how fucked we all are; it’s extremely bleak. Outside of commentary about our crumbling society, BB talks about his current mental state and the struggles he’s had with his mental illness. There are four words I really want to highlight here: “Losing focus, cover blown.” This ties into the speaking part of “All Eyes on Me” where BB talks about having panic attacks on stage and how it ultimately stopped him from doing live comedy. BB is telling us he couldn’t keep up his stage persona anymore. He alludes to it in what. and Make Happy, but he’s being pretty damn upfront in Inside.

During the lead-in to “All Eyes on Me”, BB sits on a stool, in his gray hoodie, as he attempts to record an intro. It’s obvious he’s struggling as his leg nervously jiggles, and he can only get a couple of words in before he’s overcome with anxiety. He realizes he can’t do the intro, drops the mic, and walks off set, hitting multiple pieces of equipment on the way out.

His stage persona is fully cracked. He can’t pretend he’s okay anymore. He can’t separate the private BB from the public BB any longer. As he walks off, we see the “real” BB in a black shirt who, after a long pause says, “I am not…um, well,” before he begins sobbing uncontrollably. We pan over to the same camera we’ve been seeing throughout the special, and it’s pointed at us, so ✨symbolism✨. We “enter” the camera, and we’ve reached my favorite song of the entire special.

“All Eyes on Me” has evolved for me since I first saw Inside. I’ve realized it fully represents his stage persona vs “real” BB, and it’s when his stage persona merges with the “real” BB. For example, BB goes back and forth between “get your fucking hands up, get on out of your seat” (his stage persona) and “heads down now, pray for me” (the “real” BB). Also, “where everybody knows” isn’t a fun little Cheers reference - he’s talking about where everyone knows about his real mental health and how he’s really struggling. Finally, he picks up the camera because we’re the camera, and we’re now seeing it from his perspective.

[explosion noises]

^ That’s the sound of me blowing your mind. Or, maybe you already caught on to this, and I just sound like a pompous ass. Either way, you’ve made it this far, so thank you.

After “All Eyes on Me” ends, we get some BTS scenes of BB working through the mechanics of Inside. Right before we reach “Goodbye”, a white shirt wearing BB finally says, “I think I’m done.” This is his stage persona telling us he’s done. The “real” BB doesn’t need to hide behind him because we know.

BB wears a black shirt in “Goodbye” because of what I just mentioned. This is the “real” BB, and he doesn’t need to use his stage persona. All of the lyrics in “Goodbye” all juxtapose the lyrics of the songs used early on in the special like “Comedy” and “Welcome to the Internet”. They’re now all from the “real” BB’s perspective, i.e. “Oh shit, you’re really joking at a time like this”, and looking directly at the camera, “call me up and tell me a joke,” etc… We end with BB fully naked at his piano as a giant spotlight hits him and the voice from the beginning of the special comes back with a refrain from “Look Who’s Inside Again”.

We barely have a beat until we cut to BB outside of his house with a giant spotlight on him. BB wears all white, BUT it’s not like what we’ve seen throughout the special; it’s akin to prison attire. After the applause and laughter wind down, BB tries to go back inside his house, but he’s locked out, and he’s forced to stay outside. The camera pans out, and we realize we’re watching a playback of the scene. A white-shirt wearing BB is in the audience, watching, and he briefly smiles before we cut to the credits.

I want to slightly alter my commentary from the last behemoth I wrote on Inside. BB no longer needs his stage persona, so he’s now watching from the audience. I think the smile is a mix of relief and pride. After “hiding” behind his stage persona for so long, the “real” BB has finally emerged. The “real” BB has realized he can’t go back inside now, but keeping up the appearance of his stage persona has been so exhausting. That’s why his stage persona smiles. It’s not malicious, but it’s almost a smile of solace.

Well folks, there you have it. I’m sharing yet another opus about Inside that’ll potentially label me as a crazy Bo Burnham lady, but here we are. Much like BB’s stage persona, I too am thoroughly relieved to have this out into the world. I will say, I thoroughly believe everything with these theories, down to Bagel Bites = Bo Burnham.

I mentioned this in my other piece, but I think we’ll take something different away from Inside. Its meaning will shift depending on the state of your mental health, what’s going on in the world, and how horny you are (I can’t help that Bo Burnham is a hell of a performer and also very attractive). Next year, I may throw this theory out entirely. I may waltz in here and tell you Butterfingers are code for The Manhattan Project. Who the fuck knows with how my brain works?

I only know one thing for sure: Bo Burnham, if you read this, I am so, so sorry.

All Eyes On Me for New Theories on Bo Burnham's Inside