Perhaps why Storrie understood this character so well was because he developed it himself. Before his acting career took off, he studied the art of clowning. That comedic form relies upon a performer’s willingness to be physically vulnerable; it draws solely on the imagination, with a clown’s body being his primary prop. Storrie combined these instincts with his own public image, making a meal of the outsize attention that is now placed on his appearance; even when he asked a bachelorette to tie his tool belt around his thigh like a tourniquet, his efforts to look sexy continued apace. Ultimately, the comedy acted as cheeky commentary on the at times twisted nature of objectification: As one of the women put it, “I’m worried about him, but I definitely don’t want him to stop.”