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Aaron Jackson and Josh Sharp on Dicks: The Musical and Megan Thee Stallion

Aaron Jackson and Josh Sharp’s UCB sketch became Dicks: The Musical, a profane Parent Trap spoof featuring Megan Thee Stallion as the twins’ boss.
Opened Runtime2 min Written byDocumentaryTube Team
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Aaron Jackson and Josh Sharp took their absurdist stage sketch about identical twins and expanded it into Dicks: The Musical, a 2023 A24 film directed by Larry Charles. In interviews, the creators described both the show’s unlikely path to the screen and their delight at working with Megan Thee Stallion, who plays the twins’ boss.

How a UCB sketch became a feature film

The film grew out of F*cking Identical Twins, a live piece Jackson and Sharp performed at the Upright Citizens Brigade (UCB). AP News reported in 2023 that the show began in 2014 and ran 40 minutes. The Mary Sue, recalling its own visit to the UCB show in 2015, offers a separate account of seeing the performance; those dates describe different reporting, not conflicting start dates.

For the movie, Jackson and Sharp play Craig and Trevor, long-lost identical twins who discover one another and scheme to reunite their parents. The setup borrows the broad premise of The Parent Trap, then takes it in the pair’s deliberately profane, surreal direction. AP News and ComicBook.com describe the film as an expansion of the stage sketch rather than a direct record of it: a feature with a larger cast and a story built around the twins’ family plot.

Sharp told AP reporter Jake Coyle, “We just tried to make our own favorite movie. It’s just sort of the movie we wish existed.” That comment captures the creators’ stated ambition without suggesting that the film is a conventional or restrained musical comedy.

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What Megan Thee Stallion does in the film

Megan Thee Stallion plays the twins’ boss. AP News describes her character as working at a fictional company that sells “Vroomba” parts; Vroomba is part of the movie’s joke, not a real product. Her role also gives her a musical spotlight: she performs “Out Alpha the Alpha.”

In a ComicBook.com interview, Sharp described the rapper as “nice and fun and hangs out … Nothing but nice things to say about Meg.” Director Larry Charles also characterized her as cool in that interview. The Mary Sue’s conversation with the creators recounts their reaction to watching her perform on set. These are the interviewees’ impressions of working with her, not statements made on Megan Thee Stallion’s behalf.

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What the creators’ comments suggest about its comic approach

Jackson and Sharp’s project joins musical numbers and a family-reunion scheme to an intentionally outlandish comedy style. WNYC’s Q framed the film as a profane Parent Trap spoof and discussed the duo’s improv background and queer cinema. That context helps explain why the premise is treated less as a realistic family drama than as a framework for heightened, often deliberately ridiculous performance.

Charles, the film’s director, told AP News, “There’s a tentativeness around comedy right now,” placing the production in a broader conversation about comic risk. It is his observation, rather than an official position from A24 or the cast. The film’s path from a UCB sketch to a studio-distributed feature is the concrete story behind the creators’ stated aim to make a movie they themselves wanted to see.

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