3 New Comedy Specials You Should Definitely Watch (When You Have a Moment)

As a connoisseur of stand-up comedy, I must say that Natasha Vaynblat’s “We’re All Dads Here” is a breath of fresh air in this digital age where we are constantly trying to perform our “real” selves. With her quirky humor and delightful silliness, she takes us on a journey that feels like a nostalgic trip back to the days when comedy was simply about being silly without any political agendas or irony overload.

In 2023 alone, over 150 stand-up comedy specials were unveiled. That’s a significant increase compared to past years when it was rare for comedians without top names in the industry to have their special filmed. Today, even if a comedian can’t secure a deal with cable or streaming networks, they can produce and release their special independently on platforms like YouTube. This abundance of content has created a challenging landscape for viewers. Each month, this column will recommend several standout specials: three to five newly released in the current month and one classic inspired by them. We aim to showcase comedy that is funny, daring, captivating, or quirky – not necessarily all at once, but each with a unique quality that sets it apart. This list isn’t meant as a ranking of the best, but rather a curated selection of specials that offer something exceptional for stand-up enthusiasts. Although we can’t reduce the vast array of choices available, we can shine a spotlight on the noteworthy gems worth watching.

Reggie Watts, Never Mind (Veeps)

Unlike any other comedian, Reggie Watts’ performances are unique each night, heavily influenced by the audience. This unpredictable style is captivating to watch, but challenging to record for film since the essence of improv can’t be fully conveyed and he can’t interact with viewers at home. Instead, in his show Never Mind, Watts doesn’t aim to solve this issue. Instead, he provides a different experience by swapping real-time interaction for nostalgia. Essentially, the show records an average hour of Watts’ performance, blending improvised music and stand-up comedy, but sets it in the late ’90s.

In his comedy acts, Watts has consistently blended technology and futurism, humorously contrasting the outdated tech of the special’s 90s setting (like Clippy!) with today’s advanced technology. He ponders what it might be like if, in a far-off future, one could use a phone booth for video calls, much like they used to use public phones. Unfortunately, Never Mind contains only three comedy songs (plus an extra track from his band, Spore), leaving his stand-up performances, which are more whimsical and absurd than tackling heavy subjects, feeling somewhat incomplete. Despite this, it’s intriguing to observe Watts testing his comedic limits and experimenting with new methods for recording a special, making each performance unique.

Sam Morril, You’ve Changed (Prime Video)

A few years ago, Sam Morril was self-publishing comedy specials on YouTube and performing as a club comedian. After achieving success on YouTube, social media, and Netflix, his audience has evolved – so has his comedy. His performances have become more personal, with Morril focusing a significant portion of “You’ve Changed” on his dating life and relationships. However, certain sections featuring very topical material cause the hour to drag; jokes about a Trump vs Biden presidential election show how relying too heavily on current events can make a special feel outdated quickly. Despite being known as a comedian who tells a lot of jokes, in this performance Morril shares more extended stories while preserving his knack for crafting humor. With the backdrop of his achievements, his stories are presented with more arrogance, which generally suits his persona but occasionally seems overly self-important for a stand-up act.

All these components culminate in the final ten-minute segment of the special, where Morril’s former partner witnesses him perform at Madison Square Garden and is subsequently ejected. Morril skillfully narrates the story, alternating between providing specific details, using anecdotes as a foundation for humorous remarks, and occasionally consulting his phone to read texts to paint a comprehensive picture of the occurrences.

Chad Daniels, Empty Nester (Netflix)

In a humorous yet poignant manner, Laurie Kilmartin’s life experiences can be likened to residing in the realms between “You’ve Changed” and “Empty Nester.” In her book “Cis Woke Grief Slut,” Kilmartin, a seasoned writer of short, dark jokes, broadens her creative expression to share insights from her journey as a single parent.

Chad Daniels, a well-respected comedian for many years, particularly in the touring circuit, has never received the mainstream recognition he merits as he hails from a small town in Minnesota. However, his latest work, Empty Nester, offers him the broadest exposure yet in his 25-year career. Although it’s not a conventional one-man show with a unified narrative or theme, Daniels skillfully employs a familiar and significant incident – his children leaving for college and him being left as a single parent – as a structural element. This serves as a platform for his sharp, humorous anecdotes, such as when he counsels the audience, “If you have young kids, start distancing yourself from them now. It will be much less painful when they leave you for their own life.”

Apart from briefly touching on this subject, he elaborates more profoundly in extended skits, particularly the highlight of the show where he narrates the poignant incident of sending his youngest daughter off to college for the first time. To conceal his tears as a father, he humorously comments, “I did what every American dad does when feeling sad – I transformed it into anger.” Caught at a red light on the brink of tears, he admits that instead, he attempted to destroy the car’s horn by forcefully punching it through the steering column. At its core, Empty Nester is an emotionally charged special revolving around a man struggling to express his feelings, as he lacked guidance in dealing with emotions from his father or school during his upbringing. Essentially, it can be likened to the film Lady Bird, but for fathers.

Ali Siddiq, Domino Effect Part 4: Pins and Needles (YouTube)

In “Pins and Needles,” Ali Siddiq concludes his extensive “The Domino Effect” series by delving into his six-year prison stint. The grandiosity of the series becomes evident with its two-hour runtime, allowing Siddiq to maintain a delicate balance in his narrative. He portrays the resilience and ability to find joy amidst adversity, without romanticizing the harsh realities of incarceration. The special includes several intense stories as well as lighter moments, such as Siddiq judging a bodybuilding contest between two formidable inmates. Although there are instances where Siddiq digresses to share insights about life outside, he shines brightest when narrating his tales without added commentary or judgment. The special opens with the tale of his confinement in the “soft tank” and his struggle for release. It’s a gripping account that underscores his personal development later on when he manages to reduce violence within his cellblock and leads a hunger strike in solidarity with the Million Man March. While each special stands alone, watching all four in sequence to follow Siddiq’s journey from age 10 to 25 offers a rare, moving experience for stand-up comedy enthusiasts.

Hannah Einbinder, Everything Must Go (Max)

Hannah Einbinder, in contrast to her character from Hacks, possesses a cooler demeanor, is more entertaining, and demonstrates a broader understanding of comedy – both for Ava and the show itself. In the performance of Everything Must Go, she employs unique formal techniques that disrupt the casual flow of stand-up, such as using meditation as a subject while incorporating elements like dimmed lights, calming music, and sudden bursts of Drowning Pool’s “Bodies” and flashing red stage lights. While some parts may seem somewhat mundane and detached at times, overall it represents an electrifying stand-up debut. Here’s hoping that Hollywood success will enable Einbinder to explore more innovative approaches like this, rather than limiting her creativity as is often the case.

Marlon Wayans, Good Grief (Prime Video)

In this debut special, Marlon Wayans seamlessly blends his signature physical humor – a trait that propelled him to stardom in movies – with his stand-up act. The show, titled Good Grief, delves into the somber aspects of his family life, particularly the loss of his parents. The Wayans clan is known for coping with pain through large, inappropriate jokes. For instance, Marlon discusses having to witness his mother’s private areas while changing her diapers. He exaggerates their appearance over time, imagining what it would look like after ten children and 83 years. He mimics the movement of his mother’s labia by flapping the stage curtains. He also does an uncanny yet grotesque impersonation of an elderly camel eating straw. However, when he finally sees it, he expresses a mix of shock and pride at her “brand-new baby pussy.” He comments, “Somebody’s been doing their Kegels,” and calls his brother Shawn over to take a look. The special is filled with elements that are strange, absurd, troubling, yet somehow heartfelt. It also offers a glimpse into his unique relationship with his parents, particularly as the youngest of ten siblings who saw them more as friends than authority figures. Wayans is open about his father’s physical abuse and the complex dynamics of his relationship with his mother. The special aims not merely to romanticize some idealized version of them, but to portray them as they were – flawed individuals who also had a great sense of humor.

Sal Vulcano, Terrified (YouTube)

In the first hour of “Terrified,” Sal Vulcano discusses comedy and acknowledges comedians who dare to tackle sensitive topics with humor. He then humbly admits that he’s not one of those bold comedians; instead, he considers himself more of a silly, goofy character. As the title implies, “Terrified” predominantly features anecdotes from Vulcano’s past, where he was often fearful, much like John Mulaney. Vulcano was terrified of the tooth fairy, moths, and thunder. His mother’s creative explanation that thunder was God bowling helped him question his faith. The longest story in the special revolves around a time when Vulcano smoked hash and attended a Rufus Wainwright concert with a symphony orchestra, despite being unfamiliar with marijuana and the musician at the time. While there are many tales of getting too high in Amsterdam, Vulcano skillfully escalates the tension (presenting it as the worst night of his life) and focuses only on the unique incidents he experienced, such as when he discovered that the Ricola candy he had thrown at a woman in a wheelchair to clear his escape path was actually a condom.

Dan Licata, For the Boys (YouTube)

It’s not surprising that Joe Pera and Dan Licata have been friends and collaborators since high school, given their similar comedic styles and shared views on the vacuity of modern masculinity shaped by online culture. However, while Licata leans heavily into his instinctual side, Pera is more about self-discipline. He discusses animal behavior rather than sexual exploits. Watching their shows, For the Boys and Slow & Steady, one after the other could offer insight into how they engage with each other’s work.

Dan Licata operates in an intriguing realm, blending his true personality, stage persona, and fictional characters in his stand-up performances. What sets his character apart is the authenticity that suggests he’s baring his soul, even when the details are purely imaginative. His character is a man perpetually stuck in high school, discussing topics like masturbation, 9/11, and authority figures with contempt. It logically follows then, that he filmed his debut special in a room filled with teenage boys, reminiscent of his old high school. This same flair for the absurd was evident in his recent appearance on Late Night With Seth Meyers, where he embarked on elaborate tales brimming with astonishingly accurate details.

Ali Siddiq, Domino Effect Part 3: First Day of School (YouTube)

Ali Siddiq embarks on an unprecedented journey in stand-up comedy with a four-part series, chronicling his life from age 10 to 25, marked by growing up under a drug dealer, dealing drugs himself, getting arrested, and serving time in prison. With raw authenticity, the series delves into his past, making Part 3 a turning point similar to ‘Empire Strikes Back’. In this segment, after being apprehended at the conclusion of Part 2, Siddiq is incarcerated, grappling with the choice between going to trial or accepting a plea bargain. Simultaneously, he struggles to reveal his criminal past to his mother. Distinct among comedians, Siddiq demonstrates more than he narrates in his storytelling, showcasing how his resilience crumbles and his humanity gradually fades away. The performance of this narrative arc is creatively framed against a backdrop that transitions from a bright day to sunset to night sky over the course of 70 minutes.

In Part 3, Siddiq skillfully brings humor to the forefront by flawlessly embodying his story’s eccentric characters. However, there are moments that are difficult to endure. Siddiq’s most powerful scenes revolve around comparing the degrading prison-intake process, where he is subjected to a thorough examination while naked and chained alongside other inmates, to slavery.

Nikki Glaser, Someday You’ll Die (Max)

In the days following Nikki Glaser’s Netflix roast of Tom Brady, she unveiled her fourth hour-long comedy special, showcasing the witty humor that garnered her accolades in recent times. Unlike some comedians who prefer longer narratives, Glaser shines by varying the rhythm and structure of her jokes to keep audiences engaged. Her unique ability to incorporate vivid imagery is evident when she humorously describes the benefits of aging breasts: “My boyfriend places his penis next to my rib, and I sag over like a weighted blanket, then move from side to side, much like those cacti with sunglasses.” The special begins with approximately 20 minutes of introspective and candid discussion on the topic of childlessness, which she likens to her decision against trying heroin. The closing act is a surprising and emotionally resonant skit about gangbangs. Historically, sex jokes, especially from female comedians, have been met with dismissiveness. However, this has not discouraged Glaser, who continues to push the boundaries of the genre and establish herself as a contemporary master.

Colin Quinn, Our Time Is Up (YouTube)

The parallels between “First Day of School” and “Live in Crenshaw” are quite evident. Just as Siddiq, Howery skillfully constructs extensive stories centered around humorously vivid characters. Similar to “First Day of School”, over the span of “Crenshaw”, the day ends and the sun sets, but unlike Siddiq’s special, “Crenshaw” showcases a genuine sunset through the floor-to-ceiling windows of Susan Miller Dorsey Senior High School in Los Angeles. Apart from being one of the most visually stunning specials, “Crenshaw” manages to evoke a similar sensation to that created by Quinn in “Our Times Is Up”: It effectively portrays a sense of place and bridges the gap between the home audience and the live audience onscreen. Initially, Howery’s live audience is well-lit, allowing viewers to clearly see their expressions. As the transition to nighttime occurs and their faces become indistinguishable, it feels less like they have disappeared and more like they’ve blended with the viewer at home.

Comedians often express dissatisfaction with performing at corporate events, such as retreats, conferences, conventions, galas, where audiences may be distracted or inhibited. These events can provide an ideal stage for Colin Quinn, a comedian known for embracing failure. The Netflix special filmed at the Psychotherapy Networker Symposium adds an intriguing layer by featuring interviews with therapists who analyze Quinn’s performance and diagnose him based on their observations. This creates a compelling viewing experience as you watch his material while also considering the therapists’ reactions, leaving you questioning whether he is a truth-teller or a madman.

Alex Edelman, Just for Us (Max)

Over the last few years, one-person shows have gained popularity in the U.S., but Edelman chose a different route after moving to London in 2012 and winning the Best Newcomer award at the Edinburgh Fringe in 2014. He focused on longform stand-up. Despite appearing somewhat anxious and dependent on stage, Just for Us, filmed during its 2023 Broadway run, is a performance of remarkable self-assurance. Developed over six years (it was nominated for the Main Prize at Edinburgh in 2018), this show is based on Edelman’s personal experiences, including attending a white supremacist meeting in Queens and concealing his Jewish identity. Rather than delivering a straightforward narrative about antisemitism, Just for Us delves into intricate themes such as assimilation, whiteness, and the role of empathy. It intentionally avoids providing easy answers to complex questions. The show’s strength lies in its pacing – Edelman allows stories to unfold naturally without resorting to overly sentimental moments. If more comedians are considering solo shows, Just for Us serves as a model for how it should be done.

Kyle Kinane, Dirt Nap (YouTube)

The comedian, known for his storytelling skills and humor, exclaimed “Jesus!” when I mentioned that Kinane’s sixth stand-up special concludes with a 47-minute long finale. Indeed, the performance is masterful in its scope, both moving and hilarious. It’s jam-packed with jokes, making it feel like a one-liner comedian on steroids. For instance, Kinane humorously comments on Midwesterners’ resistance to therapy by saying, “If God didn’t want me to have anxiety, why did he give me all these cuticles?” He then adds three more jokes: “Having a rough one, Kyle? Then you know what to do – that’s two handfuls of panic snacks”; “You just go lock yourself in the bathroom at lunchtime and go full Blues Travelers on them shits”; “Then you hide your bloody hamburger mittens in your pockets for the rest of the day so your coworkers don’t know how to process your feelings correctly.” In this way, the audience gains a more tangible and impactful understanding of Kinane’s viewpoint compared to a simple punchline. This special is brimming with jokes like these.

Nathan Macintosh, Down With Tech (YouTube)

In this special’s opening, Macintosh acknowledges and appreciates the audience for attending, remarking, “There’s a strong possibility you might not be here – after all, it’s so convenient to stay home… and browse.” And off he goes! The ensuing content is a pointed critique of tech companies and their influential figures, often referred to as tech nerds. While some topics are well-trodden in the hour, Macintosh frequently explores unconventional perspectives (such as describing Mark Zuckerberg attending a party with a tennis ball since he’s unsure what regular people bring). However, his most striking quality is his energetic delivery and the urgency in his voice that sounds like the world is on the verge of collapse. His performance is akin to a constantly boiling kettle. Interestingly, this special airing on YouTube, a platform Macintosh criticizes, underscores just how deeply these companies have permeated our culture.

Christina Catherine Martinez, How to Bake a Cake in the Digital Age (YouTube)

In her first comedy special, Martinez is isolated within an empty art gallery adorned with a refrigerator, stove, and baking supplies, donning an incomplete pink dress held together by large steel clamps at the back. Despite being filmed without a live audience, this production emphasizes the desolation of the subject matter and the void of contemporary existence that Martinez is critiquing. When she discusses her job at a startup, a mysterious off-camera voice inquires about her work there. “I’m not sure,” she replies, “As far as I can tell, my role was to visit an office every day and check in or follow up. They don’t tell you in college that if you know how to do that, you can work in any creative field. If you can touch base and circle back, then… [she emits a mocking fart sound] well, ‘upper management’ is what they see in you.” The scene transitions to a shot of Martinez, looking small and insignificant, surrounded by an immense black void. In this existential wasteland, Martinez underscores the absurdity of trying to express one’s authentic self through stand-up comedy and, conversely, in daily life when we are under constant scrutiny and documentation. This quirky, avant-garde special may not appeal to everyone, but it is worth watching nonetheless.

Natasha Vaynblat, We’re All Dads Here (YouTube)

Kristen Schaal’s performance in the 2013 Live at the Fillmore can be likened to both We’re All Dads Here and How to Bake a Cake in the Digital Age. It combines elements of extreme silliness, an unexpected sense of sexuality, and a bold challenge to the conventional format of stand-up specials.

Vaynblat’s special “We’re All Dads Here” offers a refreshing break or a journey back in time, as it stands out from many recent specials with its sheer silliness. Unlike other emotionally charged, politically charged, offensive, detached, and post-detached performances, Vaynblat simply makes you laugh. She shares a joke about her old roommate who knew when she was going to the bathroom because of her self-exclamation “oh boy,” which becomes even more ridiculous when Vaynblat explains that she spilled water on her laptop while writing this joke, causing it to display the phrase “oh boy when I poop” bolded and underlined upon repair. What makes the absurdity work is that Vaynblat is a deliberate, self-aware comedian who skillfully switches between characters and voices.

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2024-07-31 19:55