Live, often uncensored, but speaking their truth, the Stand Up Comedy tag features comedian commenting on the world and their life.
In Michelle Buteau’s “A Buteau-ful Mind” from family life to aging and talking about her allyship to the LGBT+ community, Buteau delivers the laughs.
Taking advantage of how the Club Shay Shay interview has pushed him to be seen as a truth teller, “Katt Williams: Woke Foke” tests whether audiences are ready for the truth.
Dave Chappelle continues to pursue being that mischievous kid who feels validated to double down on a joke as long as he can get a laugh. But, when the jokes subside, you realize the controversy is an act, and there is depth beyond the superficial.
Hasan Minhaj, thanks to locking up people’s phones, gets to be free to speak not only about that New Yorker article but also about race, politics (like Hunter Biden), and the experience of being a Muslim-Indian American.
While Ali Wong’s opening act doesn’t present the type of comedy that can leave a strong impression, seeing her live and raw about life post-divorce is a treat.
“The Mecca of Comedy” is an intriguing look into the DC comedy scene, but it could use another edit and more comedy.
“My Name Is Mo’Nique” sometimes feels less like a comedy special and more like a one woman show, allowing you to laugh with Mo’Nique and cry with her.
Beyond airing out his feelings about Will Smith, Chris Rock reminds you why he is one of the most revered comedians in comedy.
Masterful storyteller Trevor Noah brings the quality expected with notable accents, trying to bring a different perspective to pop culture and your usual COVID jokes.
“Deon Cole: Charleen’s Boy” strings along a bunch of jokes regarding aging and loneliness and then hits on something personal.
Raunchy in a way that will surely not make her for everybody, Nicole Byer defiantly shows a different brand of being a dirty comic.
Michelle Wolf stops in New Jersey to work on new material and use the material that would have popped more in 2020.
The Ms. Pat Show, while raunchy, is also one of the funniest new shows to come out in years; while having a heart most shows struggle to make feel authentic.
The One and Only Dick Gregory feels very much like a highlight reel that pushes the idea it wanted to either minimalize faults or that there weren’t any.
“Welcome To Buteaupia” will remind you of when comedians got hour-long specials because it was time, and they deserved it, rather than a network just needing content.
At times, “Hot For My Name” may make you wish Esther Povitsky didn’t say no to MTV about a reality series, for her parents damn near steal what should be her moment.
“Boogie’s Comedy Slam,” produced by DeMarcus Cousins, will even make a stone-faced, hard-sell laugh.
“Eric Andre: Legalize Everything” is pure and utter shock value that, if your tolerance is high, your laughs might be low.
“8:46,” is Chappelle at his best – a storyteller, in the form of a wise-man, who makes you laugh enough to pay attention as he drops the knowledge you need.
In “Momma, I Made It!” Yvonne Orji makes it clear “Insecure” didn’t make her who she is, all it did was put you on to someone already hilarious.
For those who have watched the first season of “Fleabag,” the live rendition is a treat. However, if they haven’t, you may wonder what the hype is about.
“Sincerely Louis CK” is what comes from feeling you have nothing left to lose, so “F*** It.”
“Trixie Mattel: Moving Parts” will remind you of a time when documentaries gave you the behind the scenes look that social media snatched away.
With Tomlinson avoiding joking about blackout drunk sex, there is something refreshing about her.
From Louis C.K., to Ariana Grande, and the double standards of life, Pete Davidson “Alive In New York” shows how limiting SNL is for the comic.
In one of the few comedy tapings you may ever see with a co-writer, Leslie Jones will get a few laughs out of, but doesn’t craft what we formerly called a special.
In “The Planet Is Burning,” Ilana Glazer speaks to her people and her core audience. If that isn’t you, I can’t necessarily say she’ll win you over.
Within 19 minutes, you get a real and raw taste of who Ms. Pat is, and she makes it clear her story can’t be surmised in a short set.
While it takes Chieng to warm up a little longer than it should, once he sets up the jokes for the latter half, it is all smooth sailing.
In Joke Show, Wolf reminds you, while Netflix may have canceled her show, it wasn’t because she wasn’t funny but the format didn’t work.
There is quite a bit of growth from Haddish since She Ready, and it leads to Black Mitzvah feeling like her first true special.
Being married and a stand up comic, especially a female one, isn’t a common thing, so Iliza Shlesinger takes advantage of this to break down how strange weddings are.
Smart & Classy, due to references like the Menendez Brothers, can either be seen as for Gen X and above, or having a bit of dated material.
Part manic stand up special, as well as reflective documentary, Jenny Slate: Stage Fright gives you both the performer and the person who had to live life to write the jokes.
Deon Cole’s Cole Hearted is the first special, in a long time, that is not only funny but quotable as hell.
As long as you like the idea of strictly hearing sex jokes for an hour, you’ll enjoy Nikki Glaser: Bangin’.
Mo Gilligan: Momentum is unlike most comedy specials you may have seen before and makes Gilligan someone you have to keep a watch on.
After a slow start, showing you why Dunham uses puppets to get a laugh, things kick into high gear in Beside Himself.
In Epilogue: The Punchline, Dave shares a few celebrity encounter stories, does Q&A with the audience and talks about a chat with a trans person named Daphne.
The overall goal of Wherever I Look is to fill in that space between the average fan and critic and advise you on what’s worth experiencing.
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