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Buress’ strange, self-aware observational style is irresistibly funny, while the special’s use of visual effects and editing is a charming and inventive addition.
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Although they may no longer have a platform, the members of “The Chris Gethard Show” have something few others can boast: a surviving community of friends and fans alike, and a good legacy to look back on.
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Given but a single suggestion, five members of its rotating cast can create and act out a full-length Shakespearean play on the spot.
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Despite her placement right in the middle of the lineup, Pallavi Gunalan managed to garner the most laughs of the night, easily coming away as the highlight of the show.
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As her summation of herself at the top of her act suggests, Gill isn’t all that interested in personas. She prefers instead to roll out her raw personality, with the volume dialed up about 10 notches.
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This year, the show returned with a vengeance and a venue change, showing at Freight & Salvage, where auditorium-style seats unified the mostly full house in proximity and good cheer.
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There’s a reason people showed up, and there’s a reason that people stayed — even if it meant violating fire hazards and waiting for hours in line.
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Since the festival’s beginning, each year has seen music scaled back a bit more, resulting in what Sampson hopes is the ideal balance.
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In her bits, Dobbins frequently discusses her experiences as a Black, gay comic; she remains conscious of the burden of representation that she upholds.
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On his new stand-up comedy album, Lakeview, Kaseem Bentley speaks jokingly about legacy. What is absolutely clear about Lakeview is that it comes from a profoundly personal place, one where Bentley is positive and bold but inherently vulnerable. His interview with The Daily Californian would go on to reveal as
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