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Netflix now averages two to three new one-hour stand-up specials a month, Praw says, and his 10-person team is feverishly scouting comics in clubs and on tape, weighing factors like touring receipts, performance of their other projects on the streamer, awards potential and social media reach. With Netflix in more than 190 countries, that scouting has included comics in Korea, India, South Africa and France.
I think there's definitely a difference in classifying stand-up depending on who is doing so and why. Stand-up comics tend to see stand-up as a convention that is about defying convetion, so they have a stake in the claim that stand-up cannot and should not be classified. Audiences want stand-up classificiations for the purpose of finding content they will enjoy. Netflix has a stake in classification as a branding and audience retention. Scholars classify to theorize. In my claim that Netflix's classification likely has less to do with audience choice than people asking their friends or seeking out comics they have heard of was to nuance the discussion as to how deterministic Netflix's genre-ing of content is.
But I do agree that stand-up as a form (I don't know if I would necessarily call it a genre) has conventions that are more standard than comics like to admit. But my interest in stand-up tends to be about discourses around it more so than the form itself -- which is where my interest in classification comes.
I'd be curious to know how these comedians start to become grouped together based on their subject material. For instance, Joe Rogan has had Theo Von, Bill Burr, and Tom Segura on his podcast a number of times. So, would those three be lumped together? Would it be the "Normal White Dude Comedy" genre?
Thanks for the comment! I feel like I had so much more to say, but too little space to develop my ideas as much as I would have liked (but definitely want to turn this into something longer!). I've been interested for a long time in discourses about comedy almost as much as I am interested in the comedy itself. Netflix's tagging of specials seemed like a significant new way to look at how comedy is discussed, imagined, and constructed. I think comedians would (as Marc Maron does) rather avoid categorizing comedy or placing comics into easily sortable genres, but I am interested in the material ramifications of those categories and what it tell us about the production of comedy and comedic discourses.
I tend to think the odd groupings that arise through Netflix applying its genre-ing process to comedy specials (Netflix's genres don't even tend to use the words that are typically used to try to classify stand-up) does make the problematics of putting cultural products into categories more visible, though.
In addition to the monthly offerings, Hulu will debut a collection of licensed stand-up specials, which is promised to include both iconic comedy favorites and recent releases from 800 Pound Gorilla and Comedy Dynamics, among others.
As you might imagine, however, there are almost too many stand-up comedy specials to choose from, so what are the funniest available to stream now? Let us see if we can help you narrow down your choices for your next night of laughs with our picks for the funniest stand-up comedy specials available on Netflix.
Not to be confused with a certain Oliver Stone film, Jimmy Carr: Natural Born Killer sees the British comedian continue to deliver his signature, shamelessly crass, but undeniably clever, one-liners, which cover everything from veganism, anti-vaxxers, and how to practice proper consent.
Steve Martin and Martin Short are at their best when they are together and the Only Murders in the Building cast members deliver something truly unforgettable in An Evening You Will Forget For the Rest of Your Life, which consists of witty banter, uproarious sketches, and a few moments of great music.
Still in her 20s, Taylor Tomlinson proved herself to be one of the sharpest and boldest comedians working today with her brilliant debut special, Quarter-Life Crisis, in 2020. However, the gold standard of her career might be her second Netflix original, Look at You, for how she cleverly turns her own struggles with family, friends, and romance after being diagnosed with bi-polar disorder, into one hour of laugh-a-minute delight.
Jason Wiese writes feature stories for CinemaBlend. His occupation results from years dreaming of a filmmaking career, settling on a \"professional film fan\" career, studying journalism at Lindenwood University in St. Charles, MO (where he served as Culture Editor for its student-run print and online publications), and a brief stint of reviewing movies for fun. He would later continue that side-hustle of film criticism on TikTok (@wiesewisdom), where he posts videos on a semi-weekly basis. Look for his name in almost any article about Batman."}), " -0-11/js/authorBio.js"); } else console.error('%c FTE ','background: #9306F9; color: #ffffff','no lazy slice hydration function available'); Jason WieseSocial Links NavigationContent WriterJason Wiese writes feature stories for CinemaBlend. His occupation results from years dreaming of a filmmaking career, settling on a "professional film fan" career, studying journalism at Lindenwood University in St. Charles, MO (where he served as Culture Editor for its student-run print and online publications), and a brief stint of reviewing movies for fun. He would later continue that side-hustle of film criticism on TikTok (@wiesewisdom), where he posts videos on a semi-weekly basis. Look for his name in almost any article about Batman.
From theatrical blockbuster hits to Netflix gems, Kevin's comedic talent has helped him dominate the film industry, with hits such as Jumanji: Welcome to the Jungle, Central Intelligence, Ride Along, Get Hard, Fatherhood, The Upside, and many more. His business acumen has been illustrious, with ventures such as Hart House, Laugh Out Loud Network, Hartbeat, and others. Although Hart has seen success in multiple avenues, his origins start with stand-up comedy. Let's get a definitive ranking of Hart's stand-up specials.
In his third theatrical release, Hart sold a record-setting 50,000 seats in his hometown of Philadelphia at Lincoln Financial Field. The special began with sort of a mini action movie, with cameos from Halle Berry and Don Cheadle. These scenes led into the stand-up performance in front of a massive crowd. The title of the special ironically aligns with the energy of the jokes, almost like Hart is saying, "I've achieved everything a comedian can achieve, so what now?" His content is on target with his usual jokes, discussing family life with a comedic undertone and poking fun at himself. However, between a record-setting crowd and an electrifying opening scene filled with other superstars, the performance itself seemed inferior to the moment. Take away those two factors, and the jokes may hit substantially harder, but those were the circumstances for this special. Nonetheless, the record-setting crowd is a compliment within itself.
During the pandemic, Hart delivered another groundbreaking action by performing a special with a live audience inside his own home. COVID-19, the wealth to pull it off, and the chatter about him losing his funny all led to this 2020 special. The debates and gossip that Hart was no longer the comedian he once was seemed to pick up during the pandemic. I'd say he felt the heat, with the name of the special hinting at his displeasure with seemingly being poked at and censored. The jokes subtly aligned with this sentiment, with Hart talking about being sick of people, feeling safer isolated at home, the awkwardness of fame, and more. The special also included bits around his son's school, Walmart, and others that were very humorous. Initially, the special received mediocre reviews, but I found it to be funny, and it's aged gracefully.
In his sixth stand-up special, Hart performed in front of a packed London crowd to discuss family, marriage, his mistakes, and more. After a few years of successful hit movies along with a few controversies, nothing would please his fans more than to do what comedians do, joke about it. Hart did just that, humorously talking about being in his second marriage, dealing with his kids dating, and owning his mistakes. The standout bit to me would be his joke about having hidden weapons in multiple glove compartments in case of robbers. I'd put this as one of his all-time best bits, and it seemed to be a crowd favorite. Irresponsible was an easy, digestible, and adequately funny special.
Following the massive success of Laugh At My Pain two years prior, Hart followed up with the very impressive and hilarious Let Me Explain. A large stage with fire and theatrics to match, this special really showed Hart had transitioned into a superstar act. Fresh off a divorce, a high level of energy and charisma was evident while he discussed cheating on his past wife, his security misunderstanding his level of fame, crazy women, "bum bumps," the famous "debra" (deer and zebra), and more hilarious takes. The standout bit that went on to live amongst fans was the famous horseback riding instructor and his saying "Ok, let's ride." At this point, Kevin was on a hot streak and implementing himself as one of the greatest to ever do it. His energy felt fully present, as if he was ready to step into the role as the next great comedian. This special was simply hilarious.
A comedian getting a theatrically released special is major and a sign of superstardom. Not only did Kevin have this, but he knocked it completely out of the park. Laugh At My Pain was his first theatrical release, and it seemingly made him a household name. Many of the hilarious jokes centered around his father and his embarrassing moments such as stealing a German Shepherd, attending Kevin's spelling bees, and the famous "alright alright alright" joke. The title fits perfectly, as he found a way to humorize past trauma in a way that told detailed stories in a hysterical way. This method would become Hart's signature content, which is poking fun at himself and the ones around him. This special is undoubtedly a masterful work of comedy.