ALI WONG, ‘BABY COBRA’ (2016) Cobra is a contradiction in terms — a working woman achieving her greatest success by joking about not wanting to work — and the sly, surfacelevel hypocrisy is part of wong’s genius, building to one of the most skillful closers in recent memory.
HANNIBAL BURESS, ‘ANIMAL FURNACE’ (2012)
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LOUIS C.K., ‘CHEWED UP’ (2008) Chewed up crystallizes C.K.’S comic persona, which is slightly different from the pensive sad sack he’d debut on louie just two years later: frank, selfloathing, and coming to terms with the slow crumbling of his unearned privilege as he enters middle age as a straight white guy.
JOHN MULANEY, ‘THE COMEBACK KID’ (2015)
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BO BURNHAM, ‘MAKE HAPPY’ (2016) Burnham’s harshest ire is reserved for the worst abusers of his chosen form: he calls gambits like lip sync battle “the end of culture.” Musical comedy doesn’t have to be hack work.
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ANTHONY JESELNIK, ‘THOUGHTS AND PRAYERS’ (2015)
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• Eddie murphy, ‘delirious’ (1983) • Bill hicks, ‘revelations’ (1993) • Maria bamford, ‘special special special’ (2012) • Richard pryor, ‘live in concert’ (1979) • Zach galifianakis, ‘live at the purple onion’ (2006)
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