Bo Burnham is what you might call a polymath – a man of wide-ranging talents. He acts; he writes; he sings; he plays maddeningly catchy music. He’s extraordinary! He’s also been around for quite a while (he first started performing comedy as a teenager), but I, sadly, have only recently become aware of him. He’s the writer/director behind the bittersweet coming-of-age movie, Eighth Grade, which Bouquets and Brickbats awarded a well-deserved 4.8 stars in 2019. More recently, he submitted a perfectly-judged performance as Ryan in Promising Young Woman. And he has three comedy specials on Netflix, the latest of which is Inside.
Like everyone else in recent history, Burnham found himself trapped at home by the pandemic. Shortly before being locked down, he’d been afflicted by crippling bouts of stage fright. Also, he was about to turn thirty, and he needed to talk to somebody about that situation.
So he wrote, directed and performed a one-hour-twenty-seven-minute piece that all takes place in one room of his house. Of course he did. He’s a polymath.
It can sometimes be hard to write about comedy, but this show is particularly hard to pin down, because it careens frantically from one routine to the next, all of them stitched together by a stream of perceptive, oddly Beatle-ish songs, each one of which seizes on a particular subject and brilliantly eviscerates it. Whether he’s commenting on the all-pervasive overload of the internet, spoofing a children’s show where a sock puppet is revealed to be a submissive slave to his human counterpart, offering a commentary on the kind of fluff that masquerades as emotion on Instagram, or exposing the raging narcissism that lurks at the root of every comedian’s output, this is never less than fascinating. It’s wry, self-deprecating – and sometimes shocking. Occasionally it dares to stand on the very edge of a precipitous ledge, staring down into the abyss.
Comedy is subjective, of course, but – having watched this – I was prompted to catch up on his two previous Netflix specials and to note how his work – though always first rate – has matured over the eight years, from what. (2013), through Make Happy (2016) to Inside (2021). This latest piece represents him at the very peak of his powers. Where he will go next is debatable – there is some talk of him pursuing a movie career but, if that is the case, I hope he doesn’t give up on what he’s doing here.
Which is being brilliantly, irreverently funny. And if there’s something we all need right now, it’s more laughter.