John Lynn | Hot Water Comedy Set
Bruce Bruce Keeps The Audience Entertained | Season 1 Ep. 7 | SHOWTIME AT THE APOLLO
Nikki Glaser on Meeting Dennis Rodman and “Fight Club” – Roast of Bruce Willis – Uncensored
Tom Arnold – Working at McDonald’s – This Is Not Happening – Uncensored – Extended
The Ultimate Netflix Guide
The ultimate guide on what to watch on Netflix – Female comedy specials edition
With Netflix currently releasing new comedy specials on a weekly basis, it’s almost impossible to keep up with what’s new, what’s worth watching, and what’s worth avoiding. When it comes to female comedians it feels even more difficult, as several truly astounding talents don’t receive the attention they duly deserve in the media. Why would you want to check out a comedian you’ve never heard of whose comedy special has barely any reviews online?
Thankfully, we spend a lot of time (possibly too much) checking out all of the Netflix Originalscomedy specials whether we’re familiar with the comedian or not. With there being a little less than thirty female comedy specials currently on Netflix (out of roughly 150), you can probably make your way through this list quite easily and quickly if female comedy specials is your bag.
Here’s every Netflix Originals female comedy special available on the platform, along with a rundown of whether you should check it out or whether you should simply check out instead.
The outspoken Indian comedian is one of the first women in her country to do standup and Mittal maintains a gloriously pugnacious presence on stage during this comedy special that reflects that.
Delivering jokes about annoying babies, being single, men’s obsessions with penis size, and taking on catcallers, Mittal’s set is punchy and animated, if a little familiar when it comes to ideas. Regardless, her set dazzles with a mischievous sense of power bolstered by a confident and dramatic comedic physicality.
This Spanish language comedy special features the tremendous levity of Anda’s on-stage persona and her unbridled enthusiasm for outrageous jokes. Where her set shines brightest is when she’s all too happy to take self-deprecating swipes at her own proudly slutty behavior and some relatable awkward anecdotes about anal sex, gynecology, and the extreme consternation of holding a giant fart in during yoga class. But there are also moments where Anda toes the line a little too far with some jokes sounding more tone-deaf than edgy – but otherwise, Mea Culpa is dazzlingly likeable.
Taking to the stage barefoot and very pregnant, Wong provides a ferocious set of material that proudly subverts how an expectant mother should be talking and acting. Though some of her jokes concerning finding the perfect husband and being perfectly happy to live off his riches wear a little thin, her set soars when she’s challenging stereotypes or offering searing observations about men & women.
Wong returns to the stage two years after Baby Cobra just as barefoot and just as pregnant with another baby. In many ways, her second Netflix Originals comedy special is stronger than her first, with the comedian ruminating on her newfound fame, the absurdity of gender politics, and telling a joke so funny she once made a friend queef. This is a victory lap of female success delivered with oodles of vitality and brash irreverence.
Easily the most disappointing high-profile comedy special from Netflix, The Leather Special is as tired as a pair of vintage leather hot pants with jokes that are just as old. Schumer leans heavily on focusing the majority of her set on sex and body parts in a way that lacks inspiration, sophistication, or even funny punchlines. It’s not just that her set lacks originality or variety – it’s also that her delivery is completely off timing-wise, with Schumer being all too reliant on serving “jokes” with a smug grin or a knowing raise of the eyebrow (because she’s daring to say something naughty!) in lieu of a solid setup.
The former NFL cheerleader has a wealth of fantastic experiences and anecdotes that she draws on with great aplomb and hilarity in Not Fancy. Johnson’s irresistible charm and sparkling personality are absolutely dazzling, especially when she juxtaposes her shining character with some startling self-deprecating humor. Where the set falls down is when Johnson takes aim on topics beyond her own personal scope, which ultimately fractures the rhythm of the special and stunts the flow of jokes.
A companion special for her New York Times bestselling book of the same name, Uganda Be Kidding Me sees Handler at the very top of her game, delivering a subversive take on traveling that’s brazenly irreverent and provocative.
Unafraid to push buttons and boundaries, Handler’s set is unapologetically politically incorrect but also gloriously self-deprecating, with the comedian able to poke fun at her ludicrous (and cliched) sense of privilege as a white lady on vacation in Africa. The result is a comedy show with all the casual flair of a pal sharing a slideshow from a madcap adventure over too much wine and a show that’s bawdy and brilliant and revels in being of the worst possible taste.
This is an absolute gem of a comedy special and probably one of the best on Netflix, highlighting Peretti as one of the most unique and underrated comedians of her generation. Her set flows fluidly between one joke and the next, with Peretti’s signature vocal fry making already solid punchlines snap and sizzle.
There’s such a diverse variety of topics to Peretti’s jokes that bound between such subjects as how to “de-dick” a banana, how to know whether people come from a shit or a puke family, and the overdone tropes of male standup sets that the show is consistently full of delightful surprises. It’s tirelessly funny and Peretti’s perspective is nothing short of iconoclastic.
Christina P is extremely likeable throughout Mother Inferior and her set is so finely tuned and well crafted that it bounces along with the perfect sense of momentum. Her dark sense of humor is stupendously funny, as are her searingly honest takes on motherhood. Her quick-witted interactions with the audience and her smart reading of how the crowd receive some of her edgier jokes highlight Christina P’s wealth of experience as a standup star – this is a masterful show full of memorable quips.
There’s some beautiful pacing to Lower Classy which sees Alonzo demonstrating some terrific self-deprecating humor alongside subtle political jabs that don’t overload the set with social commentary. The Mexican-American comedian brings a staggering blend of topics to Lower Classy that sees her divulging some hilarious analogies on why she can’t give up on supporting her struggling sports team, her strange childhood fantasies, and how to sneak into nightclubs as an older woman. It’s a delight from start to finish and Alonzo’s sense of timing is impeccable throughout.
The German comedian strives to be cheeky and clever and some of her jokes certainly hit the mark on both, but for the most part Ehrenwort feels like one everlasting setup that never quite finds it way to a solid punchline. Instead, Amani ruminates on a variety of mundane topics that comes across more as an on-stage production of one-way small talk rather than a comedy set.
Powerful, angry, emotional, and downright hilarious, Nanette is a masterpiece of comedy that finds the narrow barrier between heartbreak and laughter and proceeds to break it down with a sledgehammer of political and personal statements. This is no ordinary standup comedy show – there are no huge belly laughs and by the end you’ll be sobbing with rage and heartache rather than crying with laughter. But the lack of a traditional comedic format doesn’t diminish Gadsby’sincredible achievement with Nanette, which deconstructs the very fabric of comedy via the manner with which she analyzes her previous desire for on-stage “humiliation” and her newfound desire to quit.
There are some incredibly witty takes on what it means to carry the burden of being a “lesbian comedian”, how she identifies as “tired” more than anything else, and some shatteringly commanding speeches about rape culture and everyday inequality that are truly breathtaking. But there’s also a lot of original and searingly funny jokes in here too. One particularly memorable tirade against Picasso offers a delirium of laughter that perfectly underscores her final bruising point of the show. It’s astonishingly good.
Taking to the stage in her hometown of Dallas, Shlesinger’s set is incredibly polished, if a little basic with the comedian riffing on drunken exploits, the horrors of dating for women, and some subtle observations about society. It’s a mediocre special that highlights her comfort with saying whatever the hell she wants, however she wants, while being as boisterously politically incorrect as possible. War Paint is as striking and fresh at some points and limp and well worn at others, making for a fractured show overall.
Shlesinger’s perspective offers more of the same of her perspectives on men & women – but her observations are far sharper and her delivery more astringent, making her second Netflix Originals special far more engaging than her first. The beats of the show are improved, but her over-reliance on gender observations as the pivotal force of her show makes her routine repetitive and a little old-fashioned.
The third comedy special from the provocative comedian is perhaps her worst. A routine on the outlaw “Party Goblin” who resides within all of us sounds like something your college roommate came up with the one time she tried her hand at standup, while a misguided bit involving an awkward impression of a “confident” black woman doesn’t come across well and lacks the humor to be as swaggeringly cheeky as Shlesinger seems to think the joke is. The only confirmed kills in the set involve the jokes that continuously bomb throughout it.
A Chilean comedian with a biting sense of humor, Dueñas provides an acidic take on being a single woman over 40. Full of sterling, cynical takes on ageing, her decision not to reproduce, and how to switch your cigarette to “whore mode” (the only dating advice any modern woman needs, surely!), Grandes Fracasos De Ayer Y Hoy is one of Netflix’s finest hidden comedy gems that’s more than worthy of your time.
The outspoken comedy veteran details a slew of mistakes, missteps, and misfires in the lead up to (and subsequent life beyond) her 40th birthday and the result is a triumphant celebration of failures – or at the very least a celebration of the things society deems to be failures. Divorced, childless, and living on her own, Kirkman details a fling with a 20-year-old drummer, the discovery of some grey public hairs, and her struggle to conjure up a fantasy worth a decent wank (and it’s clear she couldn’t be happier). Acerbic and exuberant, I’m Gonna Die Alone (And I Feel Fine) is a feminist masterclass in comedy and one of the most outstanding comedy specials from Netflix.
Kirkman’s second comedy special sadly doesn’t hit the same heights as her first, with the comedian coming across as a little less self-assured in her material and overall shaky delivery. It’s a shame because the jokes are there and for the most part so is the setup, but so many flounder at the punchline and provide little more than a light jab when you know Kirkman can deliver a fierce punch. Regardless, there’s still a lot to love about the special which offers some biting observations about gender politics alongside some terrifically quirky anecdotes that are nonetheless entertaining (even if they aren’t always an absolute riot of laughter).
Referring to herself as being “like Taylor Swift with a soul”, Ryan utilizes her sweet, shining facade to full effect in unleashing a tremendous assault of R-rated comedy upon her audience. In Trouble starts off slow but the Canadian born British comedian soon picks up and once it gains momentum, it screeches off the rails into a non-stop sprint of provocation with sadly mixed results.
There are some failed attempts at funny rape metaphors that simply don’t land and an unfortunate impersonation of Nicki Minaj as the “mammy” archetype that doesn’t quite service the point Ryan is making about white privilege. But there’s also something terrifically raw and unrefined about the show that’s also admirable and refreshing.
It’s easy to see the influence Joan Rivers had on Koplitz (the two became great friends in the late comedian’s final years) as she evoke’s much of the incredible caustic power of the legendary comic. Describing herself as being like “Barbie” but “years later, after she sold the dream house and she’s living in her loft,” Koplitz offers a blunt interrogation of society’s obsession with motherhood and discusses the reality of menopause via some hilarious analogies and anecdotes. Including the time her family thought her mom had gone “crazy” during a “cold cut incident” in 1985 which she now completely understands.
In a set that champions feminism while arguing the case for why it’s totally cool to let a man buy you dinner, Pichot’s comedy special is smart, cool, and gleefully transgressive. At only 50 minutes, it’s on the shorter side of most Netflix comedy specials, which only makes it easier to enjoy. With jokes about how sex gets easier in your thirties and eating the morning after pill “like candy”, the show doesn’t reinvent the feminist comedy wheelhouse – but Pichot’s quickfire delivery of her material is energizing and killer enough that you won’t even care.
There’s a fearless, if slightly uncomfortable flow of honesty to Old Baby that sees Bamforddelivering some unflinching truths about family trauma and mental illness. Accomplishing her dark comedy with a taste for the absurd, the wry, and the heartfelt, Bamford’s set bounds between unflinching optimism and darkness. Old Baby pitches some familiar comedic foundations like observations about Facebook, bad neighbors, and Hollywood falsities alongside a heavy-hitting focus on her public struggle with mental health.
Old Baby never comes across as being bleak despite the chasm of suffering it leaps from. In fact, the show is exhilarating and giddy, providing a sense of union for hardship and drawing lightness from sorrow. Bamford shines as she plays peekaboo with her audience, always returning to the stage with an unparalleled buoyancy.
Fusing activism with irreverence, El especial proves that Chilean comedian Valdebenito may be one of the loudest and funniest voices of her generation. The ferociously feminist set is full of wonderfully timed takedowns of misogyny and jokes exploring reproductive rights and why women deserve respect. There’s also a lot of terrific observational humor here like a majestic riff on why she dislikes animals and a hilariously spot-on analysis of all the different “girlfriends” every woman has hiding in plain sight within her friendship group.
What comes through strongest in the show is that Valdebenito is possibly one of the most energetic and charismatic comedians of her generation, with a fluid set packed full of memorable zingers.
By now you’re hopefully familiar with this acclaimed show from Silverman, courtesy of a now notorious (and ludicrously smart, despite the subject matter) poop joke that had everyone talking in 2017 when the special was released. It’s a great joke and it highlights the charm at work in A Speck of Dust, which is by far Silverman’s most personal standup special to date.
The comedy is introspective without being (as Silverman suggests) “self-indulgent”. It’s an aspect of her performance that’s heightened by her killer sense of craft and timing, which she uses to full effect with a self-referentiality in which she points out the absurd mechanics of her own set. The whole show is precise but still warmly off-the-cuff, and it’s one of the best on Netflix.
Rivera is known for breaking new ground in Mexico with her self-deprecating humor with which she takes aim not only at herself, but also at her home country (where she was warned “standup doesn’t even exist”). Selección Natural is packed full of black humor and lovingly delivered colorful language that provide the tonal foundations for the set.
However, those unfamiliar with the comedian may want to check out her 2016 comedy special Exposed first, as many jokes offer enjoyable callbacks to her earlier material. There’s a lot to love about Rivera’s set, but those not from (or simply unfamiliar with) Mexico may fail to understand some of her more culturally-centric observations about her home country.
Notaro gained mainstream notoriety in 2012 with a landmark comedy special at Largo in Los Angeles where she announced how a cancer diagnosis was the cherry on top of a miserable year, punctuated by the death of her mom and a difficult breakup. Happy To Be Here offers an exultant companion set to that iconic performance, with Notaro remaining just as honest but exhilaratingly happier.
The genius of her show is in her manipulation of the material, using the standards of structure and audience expectations to flip setups and punchlines on their head so we’re never entirely sure where the laughter is going to draw from. With an impressive variety of subjects being delved into including being a new mother, complicated fan interactions, and being mistaken for a man, Notaro’s delivering is masterful and surprising and showcases the bright side of confessional comedy.
Kathleen Madigan – An American Idiot in Paris – This Is Not Happening – Uncensored
Michael Che Slams Unfunny Comedy Culture
This article contains NSFW language that has been edited slightly.
Michael Che slammed what he called “anti-comedy comedy” in his Instagram story on Monday. Che is a head writer for “Saturday Night Live” and co-anchors “The Weekend Update,” a sketch that parodies a news show.
Che opened by saying that he typically doesn’t attack other comedians, but that the situation demands it.
I know I’ve always said comedians should NEVER openly sh-t on comedy, but what the f-ck are we gonna do about all this anti-comedy comedy that these A students keep shoveling out? I mean what the f-ck is going on..? one or two, ok.. but theres like 3 of them now! and its becoming a g-dd-mn mild inconvenience. what the f-ck Netflix? give them n-ggas another section! call it standup tragedy.
Che references recent Netflix comedy specials that seem to favor political correctness over humor. Hannah Gadsby’s recent stand-up special titled “Nanette” ditches jokes and instead talks about her life as a queer woman. She also discusses, in detail, being raped and sexually assaulted. Che seems to reference this in his next story, which says rape stories aren’t comedy.
ya know some critics say rape jokes arent funny. but you know whats DEFINITELY not funny? rape stories. just flat out, fully detailed rape stories. I dunno about you, but that hasnt made me laugh once.
Che said in a later story that he hasn’t watched “Nannette” and told fans to “stop asking.” Replying to fans who direct-messaged him about his statements, Che stated that passing off rape stories as comedy makes him feel “lied to.”
I dont wanna have to ‘survive’ a comedy special. I wanna laugh. lets not make this what its not.
Che pushed back against another person who said “Comedy= tragedy+time.”
“you still need a punchline, you dumb motherf-cker. can’t just walkout and say, ‘the holocaust. good night.’”
His criticism comes at a time where comedy is seen as a form of activism. Jimmy Kimmel, Stephen Colbert, Trevor Noah, and countless other late-night comedians have used their platform as political soapboxes, sometimes crying to prove their point.
Che ended his thread by acknowledging that many in comedy will ignore his criticism and offer excuses. However, his message remains the same: comedy is supposed to make people laugh. And it hasn’t been doing a lot of that lately.
Harland Williams – Encounters with Nature – This Is Not Happening – Uncensored
The Times 30 Best Comedians
1 Stewart Lee, 50
I marvelled at the skill, I thrilled to the boldness, most importantly I laughed till it hurt when I saw Lee’s latest show, Content Provider, at the start of its tour 18 months ago. Do his teasing stand-up routines about everything from Trump and Brexit (correct, he’s a fan of neither) to Game of Thrones and mobile phones (ditto) hold up today on the performance recorded for television in May? Amazingly, they do: pretty much every moment has some sort of delicious surprise. And if a show addressing “the individual in a digitised free-market society” sounds highfalutin, Lee unspools these two hours with a sense of fun underlying every gear he goes through: abrasive, ironic, confessional, interactive, absurd, clownish, arrogant, but above all playful.
See him: on BBC Two on July 28 at 10.45pm
2 Hannah Gadsby, 40
It’s possible you will see flat-out funnier shows than Gadsby’s breakthrough hour, Nanette. It’s unlikely you will see another one as mesmerising, intelligent, inspiring and well-timed; this Australian comic smilingly explores and explodes misogyny, the history of western art, homophobia and stand-up comedy itself. She proves herself one of comedy’s great modern masters even as she highlights its tricks, even as she questions whether it’s done her more harm than good. No wonder Nanette won live comedy’s two biggest prizes last year, the Barry award in Melbourne and the Edinburgh Comedy award (the latter jointly with John Robins). Since it went on Netflix in June, it’s gone viral; last week it was declared “a word-of-mouth phenomenon” in The New York Times. Even if you flinch from labels such as “identity politics”, this is that rarest of shows; one that makes you see the world anew. With, for its first half at least, plenty of laughs along the way.
See her: Nanette is available on Netflix
3 Harry Hill, 53
How has Harry Hill managed to reinvent himself, six years after ending TV Burp, four years after his misfiring X-Factor musical, I Can’t Sing!? By finding a format that enables him to double down on what makes him great and by reincorporating so much of the vigorous absurdity we love from Burp and his stand-up work into Harry Hill’s Alien Fun Capsule, a primetime ITV panel show in which he rode roughshod over the format and the gobsmacked but game celebrity panellists. On a good week — most weeks — he turned tack into pure joy.
See him: Harry Hill’s Kidz Show: How to Be Funny, New Theatre, Oxford (0844 8713020), Oct 21, then touring to Nov 24
4 Dave Chappelle, 44
“And that’s why I make the big bucks!” says Chappelle, right after a routine in which he first announces what his wildly offensive punchline will be, then surprises and charms us all when he delivers it. Vaping away on stage in his latest Netflix stand-up special, he talks about parenthood and white privilege, responds to accusations of transphobia, and mixes thoughtfulness with the sort of braggadocio that might make him collide with a hornet’s nest or two, but somehow means he never gets stung for long.
See him: Equanimity and The Bird Revelation are available on Netflix
5 Tim Key, 41
On screen, Key is a reliably loveable supporting turn: as Sidekick Simon to Alan Partridge; in Peep Show, Detectorists, Gap Year. On stage or radio, he’s a genre of his own. He won an Edinburgh Comedy award in 2009, but the debonairly dishevelled way that he combines performance poetry with arty films, outrageous narratives, deadpan absurdism, audience molestation and theatrical conceits has only got better since then. I laughed so much at his latest show, Megadate, that I shed a tear when it ended.
See him: Megadate on tour, including Pleasance Courtyard, Edinburgh (0131 226 0000), Aug 16-26, and Old Vic, London SE1, Sept 28, or its filmed spin-off, Wonderdate, on BBC iPlayer
6 Steve Coogan, 52
We’re trying not to get our hopes up for the new Alan Partridge series coming to BBC One this year. And yet not only were Coogan and Rob Brydon on fine form in The Trip to Spain — lovely scenery, fine dining and smart subplots all clearing space for some really good impressions — but the books that he and co-writers Neil and Rob Gibbons have written recently as Partridge were laugh-out-loud delights. So sod it: Coogan is one of the world’s great character comics and Alan Partridge is the greatest comic character of the past 30 years. No offence, David Brent.
Hear him: performing the audiobooks of I, Partridge and Alan Partridge: Nomad
7 Flight of the Conchords, 44 and 42
After two series of their American sitcom, Jemaine Clement and Bret McKenzie decided they had lost the fun in their deadpan double act and musical parodies, and headed home to New Zealand. Yet, as their recent reunion shows proved, this unlikely pair can make a private joke swell to fill a 20,000-seater stadium. They mock all sorts of musical genres and social situations. Crucially, though, they ply sweetness as well as sarcasm, and real musical skill. They’ve never been better.
See them: their new special, recorded on their British tour, is on HBO this year
8 Michelle Wolf, 33
Her Edinburgh Fringe appearance in 2016 marked out this former Daily Show contributor as one of America’s brightest young talents. Then, hello, her fierce, funny, fearless speech at the White House correspondents’ dinner took her into another league. Not only did she take on Trump with naked but nifty hostility (hey, who doesn’t?), she also roasted the media outlets present for delighting too much in Trump’s awfulness. Where next for Wolf? Can’t wait to find out.
See her: giving her White House correspondents’ dinner speech on YouTube
9 Peter Kay, 45
He pulled out of the biggest stand-up tour of the year for “unforeseen family circumstances”. We know no more than that. Yet what he did give us this year, the final episode of his and Sian Gibson’s sitcom Car Share, was full of all the acute lifelike observations the series has excelled in, plus an anything but lifelike sequence in which he replaced Gary Barlow in an old Take That video. A comedy star for two decades, yet still Kay is as good as it gets at having fun with the small concerns of everyday life.
See him: Car Share is available to stream on iTunes, Amazon etc
10 Bridget Christie, 46
No comedian responded to Brexit better — or faster — than Christie, who rewrote an entire Edinburgh show from scratch in the aftermath of the EU referendum. Her latest live hour, What Now?, is just as good, organised around the neat conceit that in these deceptive times she is morally obliged to speak only the truth. Cue glorious routines about awful television executives, awful children, awful parents, the passive-aggressive admin sessions that make up a marriage (in her case, although she would never mention it on stage, to Stewart Lee). Nobody mixes the raging and the ridiculous with such fabulous focus.
See her: Leicester Square Theatre, London WC2 (020 7734 2222), Sept 13-Nov 10, and touring to Dec 4, bridgetchristie.co.uk
11 Trevor Noah, 34
Born in apartheid-era South Africa, the son of a Xhosa mother and a Swiss-German father, Noah grew up speaking English as his first language, a master of both engaging with different cultures and seeing their kinks clearly. That skill enabled him to take over The Daily Show from Jon Stewart in 2015. Live, though, he has gone from being a skilled stand-up to a spectacular one: Noah now is a master of satire, impressions and throwaway funny stories, and is impassioned and inclusive. He is writing a second memoir; his first, Born a Crime, is being filmed with Lupito Nyong’o as his mother, Patricia.
See him: his latest stand-up special, Afraid of the Dark, is on Netflix.
12 Daniel Kitson, 41
Two reasons why Kitson is the comedian’s comedian: 1) At his best, this Yorkshireman has a speed of thought that has no peer. 2) Ever since he won the Perrier award in 2002, age 25, he has worked entirely on his own terms. No television. No radio. A habit of staging plays at the National or the Old Vic one moment, returning to stand-up the next. Charging cinema prices as he does so. He can be sprawling, he can be arrogant, but his ambition and skill are second to none.
See him: his new work-in-progress midnight show, Good for Glue, is at The Stand, Edinburgh (0131 226 0000), Aug 5-26, returns only
13 Bob Mortimer, 59
This renaissance-man absurdist is on the form of his life after recovering from a triple heart bypass. He still works with Vic Reeves — a new series of their Big Night Out is imminent — but also has a footballing podcast, Athletico Mince, and excelled alongside Paul Whitehouse in Mortimer & Whitehouse: Gone Fishing. His comedy is as victimless as it is disarming.
See him: Mortimer & Whitehouse: Gone Fishing is on BBC iPlayer
14 Chris Rock, 53
When comedians ooze a confidence they don’t deserve, it’s infuriating. When comedians ooze a confidence their talent backs up, it’s exhilarating. That’s Rock, who uses his latest stand-up show to own up to the porn habit and cheating that broke his marriage, but also to speak up for a common-sensicality he fears is in peril from right and left alike.
See him: his latest stand-up special, Tamborine, is on Netflix
15 The League of Gentlemen
Mark Gatiss, Steve Pemberton, Reece Shearsmith and Jeremy Dyson have been so busy with other work (Sherlock, Inside No 9, Ghost Stories) that we may just have forgotten how fabulous they were together in their gleefully gnarly sketch troupe. Last Christmas’s television comeback changed that in a trice after 12 years away. Now, the big live tour. If it’s only a temporary reunion, let’s enjoy it while we can.
See them: Queens Theatre, Barnstaple (01271 316063), Aug 6 & 7, then touring to Sept 29; leagueofgentlemen.live
16 Julia Davis, 51
Dear Joan and Jericha, the agony-aunt podcast that Julia Davis and Vicki Pepperdine surprised us with this year, is as quietly, brutally funny as you’d expect from the woman behind Nighty Night, Hunderby and Camping. And filthy enough to make you think of a female Derek and Clive. Coming soon: Davis’s new series for Sky, Sally4Ever, while the Girls creator Lena Dunham is making an American version of Camping.
Hear her: on Dear Joan and Jericha
17 Tim Vine, 51
There are some fine one-liner merchants about: Jimmy Carr, Milton Jones, Stewart Francis, Gary Delaney. None of them sustain a live show as blissfully well as Jeremy Vine’s kid brother. He delivers his artful wordplay with a heroically uncool, end-of-the-pier enthusiasm, allied to silly props and silly songs. He makes the real world melt away.
See him: performing his Sunset Milk Idiot show, City Varieties, Leeds (0113 243 0808), Oct 2 & 3, then touring to Oct 31; timvine.com
18 Sara Pascoe, 37
Once, Pascoe performed dense, fascinating, provocatively philosophical and personal live shows, pushing at the edges of what comedy could do. Then, somewhere between her becoming a panel-show stalwart and her latest live show, LadsLadsLads, she found a way of uniting her big ideas with something still personal, but lighter, more gag-filled. The results are still smart, but newly joyous.
See her: Theatre Royal, Norwich (01603 630000), Sept 16, then touring to Nov 28; sarapascoe.com
19 Michael McIntyre, 42
There aren’t many comics who can make amusing 20,000 strangers in an atmosphere-free arena look like such a doddle. So don’t underestimate McIntyre, whose beaming smile conceals a planet-sized comic brain that can seize on pretty much any topic and make merry with it.
See him: his Big World Tour resumes Sept 4-Nov 11; michaelmcintyre.co.uk. Michael Mcintyre’s Big Show returns to BBC One later this year
20 Romesh Ranganathan, 40
After starting out as a maths teacher in Crawley, West Sussex, the gorgeously grumpy Ranganathan has now become not only a formidably funny stand-up, but is also fronting travel documentaries, a forthcoming courtoom show (Judge Romesh) and has sitcoms on the way too. Talk about making up for lost time.
See him: The Misadventures of Romesh Ranganathan is on BBC iPlayer
21 Lee Mack, 49
Is there any greater pleasure in comedy than Lee Mack going off on one on Would I Lie to You? His mind moving faster than a speeding train, he will pounce on and play with any passing absurdity. All credit to Rob Brydon and David Mitchell, who balance him perfectly, but it’s Mack who is the star soloist on one of the most dependably entertaining formats of the past decade.
See him: Would I Lie to You? is on BBC iPlayer and repeated on Dave
22 Sarah Silverman, 47
She snarked for America in her early stand-up. Now, although her sarcasm is still to the fore, the comic and actress (that’s her behind a tennis-court-sized pair of shades in Battle of the Sexes) is adding personal stories and emotional awareness to comedy that snarls smartly. And her Twitter exchange with a troll to whom she extended support rather than spite showed the heart behind the snark.
See her: on A Speck of Dust, her most recent stand-up special for Netflix (in which she speaks about her former boyfriend Michael Sheen)
23 Simon Amstell, 38
Television presenter, sitcom star, vegan activist: but best of all a confessional stand-up. In his fifth and finest live show, playing to acclaim in New York, Amstell takes us past his early worries about homosexuality and into a new kind of self-acceptance. Among British-based stand-ups, only Dylan Moran can rival him for mixing the accessible with the questingly intellectual.
See him: Regent’s Park Open Air Theatre, London NW1 (0844 8264242), Aug 19
24 Tina Fey, 48
Not content with turning her film Mean Girls into a Broadway musical this year, Fey has also kept her hand in as a performer on Saturday Night Live, and remains one of the great writer-performers in modern American comedy. OK, her sitcom Unbreakable Kimmy Schmidt isn’t quite 30 Rock. What is, though?
See her: hosting a celebrity-heavy Q&A session on the final episode of Saturday Night Live’s most recent season, on SNL’s YouTube channel
25 John Oliver, 41
This British satirist has been plying unabashedly intelligent, outspoken satire as the host of the crusading American talk show Last Week Tonight With John Oliver since 2014. Crucially, while he’s all about the issues, he doesn’t mistake himself for John Pilger. “It’s not journalism,” he once said. “It’s comedy first, and it’s comedy second.”
See him: Last Week Tonight is on hbo.com, or watch clips on YouTube
26 Reginald D Hunter, 49
Before Reginald D Hunter’s previous tour, his agent begged him to do some “light, funny, bouncy” jokes — not just the sort of stuff about sex and race and politics and family that gets them both into trouble. Well, even at his lightest this American-comedian-in-Britain can’t do bouncy, but what he will do is toy with liberal and conservative preconceptions in a way that’s always entertaining and often masterly.
See him: at Pleasance at EICC, Edinburgh (0131 226 0000), Aug 1-26. Reginald D Hunter’s Songs of the Border is on BBC Two on July 28 at 9pm
27 Sophie Willan, 30
Anyone for gnarly questions of how the world describes us and how we describe ourselves? Nobody? Ah, but the wonder of Willan’s latest show, Branded, is the way she reminds us how complex identity is, even as she investigates the implications of being a female, northern, working-class comic, the daughter of a heroin addict and more. All with the breeziness of a frothy club set. Remarkable.
See her: rescheduled dates from the Branded tour are at Theatr Mwldan, Cardigan (01239 621200), Sept 21; Wyeside Arts Centre, Builth Wells (01982 552555), Sept 22
28 Sacha Baron Cohen, 46
The jury is still out on Baron Cohen’s return to television, Who Is America? — a display of pointed pranking that is funny or resonant only when picking on someone his own size (the Republicans endorsing a crazy campaign to arm four-year-olds, say). His gumption and virtuosity is undeniable; we wait to see if bigger targets such as Roy Moore and Dick Cheney bring out the best from the London-born comic’s huge talent.
See him: on Who Is America?, Channel 4, Mondays, 10pm
29 Mo Gilligan, 30
If you’ve not heard of him, despite his huge tour that visits the West End in October, that may be because he broke through on social media, is only now getting going on live and television work. Already, though, this south London actor turned comic has such skill, such charisma, such promise. When his writing gets as sharp as his performing, the arenas surely beckon.
See him: as a sidekick on The Big Narstie Show on Channel 4; in the Coupla Cans tour at the Vaudeville, London WC2 (0330 3334814), Oct 22-Nov 10
30 Diane Morgan, 42
Best known as the spoof pundit Philomena Cunk. In BBC shows such as Cunk on Britain, she brings extraordinary comic presence and improvising skills to a character who is as fearless as she is clueless. She’s also the best thing in the parenting sitcom Motherland.
See her: on YouTube, where clips and episodes are spottily available. Or in the DVD of Motherland