Film

Andrew Schulz: Infamous

Andrew Schulz is a comedian who builds his material around the idea that nothing—no topic, no person, no sacred cow—should be off-limits for comedy. Infamous captures him at full throttle, taking risks that land as often as they miss, in a special that doubles as a manifesto. It's for people who believe comedy's power lives in its ability to unsettle.

TMDb rating3.8

Should you watch it?

Watch it if you like stand-up that goes for the throat, where the comic is willing to say the risky thing and trusts a loud room to keep up with him through every detour and provocation.

Skip it if you want gentle, tidy observational material or get tired of a performer who leans hard on profanity, bluntness and crowd interaction, since that is the whole texture of the hour.

What it asks of you: It runs a brisk fifty-seven minutes of one man on one stage, so you give it full attention and a tolerance for the sharp edges rather than background noise.

If you liked this

Hannah Gadsby: Nanette2018

Gadsby dismantles comedy itself—the structure, the punchlines, the audience contract. It's fearless in a different way: not about offending, but about refusing to perform harm for laughs.

But It's a deconstruction masquerading as a special. If you want traditional comedy beats, you'll feel betrayed by where it goes.

Hannah Gadsby: Nanette poster

Roy Wood Jr.: Imperfect Messenger2021

Wood mines race, politics, and culture with intelligence and warmth. He proves you can be provocative without being cruel, and funny without needing shock value as a crutch.

But His approach is measured, almost professorial at times. Less adrenaline, more argument—which some find less comedically satisfying.

Roy Wood Jr.: Imperfect Messenger poster

Not sure tonight? Get a pick in a minute, starting from Andrew Schulz: Infamous

The wildcard

Something you would not have found on your own.

Dave Attell: Road Work2014

Both Schulz and Attell reject the idea of a 'message' in comedy. But Attell does it through formal chaos rather than topic selection—he's the wildcard version of the same impulse.

Attell built a decades-long career on the principle that comedy is about the comedian's obsessions, not the audience's comfort. He's chaotic, digressive, and genuinely anarchic in a way that has nothing to do with topics—it's about structure and control.

But Rambling and circular; the punchlines don't always land traditionally. Some bits feel like you're watching someone process trauma in real time rather than perform.

Dave Attell: Road Work poster

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