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From Wikipedia, the free encyclopedia

Bo Burnham
Bo Burnham Montaclair Film Festival (cropped).jpg
Burnham in April 2018
Birth nameRobert Pickering Burnham
Born (1990-08-21) August 21, 1990 (age 29)
Hamilton, Massachusetts, U.S.
Medium
  • Stand-up
  • television
  • film
  • music
Years active2006–present
Genres
WebsiteOfficial website Edit this at Wikidata
Musical career
Genres
Instruments
  • Vocals
  • guitar
  • piano
  • synthesizer
LabelsComedy Central Records

Robert Pickering "Bo" Burnham (born August 21, 1990) is an American comedian, musician, actor, filmmaker, director and poet.[1][2][3] He began his performance career as a YouTuber in March 2006, and his videos have been viewed over 250 million times[3][4] as of December 2018.

Burnham signed a four-year record deal with Comedy Central Records and released his debut EP, Bo fo Sho, in 2008. His first full-length album, Bo Burnham, was released the following year. In 2010, Burnham's second album was released, and Words Words Words, his first live comedy special, aired on Comedy Central. His third album and second comedy special, what., was released in 2013 on his YouTube channel and Netflix. Burnham finished first overall in voting in 2011's Comedy Central Stand-up Showdown.[5] His third stand-up comedy special, Make Happy, was released exclusively on Netflix on June 3, 2016.[6]

In addition to his career as a comedian, Burnham co-created and starred in the MTV television series Zach Stone Is Gonna Be Famous and released his first book of poetry, Egghead: Or, You Can't Survive on Ideas Alone, in 2013.[7] His first feature film as writer and director, Eighth Grade, was released in July 2018 to widespread critical acclaim and received numerous accolades, including the Writers Guild of America Award for Best Original Screenplay and the Directors Guild of America Award for Outstanding Directing – First-Time Feature Film.[8][9]

YouTube Encyclopedic

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  • ✪ The Philosophy of Bo Burnham – Wisecrack Edition

Transcription

Hey Wisecrack, Jared again. You might have noticed that we have a soft spot for cynical, irreverent, and even nihilist comedy. But, we’ve recently been wondering: is there anything on the other side of our current cynicism? Is comedy based in earnestness and genuine human emotion still possible? To answer this question we’re turning to our friend Bo Burnham, a comedian who might have cracked the code for how to embrace all the intellectual goodness of postmodern irony. "My voice is so ****ing natural.” While offering something with a real human core. "Could we get the house lights up for a second, could you let the lights on stage, let the artifice fade away, now we're all the same." Like a candybar that has a hard shell of cultural cynicism on the outside, but a warm hug from your favorite aunt on the inside. Even though Burnham is still baby-faced, his work has actually gone through a few distinct stages. While his earliest work incorporates postmodern cynicism and ironic detachment, — "I adopted a child from overseas to rescue him from child-labor factories, and on his very first birthday, we went to Build-a-Bear Workshop. Isn't that ironic?" His more recent work not only exposes the meaningless core of contemporary life, but also attempts to offer a corrective with introspection and a search for happiness. "On a scale from one to zero, are you happy?" Burnham might be the rare comedic figure able to offer salvation from the empty cultural wasteland that is our modern world. So, welcome to this Wisecrack Edition on The Philosophy of Bo Burnham. And… I guess, spoilers? PART 1: HOW DID WE GET HERE? To understand why Burnham represents such an important shift in comedy, we first need to see how comedy arrived at its postmodern era, and more importantly, what in the hell is meant by “postmodernism.” This phrase has become so amorphous that it can be used to describe everything from cars to Scottish beer. But a more helpful understanding can be found in the work of Fredric Jameson, whose work describes postmodernism as “the cultural logic of late capitalism.” Which means that each new form of economic life creates a related form of cultural life. For example: when you’re a poor college student, your economic situation dictates a cultural life of cheap beers, movies in a dorm room, and paying for dollar cheesy-roll-ups with your laundry quarters. When you graduate and get a job, you’re drinking a locally made IPA, paying twenty dollars for a movie ticket, and using your debit card for a cheesy gordita crunch. A few years later you sell your app, FLUSHFINDER, that gives you a map of the cleanest public toilets near you, and you’ll be drinkin’ aged whiskey, sitting courtside, and sending your scared assistant Adrian to grab you a crunchwrap supreme combo. Each economic stage in your life leads to a new cultural stage. And postmodernism is the cultural logic of the current stage of economic development, which Jameson calls late capitalism. Now, let’s see how Jameson’s ideas can help us better understand the shifting trends in American comedy over the past 70 years. We can do this with a three step process: economic culture leads to popular culture, which leads to comedy. Let’s start in the fifties: America is in a post-war boom, the GI Bill has led to record numbers of college grads and homeowners, it’s easy to get a middle class job, and Cuba is just a quaint island of resorts and cocktails. This era’s popular culture is all about optimism and enjoyment, "What are you doing up here, I thought you were downstairs boxing chocolates?" "Oh, they kicked me outta there fast." "Why?" "I kept pinchin' ‘em to see what kind they were," and their comedy sensibility can be seen in someone like Jack Benny. "Congratulations, Boss!” “Why?” “You just shined with a peeled potato!" By the mid-sixties, the boom time is over, the cold war has people on edge, and the Vietnam war is on the horizon. There were protests, naked hippies, and someone gave The Beatles LSD. The counterculture had snuck into the popular culture, and Lenny Bruce is on trial for obscenities, while George Carlin is listing them. “Sh*t, piss, ****, c*nt, c*ck sucker, mother****er, and… tits.” By the eighties, Reagan has promised endless economic growth, and we’ve got cable TV to keep us company twenty-four-seven. New media creates the opportunity for a new breed of superstar, and while Michael Jackson sold out arenas with his music, Eddie Murphy did the same with comedy. But, let’s be honest, the most important thing is how fly they look in red leather jackets. In the nineties, comedians like Jerry Seinfeld and Ray Romano had gone from successful standups to television stars. Comedy was more mainstream than ever. MTV, giant cell phones, and economic growth abounded, and, all the while, comedy rode this wave with a new optimism and increasingly goofy spirit. "We're not worthy! We're not worthy!" But, just like Taco Bell’s nacho fries, good things can’t last forever, and by the dawn of the twenty first century, the dot com bubble had burst, Limp Bizkit was popular, and 9/11 left the country wondering if anything could be funny anymore. “Can we be funny?” “Why start now?” As the aughts rolled on, things didn’t get much better. The 2008 financial crisis was the worst since the great depression, and the weird Scrubs reboot left us all wondering if nothing was sacred anymore. PART 2: COMEDY AS CULTURAL CYNICISM The political and economic cynicism of the aughts lead to a new form of cultural cynicism in the media. “Keep those on.” “Leave my nipples alone! If you don’t ****ing like ‘em, go ****in’ squeeze on your dick.” While mostly known for its groundbreaking character ‘Prison Mike’ — "The worst thing about prison was the… was the dementors, they, were flying all over the place, and they were scary, and they come down, and they suck the soul outta your body, and it hoit!" The Office showed us the mundane and often meaningless existence of the American worker, and the rest of television was slowly taken over by reality shows that were all completely fake, but nobody seemed to care. One of the most recent shifts that helps us understand the effect of late capitalism on comedy is what we’re calling “the Adult Swim phenomenon.” What started as a way for Cartoon Network to get stoners to watch their channel while eating Double Decker Tacos has since become the home of some of the weirdest, most absurd, and most intentionally cringeworthy comedy to hit American airwaves. Tim and Eric Awesome Show Great Job showed us a surreal and absurdist version of the upside down. "Pizza Mozzarella!" "Tastes pretty good!" Eric Andre ironically occupied the space of the late night host to show how meaningless the late night model had become while using interviews with C-list celebrities to highlight the vapid nature of contemporary fame. Mr. Neighbor’s House has recently shown us what happens when Mr. Rodgers is put through the postmodern cynicism filter. “A lie is a lie, no matter what the color. And when you lie, you hurt your brother.” And of course, our friends Rick and Morty give us an animated response to the classic philosophical question, “What if Back to the Future was an R-rated movie involving the multiverse, nihilism, — ‘Nobody gets it, nothing you think matters matters,’ and lots of brown liquor?” Many of these shows weren’t even funny, at least in the traditional sense. Whereas the nineties and early aughts used canned laughter to tell our lizard brains when to laugh, Eric Andre used canned laughter to create an uncomfortable moment for all involved. "Hey Hannibal, did you hear about this?” Maybe Andre just wants to push the limits of what we’ll watch or maybe he’s asking if there is even such a thing as authentic comedy anymore. We only know one thing for sure though. “You gotta eat the lettuce… Just, right… straight up eat the lettuce.” At the same time that Adult Swim is blossoming, Occupy Wall Street is taking over the streets of Manhattan, and young people around the world are questioning economic and political institutions in a way that would make the mud-covered hippies proud. But unlike their forefathers Lenny and George, who used political cynicism to infuse their comedy with an urgency for truth, — “Got no steel industry left! Can’t educate our young people, can’t get health care to our old people, but we can bomb the sh*t out of your country, all right! Huh?“ — the Adult Swim generation let this cynicism go from a rallying cry to cynicism for cynicism’s sake. Rather than a response to a troubled world, this cynicism denied the existence of real meaning or truth in the first place. "Jus' say Smith again, it don't matta. Nonadis mattas." To return to the fourth meal of cultural theory, Fredric Jameson, this cynical comedy is a perfect exemplification of postmodernism. The same cultural form repeats, but this time with irony. Or to paraphrase Marx, “first as Johnny Carson then as Eric Andre eating his own vomit.” Cynicism and irony lead to a brand of comedy in which truth, meaning, and human earnestness are just useless relics from the era of canned laughter and pesky New York mothers. So, are we now stuck in this postmodern feedback loop of meaninglessness? Maybe not, but to find out, we have to return to our friend, Bo. Nope, the other one. She’s pretty, but no. No, not the Obama’s Portuguese water dog, the comedian, lanky white guy in his twenties. Yes, ****ing finally, jesus. Part 3: FROM IRONY TO SINCERITY IN BO BURNHAM Bo Burnham is an interesting case, as much of his early work was shaped by the influence of Dutch absurdist Hans Teeuwen. “Where have you been?” “Jail!” “For what?” “Rape!” “Sorry, I uh, I had no idea.” And embodied a detached irony which exemplified the tenents of postmodern comedy. “If Jesus can walk on water, can he swim on land?“ Because there is no fixed standard of truth or meaning, Burnham used comedy to point the audience to this lack. "Jesus wasn't the messiah, get back, I'm a heretic, and I'm on fire, it was Oedipus on those holy nights, and the Holy mother ****ing Christ." But in his recent work, Burnham pushes back against the emptiness of postmodernism in an attempt to find genuine meaning in things like love and happiness. We could say that rather than returning back to a modern perspective, Burnham pushes through postmodernism to arrive at a post-postmodern perspective, where the death of traditional meaning is an opportunity for the creation of new meanings. We can see his progression by considering his three specials as three distinct stages in his comedic development. His first special, ‘Words, Words, Words’ explores the death of art and comedy, the follow up ‘what.’ goes a step further and operates under the principle that meaning itself is dead, and his most recent special, ‘Make Happy’ works through the death of meaning in an attempt to see if real meaning and happiness are still possible. From the opening minutes of ‘Words, Words, Words,’ Burnham aims to show the audience the facade of entertainment, “It’s all an illusion. I’m wearing makeup. I’m wearing makeup, makeup.” And for Burnham art is dead because it’s really just the means for something else, “So, people think you’re funny… how do we get those people’s money?” True to the logic of late capitalism, the real purpose of art is simply creating opportunities for making more money, and presumably, eating Nacho Cheese Doritos Locos Supremes whenever you want. And when he speculates on what the forefathers of counter cultural comedy would think, his conclusion isn’t pretty, “We’re rolling in dough, while Carlin rolls in his grave.” By pointing to the death of art, Burnham shows how comedy has just become a way for charming narcissists to make as much money as they can with no imperative for authenticity or truth. If ‘Words, Words, Words’ is Burnham’s eulogy for the death of art, he goes a step further in ‘what.’, and mourns the death of truth and meaning as such. “Art is a lie, nothing is real.” And he is aware that in the context of people’s actual problems, laughter isn’t the medicine we’ve been sold, “That’s it! Laughter is the key to everything; it’s the way to solve all the sadness in the world.. I mean, not for the people who are actually sad, but the people like us that have to ****ing deal with them all the time.” Unlike the Adult Swim comedians, Burnham doesn’t just embrace the chaos that comes from the death of meaning, he is asking what it means for us when meaning dies. "None of you are going to heaven." And asking whether or not the creation of meaning is possible. “Maybe life on earth could be heaven.” But he has no conclusive answers in “what.”, and he lets us sit in that space of not knowing. If ‘what.’ is the point where he starts to consider that comedy devoid of the aspirations of any higher meaning is just an equine ATM, — “But we’ll stop beating this dead horse when it stops spitting out money, but until then...” —“Make Happy” represents Burnham’s attempt to use comedy not just for criticism, but as a vehicle to search for meaning. And he makes clear early on that his comedy is not a mode of escapism, “You are here because you want to laugh, and you want to forget about your problems. But I cannot allow it… you should not laugh. You should not forget about your problems.” Instead of escape, Burnham tries to use comedy as an occasion for the audience to truly encounter their problems, and maybe themselves, in the process. And lest you underestimate Burnham’s desire to make you think about some real sh*t: “The world is not funny. 12% of the world’s population does not have access to clean drinking water. The world is not funny. Guy Fieri owns two functioning restaurants.” And while he has some facts wrong, Burnham doesn’t wanna use culture as a way to escape reality, which is one of Jameson’s worries about postmodernism — that it removes the imperative for us to be critical about the world around us. Like a server who lets you know that he’s up-selling you on donkey sauce not because it’s good, but because it’ll make him money, Burnham lets us peek behind the comedians’ curtain, “Entertainers, they are lying, and they are manipulating you.” It’s not all harsh reality for Burnham though, as he thinks the move past cynicism has some upside, “We all deserve love, even on the days when we aren’t our best. ‘Cause we all suck, but love can make us suck less. We all deserve love, it’s the very best part about being alive, and I would know, I just turned twenty five.” And by adding the last line, he undercuts his own point, showing us a position that straddles the line between naive optimism and ironic cynicism. The shows ends with Bo Burnham’s take on a Kanye West concert circa 2016, “Can I say my sh*t? New York, can I say my sh*t? I got lots of sh*t to say.” “Can I talk my sh*t, again?” And while it might start off with jokes, — “Pringles! Listen to the people! I’m sure 90% of the complaint letters you get are about the width of your cans, just… make them wider.” — he peppers this confession with some more vulnerable moments — “I don’t go to the gym, ‘cause I’m self-conscious about my body, but I’m self-conscious about my body, ‘cause I don’t go to the gym...“ And he closes out with what seems like a genuine wish for his audience, “Thank you. Goodnight. I hope you’re happy.” With ‘Make Happy,’ Burnham harkens back to the Socratic tendencies from comedians in a previous era. Much like the gadfly of Athens himself, Burnham is urging his audience to truly acknowledge their problems and unhappiness, as “the unexamined life is not worth living.” And like Aristotle, his final words imply that happiness might be possible, but we have to work at it. What’s most interesting is that Burnham doesn’t simply reject postmodern comedy for the sake of something new, instead, he pushes postmodern comedy to its limits to see what’s on the other side. And over the course of these three specials, we see him transition from irony, to cynicism, to earnestness. Or, from the death of art, to the death of meaning, to the possibility for meaningful art after the death of meaning. PART 4: COMEDY AS CURE FOR DESPAIR, OR, IS RICK SANCHEZ RIGHT? Now, you might be wondering, “so what?” Even if Burnham thinks we should try to be happy, we live in a world where goodness and truth seem increasingly illusory. And in a world where Nacho Fries aren’t even on most Taco Bell menus anymore, is it even worth moving past postmodern cynicism? One telling factor is that Burnham isn’t the only one trying to inject a post-postmodern sincerity back into comedy. A great example is the most critically successful comedy film of 2017, ‘The Big Sick’, which coincidentally stars Burnham as a comedian obsessed with success. And while it’s a genuinely funny movie, it explores family, success, and love with a sincerity not common in comedy films. And it’s safe to guess that the inclusion of Ray Romano isn’t a coincidence, as we see the cranky sitcom dad of the nineties portraying a complicated and compassionate human being. We’ve also seen this shift from irony to sincerity in shows like ‘Nathan for You’, "I mean, I do look at you guys, and a part of me is envious, that, you know, I don't have someone in my life that is… I'm this close with." And infusing absurdity with a story about genuine adult friendship in ‘Detroiters’, "You're my best friend!" "You're my best friend!" And even one of the darkest shows out there, BoJack Horseman, explores the possibility of finding real meaning. "It takes a long time to realize how truly miserable you are, and even longer to see that it doesn't have to be that way. Only when you give up everything, can you begin to find a way to be happy." While Fredric Jameson has yet to offer an analysis of the way in which comedy can cure the cultural illness of postmodernism, it might just be the case that Burnham’s work is telling us something about what will happen on the other side of late capitalism. Either way the Crunchwrap Supreme is here to stay. So, maybe there are eternal truths that we can all still believe in.

Contents

Early life and education

Burnham was born on August 21, 1990, in Hamilton, Massachusetts, the youngest of three children of Scott Burnham, a construction company owner, and Patricia, a hospice nurse whose work was shadowed in a 2014 episode of This American Life.[10][1][11][12] In 2008, he graduated from St. John's Preparatory School in Danvers, Massachusetts, where he was on the honor roll and involved in theatre and the campus ministry program.[1][11] He was admitted to New York University's Tisch School of the Arts to study experimental theatre,[13] but instead deferred his admission for a year to pursue a career in comedy.[14]

Career

Burnham performing at The Improv in September 2008
Burnham performing at The Improv in September 2008

In 2006, Burnham videotaped himself performing two songs and posted them on YouTube to share with his family.[15] They quickly became popular through YouTube, Break.com, and other sites.[1]

Accompanying himself on guitar or digital piano, Burnham continued to release self-described "pubescent musical comedy"[15] songs and videos online as his audience grew. Described in The Boston Globe as "simultaneously wholesome and disturbing, intimate in a folksy-creepy sort of way", Burnham wrote and released songs about white supremacy, Helen Keller's disabilities, homosexuality, and more.[1] All of Burnham's home-released videos were self-recorded in and around his family's home in Hamilton, Massachusetts, most in his bedroom,[1][11] and had an intentional "do-it-yourself [feel], almost like voyeurism".[16]

Burnham's music and performances tackle such subjects as race, gender, human sexuality, sex, and religion.[17] Burnham describes his on-stage persona as a "more arrogant, stuck-up version [of] himself".[18] When speaking with The Detroit News about his rapping, he expressed his intent to honor and respect the perspective and culture of hip-hop music.[3]

Burnham recorded a performance in London for Comedy Central's The World Stands Up in January 2008 (aired June 30, 2008),[1][19] and signed a four-record deal with Comedy Central Records.[20] Comedy Central Records released Burnham's first EP, the six-song Bo fo Sho, as an online release-only album on June 17, 2008.[14][15] Burnham's first full album, the self-titled Bo Burnham, was released on March 10, 2009.[21]

Burnham has performed his music in the United States, including Cobb's Comedy Club, YouTube Live in San Francisco,[22] and Caroline's Comedy Club in New York City,[14] and internationally in London and Montreal. In August 2010, Burnham was nominated for "Best Comedy Show" at the 2010 Edinburgh Comedy Awards after his inaugural performance (of Bo Burnham: Words, Words, Words).[23] He instead received the "Panel Prize", a £5,000 prize for "the show or act who has most captured the comedy spirit of the 2010 Fringe".[24][25]

Burnham's first experience with controversy regarding his music came on March 3, 2009, when fifteen Westminster College students (members of the campus' Gay-Straight Alliance, Black Students Association, International Club, and Cultural Diversity Organization) protested his concert there that evening. Of the controversy, he said, "It's so ironic because gay bashers were the ones labeling me in high school ... I try and write satire that's well-intentioned. But those intentions have to be hidden. It can't be completely clear and that's what makes it comedy." Despite the college's admission that they had booked Burnham while ignorant of his show's material, dean of students John Comerford praised the opportunities for discourse the controversy brought the school.[17][26]

On May 21, 2010, Burnham taped his first one-hour stand-up special, entitled Words Words Words, for Comedy Central from the House of Blues in Boston as part of the network's new "House of Comedy" series of stand-up specials; it aired on Comedy Central on October 16, 2010. It was released on October 18, 2010. Burnham's second special, titled what., was released on both Netflix and YouTube on December 17, 2013.[27] Burnham's latest special, Make Happy, was produced by Netflix and released on June 3, 2016.[28]

Film

Burnham performing in Pittsburgh in April 2012
Burnham performing in Pittsburgh in April 2012

While performing at the Montreal Just for Laughs festival in 2008,[14] Burnham met with director and producer Judd Apatow. That September, Burnham negotiated with Universal Pictures to write and create the music for an Apatow-produced comedy film which he describes as the "anti-High School Musical",[11][29] although Burnham insists the script is not a parody of the Disney musicals, but an attempt to emulate the high school he attended. Hoping to star in the film he was writing, Burnham told Wired magazine that he named the star "Bo" in a "not-so-subtle hint [he] want[s] to be in it".[30] In a March 2009 interview with Boston's Weekly Dig, Burnham elaborated on his work with the film. When he is not performing, Burnham spends eight hours a day writing the music, and his nights writing the script, of which he has finished the first draft.[31] Co-writing the screenplay with Burnham was his high school friend Luke Liacos.[32] In an October 2010 interview with MTV, Burnham admitted that he did not know anything about the future of the project, and that it was all effectively up in the air as far as he knew.[33] In May 2009, viral marketing began appearing for Funny People, in which Burnham stars in a NBC sitcom called Yo Teach! In the promo, Burnham stars opposite Jason Schwartzman, as a student in the latter's English class.[34]

Burnham wrote and directed his first feature film, Eighth Grade, which was produced and distributed by A24 and premiered at the Sundance Film Festival in January 2018.[35] The film has been universally acclaimed by critics: it garnered a 99% approval rating on Rotten Tomatoes based on 283 ratings,[36] and holds an average rating of 90 out of 100 on Metacritic.[37]

Television

In 2010, Burnham wrote, executive-produced, and starred in Zach Stone Is Gonna Be Famous alongside Dan Lagana, Luke Liacos, and Dave Becky.[38][39] The series was not picked up for a second season and officially ended on June 26, 2013.[40]

Awards

At the 2010 Edinburgh Festival Fringe, he was nominated for the main Edinburgh Comedy Award and won both the Edinburgh Comedy Awards' panel prize and the Malcolm Hardee "Act Most Likely to Make a Million Quid" Award.[41] Additionally, Burnham's film career has received the following accolades and nominations:

Year Nominated work Category Result Ref.
2018 Eighth Grade Boston Society of Film Critics Award for Best New Filmmaker Won [42]
Directors Guild of America Award for Outstanding Directing – First-Time Feature Film Won [8]
Chicago Film Critics Association Award for Best Original Screenplay Nominated [43]
Chicago Film Critics Association Award for Most Promising Filmmaker Nominated
National Board of Review Award for Best Directorial Debut Won [44]
New York Film Critics Circle Award for Best First Film Won [45]
San Diego Film Critics Society Award for Best Director Nominated [46]
San Diego Film Critics Society Award for Best Original Screenplay Won
San Diego Film Critics Society Award for Best Breakout Artist Nominated
Sundance Film Festival Grand Jury Prize Nominated [47]
Writers Guild of America Award for Best Original Screenplay Won [9]

Personal life

Burnham has been in a relationship with filmmaker Lorene Scafaria since around 2013. They live together in Los Angeles.[48]

Burnham has stated that his influences include Steve Martin, Hans Teeuwen, George Carlin, Mitch Hedberg, Anthony Jeselnik and Tim Minchin.[49]

Tours

Year Title Ref.
2009 Bo Burnham: Fake ID Tour [50]
2010 Bo Burnham and (No) Friends [51]
2011–2012 Bo Burnham Live [52]
2013 Bo Burnham: what. Tour [53]
2015–2016 Bo Burnham: Make Happy Tour [54]

Discography

Title Release date Notes Label Ref.
Bo fo Sho June 17, 2008 EP album Comedy Central Records [15]
Bo Burnham March 10, 2009 Studio album Comedy Central Records [21]
Words, Words, Words October 18, 2010 Studio album Comedy Central Records [55]
what. December 17, 2013 Studio album Comedy Central Records [56]

Filmography

Film

Year Title Role Notes Ref(s)
2009 American Virgin Rudy [57]
2009 Funny People Yo Teach! cast member [57]
2011 Hall Pass Bartender [58]
2012 Adventures in the Sin Bin Tony [59]
2017 The Big Sick CJ [60]
2017 Rough Night Tobey [61]
2018 Eighth Grade N/A Director and writer [35]
TBA Promising Young Woman Chris Post-production [62]

Television

Year Title Role Notes Ref(s)
2009 Comedy Central Presents Himself Stand-up special [63]
2010 Bo Burnham: Words, Words, Words Himself Stand-up special [64]
2013 Zach Stone Is Gonna Be Famous Zach Stone 12 episodes; also co-creator, writer, and executive producer [65]
2013 Bo Burnham: what. Himself Stand-up special [66]
2014 Parks and Recreation Chipp McCapp Episode: "Flu Season 2" [67]
2015 Key and Peele Lyle Episode: "A Cappella Club" [68]
2015 Kroll Show Diz 2 episodes [69]
2016 We Bare Bears Andrew Bangs (voice) Episode: "Nom Nom's Entourage" [70]
2016 Bo Burnham: Make Happy Himself Stand-up special [71]
2017 Comrade Detective Sergiu (voice) Episode: "The Invisible Hand" [72]
2017 Jerrod Carmichael: 8 N/A Stand-up special
Director and executive producer
[73]
2018 Chris Rock: Tamborine N/A Stand-up special
Director
[74]

Bibliography

  • Egghead: Or, You Can't Survive on Ideas Alone (2013)[75][76]

References

  1. ^ a b c d e f g Kahn, Joseph P. (February 13, 2008). "Nonfamily humor, straight from home". The Boston Globe. Archived from the original on January 12, 2010. Retrieved January 25, 2009. Irreverent songs win Hamilton youth a cult following
  2. ^ Connelly, Brendon (June 11, 2009). "Bo Burnham and Judd Apatow's Anti-High School Musical Wants Your Help". /Film. Retrieved August 27, 2018.
  3. ^ a b c Graham, Adam (October 28, 2010). "YouTube star Bo Burnham mixes raps, laughs". The Detroit News. Archived from the original on October 29, 2010. Retrieved October 28, 2010.
  4. ^ "Bo Burnham YouTube Channel". YouTube. December 9, 2018. Archived from the original on February 16, 2014. Retrieved December 9, 2018.
  5. ^ "Comedy Central Stand-Up Showdown Results, 2011". comedians.jokes.com. Archived from the original on January 31, 2011. Retrieved February 2, 2011.
  6. ^ boburnham (May 20, 2016), Bo Burnham: MAKE HAPPY Trailer - NETFLIX [HD], archived from the original on June 2, 2016, retrieved May 21, 2016
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External links

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