The Stand-Up’s Dilemma: How Social Media is Changing the Art of Comedy
Alex English is not your typical comedian. While his peers might be scouring TikTok for the latest meme or crafting viral bits, English finds his inspiration in more traditional ways: observing the world around him, engaging in real-life conversations, and immersing himself in literature. It’s this foundation of analog experience that fuels his unique and insightful humor, a stark contrast to a landscape often dominated by fleeting internet trends.
Since joining the Saturday Night Live (SNL) writing room in 2021, English has become a force of nature, crafting memorable sketches like "Hot Girl Hospital", "Nice Jail", and the iconic "Lisa from Temecula". Yet, despite his success in the world of television, he’s deeply concerned about the direction of stand-up comedy in a social media-driven age.
English isn’t afraid to call out the elephant in the room: the rise of internet-focused comedy has fundamentally altered how audiences perceive and experience stand-up. The constant churn of viral content, the relentless pursuit of views and followers, and the expectation of instant gratification have eroded the essence of the art form. He describes his fears:
“I was on a flight recently. Another passenger was watching a clip on their phone and I was like, “Oh, I know that person.” Within seven seconds of the video, he just scrolled off of it. I’m sure that time was the comic setting it up or talking to the audience. That scared me. I was like, “I don’t want anybody to do that to me. I don’t want anybody scrolling off of me.”
The fear is palpable. English understands that in the age of fleeting attention spans, a stand-up’s success is often judged by how quickly they can grab a viewer’s attention and hold it, leaving little space for the type of slow-burn, character-driven humor he excels at.
This anxiety extends beyond the performance itself. The traditional model of discovering and nurturing comedic talent has been disrupted. Gone are the days when a promising comedian could gain recognition by honing their craft in clubs and catching the eye of industry professionals. Instead, the focus has shifted towards building a large online following through quick-hit content.
“Long gone are the days where you could go and perform at a club, someone from the industry sees it, and they want to put you on a platform to elevate your work. Instead, now the business is, do you have 500,000 followers from burning material that you put out on the internet or talking to an audience. When it comes to crowd work, I’m the one who came to work. The audience didn’t come to work. They came to laugh. I don’t understand this obsession with that. When I’m on stage, I don’t care that much about the audience. Like, “Are y’all dating?” Who cares? There’s no unique story to that. And they didn’t pay for that.”
English sees a disconnect between the expectations of online comedy and the reality of live performance. He challenges the idea that stand-up should primarily revolve around engaging with the audience in a superficial manner, arguing that the focus should be on delivering a well-crafted, entertaining set.
This shift in focus has also led to an unsettling expectation amongst audiences, a direct result of their heavy consumption of online content.
“I realized, especially after the pandemic, the Instagram and TikTok of it all when it comes to comedy has really ruined a lot of audiences. It’s changed the audiences’ perception of what comedy—specifically stand-up comedy—actually is. I did a show a few months ago that went well. This woman comes up to me after the show. She’d been sitting in the front. She said, “Oh my God, I thought you were gonna talk to us tonight. I thought you were gonna make fun of us.” I said, “Is that what you think stand-up is now?” There’s an expectation from audiences now because of what they’re consuming online.”
This expectation of constant direct audience interaction is not only unrealistic but detrimental to the natural flow and rhythm of a comedian’s performance. It highlights the disconnect between the experience of watching a stand-up routine in a controlled online environment and the unpredictable, nuanced nature of live comedy.
The challenge is not to dismiss the power of online platforms entirely. Social media has undeniably become an integral part of comedy’s ecosystem, offering comedians a platform to share their work and connect with audiences. However, English’s critique compels us to consider the unintended consequences of this digital shift.
Ultimately, what English is advocating for is a return to the core values of stand-up comedy: insightful observation, skillful storytelling, and the masterful craft of finding humor in the complexities of human experience. He believes that the pursuit of virality and online fame has overshadowed the art of crafting a truly engaging and thought-provoking performance.
The question remains: Can stand-up comedy reclaim its identity in a digital landscape that promotes fleeting content and superficial interaction? Perhaps the answer lies in fostering a new generation of comedians who are willing to reject the algorithms and embrace the art of crafting a genuine and memorable experience – one that is rooted in observation, conversation, and the power of laughter itself.
