Summary of “John Mulaney Is Happy to Be Here”

John Mulaney performed his biggest show to date with a tear in his hip.
Sometime last summer, Mulaney knew something was wrong; soon, an MRI confirmed that he’d sustained a labral tear, just in time to refine his new special, Kid Gorgeous, and then record it at New York’s historic Radio City Music Hall.
“One thing I’ve learned is, there’s not these elephants in the room the same way you think there are,” Mulaney says.
Since Mulaney’s conclusion, Mulaney himself has released The Comeback Kid, his widely acclaimed second hour-long special; had a successful run on Broadway with the stage version of Oh, Hello, the beloved sketch premise developed with longtime collaborator Nick Kroll; and finished a yearlong tour, culminating in the Netflix hour Kid Gorgeous at Radio City, the first installment of a multispecial deal.
Of course, there’s the name Kid Gorgeous, complete with art that depicts Mulaney almost literally cherubic, framed by a halo.
Mulaney’s biggest project in the years between Mulaney and Kid Gorgeous is a testament to pursuing specific passions over consensus next steps, especially if those passions involve diner menus and the bathroom policies at Zabar’s.
Oh, Hello splices Mulaney’s eye for detail with the broad, committed character work that Kroll specializes in, a complementary skill set Mulaney says has cross-pollinated over time.
“A new take would be great. Some sort of silly side road would be great.” Mulaney’s response to that perceived desire is a lengthy diatribe comparing the president to a horse loose in a hospital, Kid Gorgeous’s only direct mention of what Mulaney calls “The current sitch.” The effect isn’t unlike the “Why buy the cow?” bit from The Comeback Kid-an analogy that starts off as clich├ęd, but snowballs its way to novelty by pushing the hypothetical to its breaking point, then several lines past it.

The orginal article.