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In hisnew Netflix specialAlive From New York, Pete Davidson is working through it.
There are two things to unpack about that.
I like how half of you are like, Thats funny!
and the other half are like, I dunno if you could do that, dude, Davidson says.
I guess well check Twitter, the decider of all.
Davidson opens with one of the strongest pieces of the hour, a story aboutLouis C.K.
trying to get him fired fromSNL.
He has a long section about getting dumped by one of the biggest pop stars in the world.
The second thing to unpack, though, is less aboutwhatDavidson is working through and .
He is positioning himself in relation to all of it, and hes hammering it into a story.
Davidson may be hammering all of this into a narrative that he can use.
But as an hour of comedy, the work is not finished.
He lurches from one section to another, with transitions that could seem purposely unartful and instead feel slapdash.
It all feels raw and under-formed, even in the sections where theres plainly more polish.
Its not that theres no appeal in the way Davidson performs the set.
This lukewarm middle ground doesnt serve him or the material.
Its good that hes working through it.
Its too bad it still feels like a rough draft.
