There has been a noticeable increase in recent years of hyperaware media, whether that be in film, music, or television. As the stigma attached to mental health and the toll it takes on one's self begins to dissolve so does its lack of representation in mainstream media. However, no one expected to see this from the much-anticipated return to screen for comedian and director Bo Burnham.
The most recent special from Bo Burnham was released just last week on Netflix and has already received critical acclaim from countless news outlets for its 'Virtuousic Portrait of a Mediated Mind' - The New Yorker. 'Inside' is a unique and hilariously aware comedy set, that quickly descends into an artistic exploration of not only Bo's mental state but also a general zeitgeist of the public's frame of mind through quarantine.
The First Act
In the opening sequences of the special, the viewer is led to believe the set will consist of the same cynical, expectation subverting comedy that fans of Bo Burnham have come to expect and initially this is definitely true. The first few performances harken back to the usual Bo formula and in spite of the lower budget and lack of resources they manage to keep the light-hearted spirit of Bo's previous specials alive and well, that is, excluding the very brief glimpses into the pre-production where there is only a hint that the comedian may not be managing as well as he appears to be.
It is after his performance of 'White Woman's Instagram' that we can sense the first shift in tone for the special as the recurring theme of Bo's self-critique is introduced with a scene of his reviewing his performance dissatisfied, this is quickly contrasted with a comedic take on this mindset with his commentary style reaction to his song 'Unpaid Intern' however this still manages to descend to self-critique. We can also see the introduction of a somewhat claustrophobic atmosphere as more and more Bo seems to be encompassed and surrounded by camera equipment and a dominant set design with little room to breathe.
Although the darker, more visceral themes of the special can be seen starting to creep their way into the frame towards the end of the first act ultimately the content remains largely that of an unassuming comedy special.
The Second Act
From this point forward even Bo's comedy segments become more focused on themes of existentialism and a sense of loss, whether that be of youth, relevancy, or hope as seen in the lyrics for 'Sexting' with the repetition of the phrase 'another day on my own, stuck in my home, one hand on my dick one hand on my phone.' This is then followed by a gut-wrenching performance of 'Stuck in my Room', the first time a song is solely dedicated to the primary motive of the special, the raw and real.
We do still return to several comedic segments, however, they start to become more fleeting and the equilibrium created in the first act begins to dissolve.
'Welcome to the Internet' is a fan favourite song of the special and its placement marks the last time we really see a classic display of Bo's cynical humour, it acts as a final bracer and the last barrier between the comedy and the gritty existential tone of the finale of the special.
The final 30 minutes of the special toy with themes of hopelessness and a fear of returning to normal life. The comedy skits become substanceless and empty as Bo prolonges the production of the special so as not to return to the outside world, to find new meaning. He explains several times how the special has been his one purpose for so long and therefore the completion of it leaves him yet again without meaning, perfectly highlighted and represented in the song 'Yet Again' - it can be read as the feeling of his mental decline catching up to him now that his one purpose draws to an end. The evolution of the outside world becoming nothing but background noise to the overwhelming static of his own cabin fever-esque trauma.
We wade through some more discourse from Bo on his own mental state and the toll that prolonging the special has taken on him, we can see this through not only his appearance but his visible disdain and frustration with what was once the silver lining of being trapped inside his own home.
We now reach the penultimate climax of the special, a collection of expositional shots much like the beginning of the special, then followed by ‘Possible Ending Song’ a collage of pre-production and post-production Bo, brandishing all his wear and tear, referencing multiple gags from the special, hinting at potential closure yet still addressing all the self-doubt and lack of belonging in the new age.
The final few shots of the special are a Truman Show-like conclusion sequence where Bo finally escapes both the literal and metaphorical prison that was his room, however, unlike The Truman Show, there is no final witty remark or pleasant ending. Bo can only stand a few minutes outside the comfort zone he had grown accustomed to and violently claws at his door to return to what he once viewed as a cell, all while framed in a spotlight, laughed at, and yet again painfully observed by himself.
Ultimately the special is a critique on the constant need to create and consume content just for the validation and praise of others and how not only relying on that validation as one's only form of self-worth will inevitably exhaust the individual in their never-ending pursuit of validation but also when there is no longer an audience present to provide that validation, the passion, and desire that once drove the need to create becomes baseless and disappears. The special is also a critique of so much more: the corruption of capitalist greed, the internet's god-like control of people's lives and careers, fan's insatiable need to peer into the personal lives of celebrities as if they aren't entitled to their own privacy and just about any other topic...
Bo's special succeeds because of how unexpected it really was; it's insightful, real, and relatable to so many people.
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