Anthony Jeselnik isn’t the smartest man in the room because I am. But his dark swagger is undeniably funny.

Jeselnik’s Bones and All cements his reputation as comedy’s quintessential bad boy and a living argument against cancel culture.

In this special, Jeselnik embraces his role as a gallows provocateur, wielding his razor wit to tackle taboo topics like abortion, politics and trans issues with the unapologetic confidence that has defined his career.

This time, however, there’s an added layer of introspection as he reflects on his 20 years in comedy, offering a nuanced commentary on his place in a rapidly evolving cultural landscape.

Jeselnik’s ability to defy the outrage machine while maintaining his relevance is a testament to his skill as a comedian. He doesn’t just tell jokes—he crafts them into precise, calculated statements that challenge societal norms and the limits of free speech.

In Bones and All, Jeselnik doubles down on this approach, presenting material that is as provocative as it is thoughtful, daring his audience to laugh at the darkest corners of the human experience.

While the special ranks above his 2015 stand-up in terms of polish and thematic cohesion, it doesn’t quite surpass the iconic brilliance of Fire in the Maternity Ward (2019). Some segments feel slightly more predictable, and the shock factor—while still potent—doesn’t pack the same punch as it did in his previous work.

Nonetheless, Bones and All is a triumph in its own right. Jeselnik remains one of the boldest voices in comedy, a comedian who doesn’t merely survive in the age of cancel culture but thrives within it.

This special is more than a collection of jokes—it’s a declaration of comedic freedom and a celebration of a career that refuses to conform. For fans of boundary-pushing humor, Bones and All is a welcome return to form.