The Weight No one considers the weight of Mondays. The rain of yesterday vanishes— a whisper swallowed by wind. There is only this: the hallowed circle of breath, a communion of fur and dust, a chorus of bodies spinning the sun in their orbit. Let the heart leap. Let the earth tremble on paws. There is no instruction but to fall fully into this wild rhythm of now. Here, among concrete tables and paths worn thin by joy, we remember— how simple the teaching, how ancient the truth: Love requires no reason. Heaven is just this— a tail wagging, a tongue lolling the sweet salt of the present. This moment: all breath and soil, all tongues and tails, a small kingdom of wonder where joy is no one’s master, and we belong to nothing but boundless air.
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.
