CHO Revolution

Margaret Cho’s third theatrical stand-up film leans heavily into the political rage of the early 2000s, trading some of her earlier showbiz gossip for a broader crusade on self-esteem, sex, and the George W. Bush administration. The centerpiece of her physical comedy here is a vivid, agonizing story about her final attempt at a crash diet—surviving solely on persimmons for six months—which culminates in a desperate race against her own bowels during afternoon traffic in Los Angeles. She matches that high-friction bodily humor with a mock-sermon style, taking the stage to demand a world where women and queer people claim their desires without apology.

Recorded in 2003 at the Wiltern Theatre in Los Angeles and released the following year, the show caught Cho at a transitional point in her career. Having survived the fallout of her short-lived 90s sitcom and processed those scars in her previous two specials, she was settling into her role as an elder statesperson for alternative, queer-friendly comedy. Notable segments from the set include her critique of Thailand’s red light district, the absurdity of the “Asian Chicken Salad,” and her logical breakdown of why she will never be cast in a period film.

While loyal fans welcomed her trademark impressions of her mother and her explicit vulgarity, contemporary reviews were mixed. Some critics argued that her material had crossed the line from stand-up into performance art, noting a preachy tone that favored applause lines over joke structures. Some also pointed out technical shortcomings in the audio and camera work compared to her previous concert film, Notorious C.H.O.