New in Town
Netflix · 2012 · 60 min
A young comedy writer details his absolute terror of eighth graders.
John Mulaney steps onto the stage looking like a 1950s television announcer, then proceeds to build intricate, highly structured jokes about his own anxieties and physical cowardice. This hour establishes the exact persona that would define his career. He leans heavily on his boyish appearance and deep fear of confrontation, turning mundane interactions into high stakes absurdism. The standout sequence remains his breakdown of Law and Order SVU, specifically Ice-T’s role as a detective who needs the concept of everyday crimes repeatedly explained to him.
Filmed at the Skirball Theater in New York City, the release caught the comedian at 29 years old. At the time, he was primarily known as a writer for Saturday Night Live, where he co-created the character Stefon.
He proves his ability to carry a longform narrative by describing his childhood fear of quicksand and the psychological warfare of teenage bullies. He also recounts a high school party at a teacher’s house that ultimately led to his sobriety. The title comes from an encounter with a homeless man who aggressively introduced himself by listing his life’s tragedies before cheerfully declaring he was new in town. Critics praised the tight construction of the hour, with Entertainment Weekly declaring him one of the best working comics alive.
The set list
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The closer (spoiler). Show it
Visiting a clinic for a medical issue and undergoing a prostate exam
Mulaney narrates a harrowing, true, and disorienting visit to a doctor which ends up with an unexpected exam.
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Encountering a homeless man in New York who says he is 'new in town'
Mulaney breaks down an interaction with a man whose list of woes ends with the flirtatious and bizarre declaration that he is new in town.
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Appreciation for Law & Order: SVU and Ice-T
Expresses his obsession with the procedural crime series and delivers a spot-on impression of Ice-T's exposition delivery.
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The joy of doing nothing
Highlights the sheer pleasure adults experience when plans get canceled and they can do nothing.
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High school party thrown by a teacher's son and quitting alcohol
Recounts a chaotic party from his past as one of the defining reasons he stopped drinking at age 23.
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Home Alone 2: Lost in New York
Comically examines the plot mechanics and absurdity of the early 1990s sequel.
How it plays
- Tone
- Playful, witty, absurd, self-deprecating, and observational.
- On stage
- Self-deprecating, boyish, preppy, and polite, presenting himself as a tall, poorly preserved child with a childlike sense of wonder at everyday absurdities.
- Pace
- Fast-talking narrative cadence packed with multiple tags per bit, executed with a deliberate, relaxed theatrical tempo.
- About
- childhood and growing up, past drinking and partying days, pop culture and television, self-image and awkwardness, daily life and modern absurdities
What the critics said
Praised as a brilliant, laugh-out-loud debut hour highlighting Mulaney's casual perfectionism, immaculate wordcraft, and ability to spin absurdly relatable comedy from personal stories.
In the room: Engaged, highly focused, and enthusiastic theater audience.
Backstory
Mulaney was approaching 30 and addressing personal life milestones, including his decision to stop drinking at age 23 and childhood experiences.
Details
- Released
- Taped
- 2011, Jack H. Skirball Center for the Performing Arts, New York University, New York City
- Runtime
- 60 min
- Where
- Netflix
- Director
- Ryan Polito
- Topics
- Before
- The Top Part (2009)
- After
- The Comeback Kid (2015)
More from John Mulaney
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Baby J
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Kid Gorgeous at Radio City
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Oh, Hello on Broadway
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The Comeback Kid
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The Top Part
Comedy Central · Album
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