Take Note
Netflix · 2016 · 68 min
A highly structured, dryly funny hour about sports, aging, and dancing.
Dwayne Perkins’ smooth, conversational rhythm and clean-cut but sharp observations make this debut hour stand out, particularly his counterintuitive argument that white people are actually the best dancers. His logic is simple: while Black dancers are chained to the beat, white dancers have the freedom to ignore it completely.
The performance, recorded at the El Portal Theatre in North Hollywood, California, showcases a seasoned club veteran finally stepping into a solo spotlight. Released on Netflix in the summer of 2016, the special reflects Perkins’ deliberate effort to maintain broad appeal without losing his edge. He works through structured, mid-tempo routines about the exact age a man crosses onto the creepy side of the social bell curve and why certain Olympic events are merely activities rather than true sports.
Instead of relying on manic energy or shock value, Perkins holds the stage with the easy confidence of a comic who has spent two decades refining his timing on late-night television. It is a highly polished, intellectual hour that found a strong following upon its streaming release.
The set list
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The difference between sports and activities
Breaks down why certain competitive pursuits should realistically only be classified as activities rather than sports.
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America's foreign policy and place in the world
Examines foreign policy in a manner that points out how both conservative and liberal audiences find reasons to enjoy the perspective from opposite angles.
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The woman-slap voucher program
Proposes a voucher system conceived to deter senseless violence and random douchebaggery, carefully navigating a comedic tightrope without descending into misogyny.
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White people being the best dancers and Asians being the best drivers
Tackles mildly controversial racial stereotypes by flipping conventional tropes with analytical reasoning.
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The moment every man becomes creepy
Pinpoints the exact behavioral or life moment when men cross the threshold into creepiness.
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Ethics and prejudices of naming babies
Discusses societal bias and consequences embedded in baby names.
How it plays
- Tone
- Clever, sensible, intellectual, likable, and understated.
- On stage
- Chill, incredibly likable, mature, and subtle. Described as projecting the look of a stuffy academic—dressed in a button-up shirt and grey cardigan on a set with a chalkboard, globe, and filing cabinet—while leaning casually on the mic stand.
- Pace
- Relaxed, measured, and smooth; delivers sharp observations and tightrope-walking topics without aggressive chest-beating or high-strung energy.
- About
- America's place in the world and foreign policy, The distinction between sports and activities, Racial stereotypes and cultural perceptions, Male creepiness and dating dynamics, Ethics and prejudices of naming babies
What the critics said
Exclaim! praised Perkins' craft, intelligence, and poise, rating the special 7/10 and commending his ability to walk fine lines without alienating viewers or resorting to vulgarity, while noting that his desire to please everyone slightly softens the emotional connection.
Backstory
Born in Brooklyn and later based in Los Angeles, Perkins developed his comedy style across both the realism of Harlem and the intellectualism of Boston, shaping an approach designed to appeal broadly without relying on shock value or vulgarity.
Details
- Released
- Runtime
- 68 min
- Where
- Netflix
- Director
- Ian Harris
- Topics
- Before
- Comedy Central Presents (2004)
- After
- Please Believe It (2018)
More from Dwayne Perkins
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Please Believe It
Comedy Dynamics
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Comedy Central Presents
Comedy Central
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