Mae Martins SAP showcases affirming, optimistic humor – The Wellesley News

Ill admit that, aside from another student/actually a professional journalist Im mutuals with on Twitter saying Mae Martins SAP is funny, affirming, and poignant without once punching down, I had no idea what to expect from Martins newest Netflix special. Being greeted with a surreal campfire scene where Martin declines a marshmallow but accepts a rubber band, I was delighted by the premise of a snow globe indicating storytime. Martin immediately draws you in with endearing expressions and movement that plays up the theatrics while still coming across as entirely authentic. The humor of the campfire scene with a mysterious man (Phil Burgers) is a bright way to start the special, treating the viewer to Martins compelling and charming body and facial expressions even in a spot of awkwardness or when asking for Burgerss phone to chuck in the fire. Everything shows Martin as a bouncy, captivating person, to the point of them officially starting the special by stumbling out of a forest-themed backdrop.

Watching this feels like watching a friend get so excited they exhibit an almost childlike quality pure, yet touching. At one point, Martin makes a point of commenting on watching their friends stand-up and noting that their show was dynamic, which they wished to be. And theres humor in the bit when removed from context, but it is highlighted further by the fact that Martin is so expressive and physical in this special. I was first introduced to their work in Netflixs 2022 LGBTQ+ comedy special Stand Out, and even in that, theres this physicality that makes Martin so engaging. Their first bit of their special is actually also in Stand Out, but they lead into it seamlessly by discussing how their father is lost in the (moon) sauce, and they were so animated I continued to hang onto every word despite knowing the contents. Their excitement is tangible, coming through in hand gestures and bright movements, which underscores the beginnings focus on a tranquil parent. Framing their special in the context of their parents sets the viewer up for something a little reflective, yet lively.

Around the halfway point, Martin starts a bit about the embarrassment of being an adult but having a room, only to lead into the abstract. Transplanting this idea of rooms as external expressions of oneself, they describe minds as rooms furnished with identity, which they specifically think of as snow globes. And the delight in Burgerss face when Martin offers him a snow globe at the beginning of the special becomes more significant this snow globe indicative of storytime is deeper, now, than an object; it is a symbol of the basis of communication. While Martin acts out this idea of showing mental snow globes to have conversation, complete with voices, there is an underlying contemplativeness. This is the first bit where they pause for a significant beat or two, providing a moment to relax into the snowglobe that is experiencing this special.

That is a feeling carried throughout SAP commentary on some of the specials material being more of a (amusingly concerning) vignette than a joke with a punchline, many jokes explicitly set in childhood or being significantly younger and an entire set-up regarding nostalgia feature in their work. They tease their younger self but remain loving, acknowledging the validity of their anger (likening it to being a teen buying a terrible house from a shady realtor) while also saying that, perhaps, getting a tattoo that says oatmeal and being self-destructive might not be the best way to react to being given a house thats falling apart.

Toward the end, Martin gets more political, mentioning the 2016 election of Trump as proof that the world is tilted on its axis, and the efforts of Gen Z are going to fix the house theyve been given. They even touch on less contemporary issues, acknowledging the colonial nature of gender binaries, specifically calling out UK medias smugness regarding India decriminalizing homosexuality when Englands colonization of India was responsible for the initial criminalization, calling it the ultimate form of gaslighting.

Martin ends the actual stand-up with a Buddhist parable, which they start by asking the audience to stay with them, as its actually a positive story. Once its told, they are earnest, asking the audience to get it, to wait and see it through, because this parable, they reveal, is the origin of the specials name, SAP. The special as a whole ends where it began, with Burgerss character crying (due to their differences in humor), and me crying when Martin takes the snowglobe back, saying Its me, Im me and Burgers agreeing You are you. Credits role as Martin and Burgers get ready to bury some mail.

I didnt go into watching this with any expectations, but even if I did, I dont know whether I would have ever expected what I got. SAP is funny, reflective, poignant and just good. Martin keeps it light, even when talking about serious matters, in a way that avoids minimizing the damage theyre discussing. And yes, I cried a little at the end, but I dont think thats a mark of an unsuccessful special. It is hard to blindly watch comedians these days without fearing that someone will be punching down on my and other peoples existence, so it is refreshing to see a show void of it. The end is an affirmation of existence for Martin and people like them, which is moving. And, I dont know about you, but ending a comedy show with some laughter as well as some acceptance is a pretty good way to go.

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Mae Martins SAP showcases affirming, optimistic humor - The Wellesley News