Oct. 1, 2026

Stavros Halkias: Comedy Snob PLUS Bill Burr on Bombing, Parenting, and Theater; Taylor Tomlinson on Leaving After Midnight

Show Notes
Transcript

Johnny Mac delivers daily comedy news centered on Rolling Stone comments from Bill Burr about moving past anger, recently bombing with a hard Vegas opener, parenting his daughter and son, crying during a story about connecting with his daughter, and how Broadway’s Glengarry Glen Ross made him love theater while rejecting a Cats revival; he also plugs a Bill Burr deep-dive episode and an upcoming Norm Macdonald deep dive. The episode notes Burr, Pete Davidson joking about fatherhood at the Riyadh Comedy Festival, and Taylor Tomlinson telling The Hollywood Reporter she took After Midnight out of loneliness, struggled with illness, and ultimately left after months of deliberation despite supportive staff. Other items include Stavros Halkias on comedy purism, Trevor Noah and Jimmy Carr riffing on English, Jo Koy recalling meeting Robin Williams, Zelda Williams calling a conspiracy clip AI, “Comedy Stock Market” picks for Norm Macdonald and Nathan Fielder, promotion of the Is Late Night Dead? podcast, and Vulture’s profile of Courtney O’Donnell and her goals.

00:14 Bill Burr Bombing Story
01:03 Bill Burr as a Dad
01:47 Burr Discovers Theater
02:56 Festival and Pete Dad Talk
03:11 Taylor Tomlinson Burnout
05:30 Stavros Comedy Purist
06:46 Trevor and Jimmy English Bits
07:48 Jo Koy Meets Robin
09:02 Zelda Williams AI Warning
09:33 Comedy Stock Market Picks
10:54 Podcast and Courtney ODonnell

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WEBVTT

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Hello, I'm Johnny Mac with your daily comedy news. Bill Burr,

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who's the subject of the deep dive on this very

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feed tomorrow, told Rolling Stone, I know a lot of

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angry people that like my comedy. I want to tell them, look,

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if I get on the other side of it, anybody can,

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because I was a first ballot lunatic. I didn't want

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to be the angry guy. My whole career was like, oh,

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you're the angry comic. It was always embarrassing to me.

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They asked Bill when he last bombed. He said, oh,

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recently I was in Vegas and I opened with that

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Luigi stuff. Oh my God, that ate it. I'm paraphrasing here.

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He's a little more vulgar than I like to have

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the show. And then what's good about getting on the

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other side of my emotions, it didn't work and rather

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judge them and blame them. I went, all right, I

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get it. You came to Vegas, you blown off some steam.

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I get it. I was wrong. I came out too hard.

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So how's everybody doing? And then they were all laughing

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because I did come out guns a blazing. Bombing never

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goes away. If you're going to continue to try new

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jokes and push yourself, it's all part of it. It's

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like boxing. You're going to get punched. It's going to hurt.

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And even if you win, you take the hit and

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you get back up. We learned about Bill Burr the parent.

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Bill has a daughter and a son. And Rolling Stone

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was curious how Bill Burr helps his son avoid the

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men can't cry vibe. Burr said, I just let him

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be who he is. I let my daughter be who

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she is, and then I just go, hey, a little

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too much of this or that. Guys, ease up. I

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expose them to all different kinds of music and sports

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and stuff, and I see what they gravitate towards. My

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wife's amazing with that. I learn a lot by watching her.

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It helps that I remember what it was like to

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be a kid, to be scared, not be listened to,

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and all that awful stuff. I learned how to be

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a really good father by not doing what I saw.

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I remember the first time it felt like I was

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working with my daughter. It was probably two at the time.

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There was something that was upsetting her. I was sitting

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on the stairs, and I said, well, come over here

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and talk to me about it. She walked over, and

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both of us just held each other's hands. And then

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at that point in the clip, Bill Burr started crying.

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They segued to Bill getting into acting. He explained, I

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like hearing other actors say a line and thinking, wow,

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I would have never thought to do it that way.

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I've gotten better just watching the choices and see somebody

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fearless as an actor. The way I gravitated towards a

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fearless comedian to be like, okay, what is being fearless

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as an actor? And then seeing that, it's the same thing.

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It's like, oh, that's like some David Tell stuff, but

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in the acting world. Bill did four months in Glen Gary,

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Glen Ross on Broadway. Bill explained, it combines stand-up and acting.

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In stand-up, I say the thing, you guys react positively

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and negatively, I get immediate feedback, and silence is bad.

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On a set, silence is a good thing. If somebody

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doesn't come up to you after a take, that means

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you did a good job. With theater, there's feedback. And

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when you're with the other actors, you're seeing how everyone

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else does it and how it changes every night. It

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made me love theater. I was a typical sports guy.

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I thought theater was cats. It's like, I don't want

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a bunch of people dressed like felines. I never had

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plays growing up. That was for the kids that got

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beat up. I was trying not to get beat up

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in high school, so I went back and I read

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a bunch when we were doing Glengarry. Great stuff. Made

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me want to do more of it. They pointed out

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there's a revival of Cats. Bill, do you want to

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do Cats? No. Again, Bill Burr is tomorrow's Deep Dive episode,

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the weekly Saturday Deep Dives. And then in eight days

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from now, Norm MacDonald. Bill Burr played the Riyadh Comedy Festival.

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So did Pete Davidson, who co-owns a ferry with college

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shows to be joked. Scotty, his daughter, will inherit this

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one day. I'm very lucky and excited to be a dad.

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It's been a real joy and it's awesome. I can't

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wait for her to come and see wacky stuff like

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the ferry show. That's going to be so cool. Taylor

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Tomlinson spoke with The Hollywood Reporter about her new book,

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in which she talked about After Midnight and said, The

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truth is, I took the job because I was lonely.

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She explains, I do remember when I was deciding whether

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or not to take the job. If somebody offers you

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a national television show, a late night show, say yes.

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I do remember when I was deciding whether or not

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to take the job. I was like, it'd be great

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to have a reason to be in L.A., And it

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did anchor me to L.A. in a way that I

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hadn't been, because if you keep adding shows on the road,

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you'll stay out there forever, and then you come home

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just to drive your car so the battery doesn't die.

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They were curious how she started to realize how unwell

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she was. She said, I didn't know what's going on.

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I just kept thinking if I keep pushing, I'm going

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to get better. It's going to be fine. And then

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for months and months and months, it didn't get better.

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And it was one of those things where if you

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don't have a life-threatening illness, you keep pushing. That's showbiz, baby. Also,

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everybody was meeting me for the first time and everybody

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met me very sick. It was tough because I was

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trying to make a good impression. I was trying to

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do a good job in an altered state and telling

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myself this will resolve itself. Because that's what you do.

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I've been doing that on the road for years, where

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I go, just push through this, it'll be fine, you

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can crash for a few days. When you're doing a

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late night show, there wasn't enough time to crash and recover.

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So for the first five months of the show, I

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wasn't doing stand-up, I wasn't touring, I was just doing

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the show for three days, then I'd be in bed

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for four. Everyone who worked with me on set from

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day to day was lovely, and I wish I had

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said more about that in the book. They saw me

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every day. They had the best understanding of where my

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health was. They were like, hey, what can we do?

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Do you want to do the table read from home?

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Do you want to sleep in? Maybe we could put

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your dressing room somewhere that's less crowded so you're not

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worried about germs. As for walking away from the show,

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she said, it wasn't a thing where I just woke

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up one day and was like, yeah, I'm done. It

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was months of me thinking about it. I had this

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tour and I was like, I don't know if I'm

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going to make it through the tour. And because I

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owed Netflix another special, I moved up the Netflix special,

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got through that, then canceled the rest of my tour,

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which was so much time and so much money. That

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was another wave of disappointing people. And that one was

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super hard because I disappointed a lot of my fans

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who had followed me on the road for a long

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time and my personal team had known me for 10 years.

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Going back on tour now, but it took 10 months off,

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which is insane. But After Midnight was objectively a dream job.

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And it's why I was so devastated that I left

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the job and disappeared. It was such a special group

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of people. And for someone to be able to go

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in and host four episodes three days a week in L.A.,

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what an amazing job for so many comedians. And there

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were so many who would have been amazing at it.

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So it was hard for me because I was like,

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I'm so unbelievably lucky to have these opportunities. How can

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I not rise to the occasion? But I've been rising

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to the occasion for 10 years and I pushed it

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too hard for too long. Stavros Algeas, he's having a moment.

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And I feel like, justifiably, everybody likes him right now,

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which is just great to see somebody like that. He's funny,

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he's personable, everything he's in is really good. Anyway, he

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spoke to CBS about being a bit of a comedy snob.

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I started set up when I was 19. And all

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you want is to make it happen. All you want

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is to get specials. You know, like Tires is a dream.

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To get to do bit parts in movies was like...

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you know, the utmost dream, but you get that stuff

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and you're like, well, what is it? What does any

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of this mean? And I'm tired of hearing it from

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baby boomers, right? Like their lives were so easy. You

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could just win a house at a carnival back then.

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You know what I mean?

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People now, you know, they interact with stand-up at like

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45 seconds at a time or a minute at a time.

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And to me, I am kind of a purist. I'm

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kind of a comedy nerd. Yeah. Where I love the

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idea of like, you know, I mean, you talk about

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early stand-up, they never change their act. They did the

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same hour their entire lives and maybe every year the

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worst 10 minutes would come out and they would bring

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in a new 10 minutes. They would keep it fresh

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that way. The stand-up special started because There were these

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huge titans in comedy, Richard Pryor, George Carlin, and most

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people didn't ever get to see them. They heard about them.

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They maybe listened to an album. To the albums. Right?

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Albums were huge. That's what it used to be, right?

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Almost no one got a special.

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Trevor Noah and Jimmy Carr had a fun discussion about

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speaking English.

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Have you seen what non-English speakers do to the English language?

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They give it... You guys don't have that at all.

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I'm not.

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No, I don't. I mean, technically... You guys.

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Say things like bang, which is terrible. I don't even have.

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I don't even have an accent. This is just how

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things sound when they're pronounced properly. That's what I'm saying.

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You are, you are like literally the, have you heard the, like,

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like if you were to tell a story of, um,

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someone threw something at your head and it just narrowly

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missed you, how would.

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You tell the story? I would say those words in

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that order. Ah, you see now.

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Yeah.

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Whereas with us, we'd be like, yo, Eugene Mfana, let

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me tell you what happened to me the other day.

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So I'm walking, busy walking. Next thing I see, this

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guy pops out. This guy's there, throws the thing at me.

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You don't have that in language. Yeah, I mean. You

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know that shwaba is a sound of a thing. It

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has a meaning. It has a meaning.

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Shwaba.

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Shwaba.

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Joe Coy recalled meeting Robin Williams. They were there at

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a show many moons ago. Robin Williams was scheduled to

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go on stage. Joe Coy said other comedians started arriving

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after hearing Robin was performing. Initially, Joe Coy was supposed

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to be the one to introduce Robin Williams, but Bob

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Saget showed up saying he had a routine he usually

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did with Robin Williams. Joe Coy tried to persuade Saget

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to let him have the honor. Saget said no and

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introduced Williams himself. But then Robin Williams noticed Joe Coy

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and asked why Joe Coy didn't bring him on stage,

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because that was the plan. Joe Coy explained Saget, blah, blah, blah.

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Robin Williams said, introduce me again. Joe Coy said that

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was genius. So Jokoy goes to the mic and introduces

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Robin Williams for the second time, telling the audience the

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next comedian was somebody they wouldn't believe. It's Robin Williams.

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The crowd erupted when Williams walked back on stage. The

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two performers spent several minutes improv-ing. Jokoy said for like three, four,

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five minutes, it was just him and Robin Williams improvising

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on stage. Now, if you're like, who's Jokoy, John? The

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name's familiar. That's the guy at one time on the

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Golden Globes. He told this horrible, mean joke about Taylor Swift. Here,

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let me remind you.

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As you know, we came on after a football doubleheader.

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The big difference between the Golden Globes and the NFL,

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on the Golden.

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Globes, we have fewer camera shots of Taylor Swift. Robin's daughter, Zelda,

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would like you to cut it out with the AI crap, please.

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In September, there was a clip of not Robin Williams

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saying that he had been in this industry a long

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time and seen things before adding, The real elite, the

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ones at the very top, they don't just play power games.

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They worship something much darker. Zelda Williams said that supposedly

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private video of Dad talking about conspiracies is clearly AI

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and not even particularly convincing AI. Anyone who claims to

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be a fan who believes it, clearly listen to his

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movies on mute because that voice is robotic and terrible.

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Comedy stock market.

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Every week on the Comedy Stock Market, I give you

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some recommendations on if comedians were stocks, who should we buy?

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Who should we sell? Where's the value? How would we

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make money off all this? You know what a stock

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market is. It's just a gimmick bit. Do I have

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to really explain it? It's the comedy stock market. Here's

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what we're doing this week. We're going to buy some

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Norm MacDonald. Here's why. The Netflix documentary about Norm is

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coming out in a few weeks, and I mentioned it

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to college students. Now, usually college students, anything I mention

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in popular culture, they have no idea what I'm talking about.

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I'm such an old man. Even if I'll be like,

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do you guys know who Bill Burr is? And some

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of them will stare at me like I've never heard

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of this person. They all lit up when I said

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Norm MacDonald. Very, very interesting. So let's buy Norm MacDonald.

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Let's also load up on Nathan Fielder. All the cool

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kids are raving about You Can See Everything, the Elizabeth

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Holmes documentary. I don't know if this has quite hit

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the mainstream yet. Anybody who has seen this doc says

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it's amazing. So let's get in front of that. Nathan Fielder,

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he's on a roll. People in the know know how

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great he is, but we should load up on Nathan

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Fielder and load up on Norm MacDonald. And that is

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your comedy stock market for this week. Don't forget, on Sunday,

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it is that new podcast, Is Late Night Dead?, in

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which Johnny Mac waxes poetically about various late night shows.

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It's not the history of late night, so your favorite

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host might not make the podcast. And I'm writing it

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as we go. It's not like I've already banked 15 episodes,

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but episode one for this week. is about 1230 Late

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Night with David Letterman, back when 1230 was truly great.

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Not what Seth Meyers is doing. Make 1230 great again.

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But Dave, Dave was great, and we'll talk about that

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on Sunday. That is its own feed, Is Late Night Dead?

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Wherever you found this show, you'll find that show. And

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I will eventually repurpose the episodes in this feed, but

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not yet. So go check out Is Late Night Dead?

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That'll be out Sunday. Courtney O'Donnell is one of Vulture's

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comedians you should know and watch, or whatever it's called,

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alongside comedian Chelsea Morgan. Vulture tells us O'Donnell posts clip

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frame videos from a fake podcast called Yep, She Went

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There with her pseudoscientific chatter is like Connor O'Malley for

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a maha susceptible girly population. Girly population is a great word.

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Well done, VultureWriter. All of those elements are at work

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in her one-woman live show, Planet Courtney, where she plays

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a resident of the titular planet, where the hospital is

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run by Chipotle, the Air Force is controlled by Aritzia,

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and the Sprinkles Cupcake ATM downtown is now taking ancient

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Sumerian shekels. It's Barbie's World from Barbie if Barbie's World

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was completely taken over by GLP-1-friendly slop balls and VC-backed

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DTC brands. It's exhausting. Yeah, it was exhausting to explain

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it to you, but it sounds funny. But breathtaking to

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witness the amount of world-building and referential jokes O'Donnell packs

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in when she's just doing a 15-minute shred of her

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full act. Two questions for Courtney. One, if you taught

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a comedy class, et cetera, et cetera. Courtney says, do

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things that feel fun to you, not what you think

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is going to be funny. A friend of mine recently

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gave me such a nice compliment. She said, you have

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so much joy for the things you make, and I've

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never stopped to think about how important that is. This

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is not an easy career, so if doing comedy doesn't

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make you feel like you're 10 years old laughing on

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the playground with your best friends, you should go into

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tech sales. And second question, what's the most earnest goal

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you have? The answer, I want to play Mary in

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Oh Mary, and I want to act in a dramatic role.

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I would like an herb garden. And that is your

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comedy news for today. All right, tomorrow, Bill Burr deep dive. Sunday,

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I should have promoted this all week. The New York

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Times did an article about the top 100 TV shows

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of the 21st century, and I reacted to it on

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the fly. And let's just say Johnny Mac didn't like

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the list, okay? Bill Burr deep dive tomorrow, Times 100

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on Sunday. See you then.