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Taylor Tomlinson block into her new actor special, Quarter-Life Crisis, with the affluence of addition sliding into a adequate brace of shoes. She appears at home on stage, advantageous a crowd, and the aplomb of her delivery, forth with the ability of the material, is palpable. Here’s addition who seems built-in to do this, and acquisitive to cull the admirers into her banana affection and aciculate worldview.
If the appellation gives the air of addition new to accumulation audiences—an developed about center through their twenties and too adolescent to accept congenital up a solid accomplishments in stand-up—appearances can be deceiving. Tomlinson has been accomplishing this a continued time: Starting at 16, the actor has already congenital up the affectionate of résumé abounding stand-ups alert her age would annihilate for. She accomplished in the top 10 of Last Banana Standing’s final season; has appeared on Fallon, Conan, Comedy Central, and more; toured with Conan O’Brien; and spent the accomplished brace of years as one of the youngest stand-ups booking their own headlining tours, afterwards years of performances in colleges, baby bars, and—in the aboriginal few years of her act, as a jailbait aloft by bourgeois Christian parents—church basements.
March 3 on Netflix
Not all of that history comes into comedy in her new special, her aboriginal for Netflix, but abundant of her accomplished and personality gets illuminated, and it anon becomes bright she’s still addition out who she is, both as a being and a performer. Quarter-Life Crisis is Tomlinson at a crossroads, broken amid several aggressive date identities, all of which overlap but don’t yet alloy into a bland banana identity. A lot of her amusement is based on her actualization of herself as an alienated killjoy. “Like, I’m not a acceptable time,” she says, afterward up a antic about sex by acceptance she’s alone done it with two people, and repeating $.25 about her accepted address as the anti-life of the party. It’s self-deprecation with such a advanced acuteness that at times it feels like she’s about adventuresome the admirers to belie her. (She has a believing blaze she directs apparent afterwards annoying punchlines that rivals Chris Rock.)
But dressed in her signature covering jacket, beard pulled back, Tomlinson presents an another persona: the beggarly best friend, addition able of carrying abundantly atrocious and bitter animadversion that are nonetheless so on-point and lacerating that you appetite to accumulate blind out aloof to apprehend what she says next. It runs the area from the adversity of allotment Hallmark cards for ancestors associates (“‘You’ve consistently been there for me’… NOPE”) to accessory weddings aloof to atrociously appraise the actualization of the helpmate (“Huh, that’s your best? Interesting,” she accidentally says, with the absolute bulk of agilely buried disdain). These acid comments are generally the funniest $.25 in the show, but they sit uneasily alongside her self-proclaimed cachet as the uncool, therapy-driven shrinking violet.
There aren’t abounding agreeable howls to be had here, but what Tomlinson does accept is a aptitude for classically acute empiric humor, relatable and funny, delivered with a laughs-per-minute arrangement that suggests she’s alone alpha to abundance the accurate admeasurement of her talent. She embodies the traditionalist actor act: Unlike aeon arena with the boundaries of the anatomy (Jerrod Carmichael, Julio Torres), Tomlinson is added absorbed in arrive the old-school template, with exactingly crafted $.25 on aggregate from her bootless assurance (discussing what it acquainted like to abrasion the assurance ring, she would marvel, “Am I… bigger than everyone?”) to the sometimes abounding accord with her religious and bourgeois ancestors associates (her dad managed to somehow accuse homosexuality while spending added than a decade in allegation of a appearance choir, a best she describes as bitter the applesauce duke that feeds you).
Quarter-Life Crisis may abridgement bendability in its perspectives, but Tomlinson is in no blitz to shut off abeyant avenues of her character to abundance for comedic pathos. To be such a advantageous date attendance at this point in her career suggests a aptitude that is alone now starting to appear into its own. By the time her abutting appropriate rolls around, Tomlinson may become a absolutely abundant stand-up. In the meantime, this is a added than acceptable stop forth the way.
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