"I actually have to pick and chose stuff that I know I'm going to bomb at"
About this Quote
There is something almost anti-glamorous, and therefore deeply honest, in Kathy Griffin admitting she has to choose material she knows will fail. It punctures the fantasy that stand-up is pure charisma plus good writing. For a working comic, bombing is not an accident; it is a tool, a controlled burn. Griffin frames “pick and chose” like a grim bit of budgeting, as if failure is a line item on the tour ledger. That’s the subtext: craft isn’t just building laughs, it’s managing risk in public.
The line also lands as a quiet flex. Only a comedian with real miles can talk about bombing this clinically, because she’s survived enough rooms to treat disaster as data. “Stuff that I know” matters. She’s not confessing insecurity; she’s describing a process: testing premises, sharpening tags, learning which cultural references are stale, which taboos still have voltage, which audiences will shut down the moment you touch a sacred cow. In an era where clips circulate and a “bad set” can become an online identity, deliberately bombing is even more transgressive. It’s refusing the algorithmic demand to be perpetually camera-ready.
Griffin’s context, too, is a career built on courting backlash: celebrity skewering, scandal, and the kind of material that doesn’t get polite applause first time out. The intent here isn’t self-deprecation for its own sake; it’s a reminder that comedy’s engine is discomfort, and sometimes you have to drive straight into it to find out what still works.
The line also lands as a quiet flex. Only a comedian with real miles can talk about bombing this clinically, because she’s survived enough rooms to treat disaster as data. “Stuff that I know” matters. She’s not confessing insecurity; she’s describing a process: testing premises, sharpening tags, learning which cultural references are stale, which taboos still have voltage, which audiences will shut down the moment you touch a sacred cow. In an era where clips circulate and a “bad set” can become an online identity, deliberately bombing is even more transgressive. It’s refusing the algorithmic demand to be perpetually camera-ready.
Griffin’s context, too, is a career built on courting backlash: celebrity skewering, scandal, and the kind of material that doesn’t get polite applause first time out. The intent here isn’t self-deprecation for its own sake; it’s a reminder that comedy’s engine is discomfort, and sometimes you have to drive straight into it to find out what still works.
Quote Details
| Topic | Funny |
|---|---|
| Source | Help us find the source |
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