A Funny Thing Happened on the Way to the Truth
The job of the stand-up, it seems, is that of a surgeon. They dissect, examine, and expose the faults, flaws, and foibles of the public, the powerful, and themselves. In 1960, a Life critic observed this about Nichols and May’s humor: “They hold the human race on a pin and make it laugh at itself while it squirms.” That legacy carried forward- through George Carlin’s blistering social commentary and Richard Pryor’s raw, autobiographical confessions.
We’ve since crowned the comedian as the modern philosopher. But even that idea- noble as it sounds- has been dismantled by comedians themselves. Norm Macdonald, never known for intellectual posturing, worked more in the tradition of Bob Hope: clear-cut, joke-first, unpretentious. However, in what was sadly his final Netflix special, Macdonald deadpanned, “[The public] expect [comedians] to know things nowadays.” And when “they say comedians are the modern-day philosophers… it always makes me feel sad for the actual modern-day philosophers. Who exist, you know?”
Comedians package insight in digestible bits. Philosophers require patience. It’s easier to watch and chew on the comedy of Dave Chappelle and Marc Maron than to read and sit with the writings of Cornel West and Martha Nussbaum. Comedy entertains and then, maybe, enlightens. Philosophy demands stillness from the start.
You can track the shifting perception of comedy in the media- when journalism became (let’s not say “more sensitive”) perhaps more diagnostic about humor, especially regarding what might be labeled ‘potentially problematic.’ That phrase- “potentially problematic”- is its own kind of rhetorical sleight-of-hand. If a journalist writes that a joke might offend, it becomes a forecast, not an observation. It stokes reaction. It manufactures controversy under the guise of prediction. And that small, semantical hedge- probably- lets the writer claim prescience when all they’ve really done is nudge the discourse forward themselves. It’s like calling a shot you already took.
Suddenly, comedians feel like they need to be careful. They feel like they need to be informed. To “know things.” But that same expectation kiboshed Lenny Bruce- whose act, in its time, was revolutionary. It broke comedy wide open. Arguably, it began the modern form of American stand-up.
What greater calling is there than this?
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Craig’s Last Laugh?
Well, Craig Robinson is on the search.
The actor-comedian-musician announced on his Instagram two weeks ago that he was “quitting comedy” because he’s “following something bigger.”
The post was quickly flooded with comments- fans mourning the loss of his A-1 comedy, and others speculating wildly about what this “true calling” might be. Celebrities chimed in with their guesses. David Arquette hoped it involved music- a nod to the musical aspect of Robinson’s act, which predates Bo Burnham and, as far as my research indicates, even Zach Galifianakis’s piano work. Arsenio Hall suggested preaching. Howie Mandel, ever the wildcard, wished him well on his journey as a dancer.
Of course, Robinson’s career took a major turn with ‘The Office’, where his role as warehouse foreman Darryl gradually became a central fixture. That exposure led to a breakout appearance in Judd Apatow’s ‘Knocked Up’, where Robinson’s brief but memorable scene- funny, honest, and perfectly timed- arguably steals the film. That moment granted him access to Apatow’s comedy inner circle: Jonah Hill, Danny McBride, and, most consistently, Seth Rogen. His presence in that crew gave him cachet in film, which in turn elevated his role on ‘The Office’, creating a feedback loop that cemented him as a staple of American comedy.
Now, he’s stepping away from that?
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The “Something Bigger” Bit
That’s what makes Robinson’s announcement so flabbergasting.
What exactly is this “something bigger” he’s chasing?
Drama?
Has Craig Robinson decided it’s time for his Oscar? If so- godspeed. His fans (myself included) are on board for whatever he wants to pursue.
But calling your shot like this isn’t without risk- especially in the performance world.
A perfect parallel comes from Robinson’s own hit show. In ‘The Office’, Michael Scott, in classic fashion, quits his job with dramatic flair, burning the bridge behind him. Left to his own devices, he quickly learns that business isn’t a solo act. It’s only with the help of his co-workers that he’s able to rebuild what he destroyed and come out ahead.
Steve Carell, the actor behind Michael Scott, took a very different path. His transition into drama was seamless. He just did it. Many point to ‘Foxcatcher’ as the turning point in his career- but Carell never announced a shift. He never closed a door. He left room to return.
Like Adam Sandler, who can disappear into roles like ‘Punch-Drunk Love’ and ‘Uncut Gems’, then return to do comedies like ‘You Are So Not Invited to My Bat Mitzvah’ or ‘Happy Gilmore 2’ without missing a beat.
Robinson’s declaration, by contrast, is so definitive that it invites skepticism. Is this a sincere reinvention- or something closer to an Andy Kaufman bit?
And if it is a bit, Robinson might want to remember how that played out for Kaufman. The audience- left in the dust, either confused, alienated, or both- literally voted him off ‘Saturday Night Live,’ the supposed temple of alternative comedy.
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Robinson’s New Office
We never considered, however, that this “something bigger” wasn’t a new kind of performance at all. Just this week, it was revealed that Robinson is pivoting away from the stage entirely toward small business ownership with “Wake Up with CrAIg”- a visionary AI alarm clock designed to motivate and spread good vibes specifically for small business owners.
In a recent ‘Entertainment Tonight’ interview, Robinson clarified that he’s “not quitting comedy per se.” He’s simply shifting his focus.
So breathe easy, comedy fans. In his latest Instagram post, where he gives a tour of his new office, Robinson even scolds an employee for peeking at his dream journal. Strap in for some funny promotional content, ladies and gentlemen- because funny people stay funny. It’s not something that just disappears, especially for a seasoned pro like Robinson.
By Joseph Tralongo
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Joseph Tralongo is a playwright and screenwriter who approaches storytelling with a deep respect for film’s ability to distill human behavior into meaningful moments. His personal work- i.e. his plays, screenplays, and films- leans into semantic tension, moral ambiguity, and the quiet unraveling of social dynamics- not to preach, but to parse. For him, writing is a slow excavation of truth through craft. With a background in theatre and independent film, he brings a structural precision and dramatic instinct to every film he reviews. Hollywood Insider’s mission to champion substance over spectacle aligns with Joseph’s belief that storytelling should investigate, not dictate.
Joseph Tralongo is a playwright and screenwriter who approaches storytelling with a deep respect for film’s ability to distill human behavior into meaningful moments. His personal work- i.e. his plays, screenplays, and films- leans into semantic tension, moral ambiguity, and the quiet unraveling of social dynamics- not to preach, but to parse. For him, writing is a slow excavation of truth through craft. With a background in theatre and independent film, he brings a structural precision and dramatic instinct to every film he reviews. Hollywood Insider’s mission to champion substance over spectacle aligns with Joseph’s belief that storytelling should investigate, not dictate.
