Anthony Jeselnik: Wit, Dark Humor, and Bones and All

Anthony Jeselnik is a name synonymous with bold, unapologetic comedy that thrives on sharp wit and dark humor. His brand of humor walks a tightrope, dancing between the outrageous and the profound. Known for his calculated delivery, impeccable timing, and razor-sharp punchlines, Jeselnik’s style isn’t for the faint of heart—it’s for those who can appreciate comedy as an art form that challenges societal norms and provokes thought.

One of his more recent discussions or influences, however, veers into uncharted territory: Bones and All, a 2022 film by Luca Guadagnino. On the surface, this pairing might seem incongruous—what does a stand-up comedian specializing in irreverent humor have to do with a romantic horror movie about cannibalism? Dig deeper, though, and you’ll see a fascinating confluence of themes: mortality, love, moral ambiguity, and the exploration of taboos.

Anthony Jeselnik: Master of the Dark

Jeselnik’s comedic persona revolves around pushing boundaries. His jokes often flirt with the offensive, relying on misdirection to keep his audience on their toes. His mastery of this craft has earned him a loyal fanbase but also plenty of controversy. Jeselnik’s humor tackles some of the darkest aspects of human nature—death, disaster, and moral failings—forcing us to confront the absurdity of life’s bleakest moments.

In interviews, Jeselnik has openly discussed his love for the unexpected. He sees comedy as an art form that must surprise and challenge its audience. This perspective aligns closely with the narrative strategies employed in Bones and All, a film that melds horror with an unexpected tenderness, exploring themes that sit uncomfortably at the edge of social acceptability.

Bones and All: A Dark, Romantic Odyssey

Directed by Luca Guadagnino and based on the novel by Camille DeAngelis, Bones and All is a visually stunning and emotionally gripping story. The film follows Maren (Taylor Russell), a young woman with a horrifying secret: she is a cannibal. Abandoned by her father and on a journey of self-discovery, Maren meets Lee (Timothée Chalamet), a fellow cannibal, and the two embark on a road trip across the American Midwest.

The movie is an exploration of love, alienation, and morality through the lens of a taboo subject. Much like Jeselnik’s comedy, Bones and All forces audiences to wrestle with uncomfortable truths about human nature. The characters’ struggle for connection and understanding mirrors the universal human experience, albeit through an unconventional lens.

The Intersection of Dark Comedy and Horror

What ties Jeselnik’s comedy to Bones and All is their shared reliance on subverting expectations. Jeselnik delivers punchlines that turn seemingly innocent setups into shocking revelations. Similarly, Bones and All presents its grotesque subject matter within the framework of a tender love story, disarming its audience. Dark comedy and horror often operate in parallel, with both genres using shock and discomfort to evoke a reaction. Jeselnik’s stand-up routines often tread into territory that feels too raw, forcing laughter out of moments where we least expect it. Bones and All achieves a similar effect, eliciting empathy for characters whose actions would typically be considered monstrous.

Exploring Taboo Through Art

Jeselnik has long defended his approach to comedy as a means of exploring the taboo. “There’s nothing I won’t joke about,” he has said in interviews, emphasizing that his comedy isn’t about punching down but about crafting perfect jokes in imperfect circumstances. This philosophy aligns with Guadagnino’s approach in Bones and All, where the taboo of cannibalism serves as a metaphor for alienation and otherness. Both Jeselnik and Guadagnino understand that art can serve as a mirror to society, reflecting our fears, prejudices, and moral dilemmas. By presenting the unspeakable in a way that demands engagement, they force audiences to reckon with their discomfort.

The Role of Empathy

Despite their dark subject matter, both Jeselnik’s comedy and Bones and All possess a surprising undercurrent of empathy. Jeselnik’s jokes often reveal deeper truths about human vulnerability. For instance, his ability to frame personal tragedy within the structure of comedy showcases a profound understanding of the human condition. Bones and All similarly asks its audience to empathize with its characters, despite their horrifying actions. Maren and Lee are portrayed as complex individuals, driven by forces they can’t fully control. Their love story unfolds with an earnestness that juxtaposes their grim reality, making their journey both haunting and heartbreakingly human.

The Power of Perspective

Both Jeselnik and Guadagnino challenge us to reconsider our perspectives. Jeselnik’s comedy thrives on flipping conventional narratives, making us laugh at things we thought were off-limits. Bones and All forces us to question the nature of monstrosity and humanity. Is a cannibal inherently evil, or does their humanity persist despite their actions? This question mirrors the implicit challenge in Jeselnik’s work: can we find humor in the unthinkable? Both the film and the comedian push boundaries not for shock value alone but to provoke deeper reflection.

Conclusion: The Art of Darkness

Anthony Jeselnik and Bones and All may belong to different mediums, but their shared exploration of the dark and taboo makes them fascinating counterparts. Both use their art to probe the depths of human nature, confronting their audiences with uncomfortable truths while providing a cathartic release. Jeselnik’s comedy is a reminder that laughter can be found even in the darkest corners of life, while Bones and All proves that love and humanity can exist in the most unexpected places. Together, they demonstrate the transformative power of storytelling, reminding us that art, in all its forms, is a reflection of our shared experience.