Comedic luminary Ali Wong collaborates once again with Netflix for her fourth original comedy special, “Single Lady,” which she also directs. This special was recorded during Wong’s residency at The Wiltern in Los Angeles, where she headlined the Netflix Is a Joke Festival.
I saw Ms. Wong last year when she performed a five-night sold-out residency at Washington, D.C.’s world-renowned Kennedy Center. While I knew all about Wong’s accomplishments, I wasn’t privy to any of her stand-ups, so I approached the night with a fresh set of eyes.
Ali Wong’s stand-up comedy is a unique and entertaining experience. Her bold approach, addressing a range of subjects from her life as a woman, an ex-spouse, and a mother to broader societal concerns and cultural stereotypes, sets her apart. The show, while similar to her Kennedy Center performance, reaffirms the distinctiveness of Wong’s comedy.
Ali Wong’s style is fearless, unapologetic, and highly relatable. Her personal stories forge strong connections with her audience, offering candid perspectives on parenting realities, relationship dynamics, and gender roles that resonate with many. Her ability to seamlessly intertwine humor with social critique keeps audiences laughing while feeling understood.
Her sharp-witted jokes often touch on politically incorrect themes, and her use of profanity is not just bold but also cleverly aware of its impact. Her vibrant storytelling and animated facial expressions further enhance the enjoyment of her performances, impressing and entertaining her audience.
Ali Wong’s latest special is a must-watch for a night of pure entertainment. Her sharp-witted jokes, politically incorrect themes, and clever use of profanity will keep you laughing. And for those re-entering the dating scene at forty, her exploration of these themes will be particularly enjoyable.
Final Grade: B+
“Ali Wong: Single Lady” is available to stream today
For their second single, the group presented a ballad entitled “Feels Like The First Time.” Once again, Greene handles the lyrics, while Neville Hodge is responsible for production duties. Greene begins the song with robust energy, proclaiming his love for the lady. Greene’s group members provide stellar work on the background vocals, and the songs eschew nineties R&B without going into crass vulgarity.
The ballad was composed by Michael Masser and lyricist Gerry Goffin, and it was first recorded by Dionne Warwick in 1981. Eight years later, Natalie Cole covered the song, shortening the title. It became the fourth single from her twelfth album, “Good to Be Back.”
Braxton’s vocal talent is perfect on the standards “Christmas Time Is Here,” “Have Yourself a Merry Little Christmas,” and “The Christmas Song.” However, like any good R&B Christmas album, it is the soulful yuletide bops where Braxton truly shines. The album’s first single, “Snowflakes of Love,” is instrumental of Earl Klugh’s “Now We’re One”. Braxton’s lush vocals encapsulate the warmth and joy of romantic love amidst a wintery backdrop.