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His first section is full of jokes about being gay and Asian, something Booster explains is there so that the people who’ve come because they want their lives to be reflected onstage feel like there’s been material for them. Booster then proceeds through his set doing exactly what he said he’d do.
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He’ll be a representative for all straight white men - if a joke works for this dude, that means it’ll play for everyone like him. The idea, as Booster explains, will be to check back in with this particular white dude throughout the show, to see how he’s feeling and whether he’s found any of the jokes to be relatable. “I want to be a comedian that appeals to all demographics.” Then he pulls out the punch line while pointing back to his selected straight white male audience member: “ Especially the most important one!” “That is not what I want at all!” he says. You were like, Oh great, here comes this gay, Oriental comedian.” Booster repeats it several times until the audience is cracking up at the phrase “gay, Oriental comedian” and then unveils the bigger point: Straight white men, he has found, complain that Booster’s comedy is not relatable because it’s too focused on being gay and being Asian. “I know exactly what you were thinking when I walked out onstage tonight.
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From that second group, he selects a straight white guy named Ben and starts interrogating him. Chang’s code-switching the existence of Boise, Idaho), Booster turns to the audience and asks who in the crowd knows his work, and who is there despite having no idea who he is. After a warm-up round of introductory jokes (P.F. Psychosexual’s larger conceit reveals itself in Booster’s deployment of crowd work, where the tone shifts away from the relaxed stand-up mode and into excited discomfort when the audience realizes they are part of the show. Just as frequently it looks like someone’s mom is about to yell that he needs to turn on a light, for Pete’s sake, you’ll ruin your eyesight! Occasionally there are gorgeous shots where his face glows or is limned by lovely backlight. That rhythm of warm comfort is at odds with the lighting design and setting at L.A.’s Catch One, which is so dark and engulfed by deep navy tones that it approaches film noir, often throwing Booster’s face into deep shadow. (He pulls it off, though, particularly once he zeroes in on dogs as tools of the police state.) The joke-monologue portions have the rhythm of solid reliability, and Booster performs them like they are almost a bit too comfortable, like they are old standbys.
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There’s even a long section on cats versus dogs, a topic so well worn that even introducing it feels like a bit of a joke. Booster is introducing himself as a comedic sensibility, and there’s material about being Asian, being gay, being adopted, sex, drugs, relationships. The majority of Psychosexual is designed to achieve all the things a comedian’s first major special needs to achieve. In those moments, Psychosexual feels buoyant and alive. There are stretches of Joel Kim Booster’s Netflix special Psychosexual where the magnets wobble a little - bits where the effort of doing stand-up feels mostly in service of a metatextual point Booster is trying to make. To do both things at once, without letting one task overwhelm the other, is like holding two repelling magnets at just the right position: When it does work, it’s like something is being briefly suspended in midair, contrary to everything you know about how gravity is supposed to work. The problem is that they’re opposing impulses. The ideal of it is so appealing: You get the ability to enjoy something that’s made to transport you, but you also get that sense of privileged, look-behind-the-curtain insider information about how the sausage gets made. It is never easy to create something and unpack the awareness of creating that thing at the same time.