It's the end of 2025, which means it's time once more for my annual December to remember the year in comedy with my friend and colleague in comedy criticism, Jason Zinoman from The New York Times. Which funny people met the moment to become Comedy's Most Valuable Performer for 2025? Late-night TV certainly faced a political crisis on top of its existing existential crisis this past year, with CBS jettisoning both of its late-night franchises, and ABC threatening to follow suit with Jimmy Kimmel. We also saw major push back within and outside of comedy regarding the inaugural Riyadh Comedy Festival in Saudi Arabia; the end of an era with Marc Maron closing the loop on his WTF podcast coinciding with the WTF-ness of video podcasting reigning supreme; the eccentric choices from the likes of Nathan Fielder and Tim Robinson; and a year in stand-up specials that smiled upon relative newcomers big (Hulu) and small (Dropout), with an uncertain future for HBO. As always, there's a lot to get to, so let's get to it!

Mike Bridenstine appeared on this podcast three years ago in Episode 417. Since then, he has written and published his second book about comedy, "Kansas City Comedy: The Unbelievable True Story of Stanford & Sons, Its Outlaw Owners and the Most Infamous Stand-Up Sets of All Time." Brido also has begun working behind the scenes as general manager of a cherished Los Angeles comedy venue, the Lyric Hyperion in LA's Silver Lake neighborhood, where he and his team also have launched their own production arm, Spesh!, filming and distributing comedy specials. Brido directed the first Spesh! special, Emily Browning: Temporary, Beautiful, which came out in September. On the weekend before Thanksgiving, I sat in on the Lyric's taping of a new hour from Ahmed Bharoocha, then met up with Brido the following day in Lyric's green room to talk about where his own path in comedy has taken him, and what he has learned about talking with other comedians and working with them more closely. Brido — who appeared this year on an episode of High Potential — he has come a long way from Iowa and iCarly. Which means there's a lot to get to, so let's get to it!

Xhloe Rice and Natasha Roland met in high school in Maryland and have been making magical two-handed theater shows ever since. Now based in New York City, they have taken three shows to the Edinburgh Fringe since 2022, winning The Scotsman's Fringe First Awards for writing for each of them: And Then The Rodeo Burned Down; What if They Ate the Baby?; and A Letter To Lyndon B. Johnson or God, Whoever Reads This First. At the end of 2025, they also began debuting their latest work-in-progress, The Doctor Was His Mother, which ditches their usual narrative arcs and sociopolitical commentary for some simply silly and laugh-out-loud physical comedy. Their work always blends absurdist clown work, modern dance and satire in a way that separates them from most of their peers working onstage today. In December 2025, they're enjoying an encore run of What If They Ate The Baby? at the SoHo Playhouse in Manhattan, and joined me over Zoom from their dressing room backstage to talk about their writing process, how they had to gamble on themselves in Edinburgh before gaining any real exposure in the States, and what sets them apart from the rest of the clowns currently influencing the comedy scene in the mid-2020s. There's a lot to get to, so let's get to it!