Bo Burnham in Inside

Bo Burnham won some Emmys for not portraying himself and Socko in Inside. 

The idea of performance is generally presented as someone playing someone else, though even this is often complicated by persons portraying fictionalized versions of themselves or the oft used, overly used really, critique of a performing "just playing themselves". The work in question in this instance is not quite that and rather falls into the concept of performance art. Where the lines between self and the performance are often obscured. Bo Burnham, other than his single scene of performing as Socko, is ostensibly playing Bo Burnham as he suffers from being Inside during COVID lockdown, inside his lonely space. Of course, this is presented as such, however, this isn't the truth, but rather the performance. The performance as Bo Burnham the comedian creating a special, but this special is unlike your typical comedian speaking in front of an audience, reacting to them, maybe even interacting with them. Burnham is alone, and his presentation is of a piece where there is a directorial vision to crafting this experience that is both singular yet emblematic of the idea many of us went through at this time.

Burnham's performance then fittingly is of a song and dance man, individual suffering from multiple anxieties in isolation, an internet influencer, and some pseudo philosopher. To which "role" he is fulfilling is typically dependent on the particular phase we see him going through, as he ages within this particular seeming depression of being isolated within his interior. What Burnham is then, are all these things, in this tapestry of self, while also being a commentary on self, while being a comedian on self, and just being maybe himself. The nature of the various songs speaks, or more correctly sings, to this point as they are of different styles, and perspectives to which is typically an analysis of Burnham as himself, or some kind of influence most often specifically related to the internet. To describe each performance of a song as just Burnham singing them would be a disservice to each song, and speaks to the performance of this art, where each performance style in a way creates some commentary or perspective towards the song. 

"Content", "Comedy" and "Problematic" are each of Burnham very playing the role of the comedian, one would assume himself, and in turn, you could argue are closer to Burnham's typical performance of his songs, even though playing a "character" is song isn't a new attribute, to begin with. "Content" is this giving comedian even if analyzing himself as he goes about it, though largely through adulation of providing his favor to the masses sort of way. "Comedy" is with the weight of some purpose that is to comedy, a recurring theme throughout the film, and Burnham's delivery is switched though to be more passionate, if also more deprecating. Both though cuing into both Burnham reflection as the social commentary of the comedian, while also speaking towards his position as a comedian that is defined by a more than a degree of privilege. Burnham's performance of both songs is as the hypocrite in so many ways, as speaking about the inappropriateness of the time for joking, while also making sure he's joking to be the center of attention. And with each, he's a great hypocrite. "Problematic" in a way is the theoretical "admission of guilt" however Burnham's performs it not as a guilt-ridden screed, rather the most middle of the road, blithe indifference even within the so-called admissions. Against that is very character-driven of "How the World Works", in that Burnham is literally playing Socko, the voiced sock with the innocence of a muppet, though with the intensity of a...muppet as well? This is about Burnham himself in the song though performing it as a Sesame Street adult performer with all the cheer and indifference until Socko starts mouthing out, and Burnham fashions a terrible glare, a callous intensity against his sock "friend". 

"Sexting" and "Facetime With my Mom" are companion pieces, odd as that is, as Burnham takes on the role of any man within the lock-down situation finding solace, or lack thereof. Very different in terms of final intent though similar in comfort. What Burnham's performance as each thought is of the specific redundancy even kind of lunacy with the act. Each though, despite their very different context Burnham is playing with these strange redundancies and specific disconnect. His performance is blithe with the songs, showing the often blithe nature of these interactions. Oftentimes Burnham though is playing with really rather elements of society, though really as per the perspective of what one would have the swiftest access to when closed off from the world. That being the internet. "White Woman's Instagram", "That Funny Feeling" and of course "Welcome to The Internet". Each performed so differently though similar in this commentary to the nature of the internet. "White Woman's Instagram" Burnham performs it as the fantasy of the titular Instagram where everything seems so perfect, however even while technically dealing with death and grief almost as an ambush due to the previous approach. "That Funny Feeling" though as kind of a folk song, Burnham in turn speaking random words associated with an internet search, though fashioned in his performance this calming even when describing a mass shooting. The randomness all filtered down though with the ease of treating it all in a strange kind of stride, almost sage-like. Speaking of sage-like, "Welcome to the internet" perhaps the greatest of the songs, is abrasive as Burnham performs it as this sinister huckster. First inviting you all to each and everything as though he were selling a geek show. Before assuming a calmer invitation to the young pup being invited to it all, before reversing towards a sinister intention, though even more sinister than before, and perhaps speaking towards the Internet's inviting though treacherous nature. 

 

Now as remarkable as every portrayal of every side and shade Burnham brings in crafting these variations of form within these songs, within it all, in between the songs, and during a few of them. It seems as though we are seeing Burnham himself, and that is where perhaps this performance seems the most pointed. This we see the man with his beard growing longer to Christlike proportions, and Burnham himself could be lying, or revealing a genuine vulnerability of someone slowly going inside in crafting his project while seemingly trapped. Now whatever trick, or non-trick, that Burnham is playing here, the end result here is remarkable as those variations of pseudo characters we see throughout. This is presenting his depression as it is seething throughout his time Inside. This as he seems to become slowly more exasperated and tired in every phase of this. Frankly, the songs illustrating this more so, in a way are reprieves of defense against Burnham perhaps being the depression. Whether that comedic caustic with "Shit", the far less obnoxious song featured in 2021 about turning 30 here just called "30", where Burnham does us all the grace in laughing at the idea, even if perhaps still examining it, doing it in a far more digestible way, or of course "All Eyes on Me" where he jests about COVID's unique stumbling block for his return to performing on stage. This is between seeing this particular deterioration as Burnham seems more lost, more isolated, with a greater life sucked out of him. He seems to be the man at the end of his rope in this strange predicament, barring some modicum of joy at the literal end of the piece. Is this Burnham, a part of him, the whole of him? It doesn't matter. What Burnham is showing us is a truly compelling portrayal of a man falling apart and attempting to find meaning, whether it be true, false or somewhere in-between.

But let's talk about what is really important, Burnham reacting to himself singing about unpaid interns. Commenting on his simple song as a YouTuber behind the "creative process". This with the awkwardness of someone not quite with it enough in the process and explaining the method as his insight in labor exploitation. He then begins to react to himself again. Reacting himself again though now with more confidence but also kind of a bit of deprecation of the pretensions of his previous statements. To only react again to backtrack on those statements, then to backtrack a bit more against himself for his self-awareness. Of course, speaking to reacting, my initial reaction to this performance does deep enough. Should I have spoken of every muscle twitch, and every bit of nostril flare. To react to that perhaps that extreme of description is a bit ridiculous. I mean Burnham is playing Burnham as a man reacting, which is a performance but kind of isn't. To react to that though I shouldn't dismiss, as almost every performance uses self whoever they may be playing. One shouldn't dismiss that. To react to that though, I should dismiss at times, but these reviews themselves are meant to be an overview of what the actor is doing and what the character's journey is. I'm not trying to be a technical guide on acting here. To react to that, hey it's just my opinion, and how seriously one should take what I'm doing here is up to the individual. To react that, duh it's the individual, and duh it's my opinion, I'm trying to at best articulate my thoughts and why a performance like Burnham successfully performs what it's trying to do. To react to that, this is clearly me doing another gimmick review, I mean come that Richard Dreyfuss one was weak in comparison to my previous efforts. To react to that, not every review of the ilk can hit the mark, and really don't do them to be clever, usually, I'm stumped on how to approach talking about the performance in a more traditional sense. To react to that, though I really should stop now this now, if I keep going I'll just be a guy who rates performance art via images of a man performing the theme from Mighty Mouse.