栋笃笑《拾下拾下》于1999年8月10日在香港伊利沙伯体育馆首演，是黄子华栋笃笑系列的第七辑。

栋笃笑《秋前算账》于1997年4月10日在香港伊利沙伯体育馆首演，是黄子华栋笃笑系列的第六辑。

黄子华的三集栋笃笑，分别涉猎过破碎家庭、成长与性、娱乐圈的残酷与辛酸、搔到痒处的政治实况。题材从个人推展至社群国家。 “每次选嘅题材一定系我好有感受嘅，呢个系我嘅最大原则。唔一定发生喺我身上，或者发生喺你身上，但我好有感受，就会讲。” 他转了坐姿，说自己是没有使命感的人，例如《跟住去边度？》讲政治，是觉得自己有时真的活得好像一只狗，有些许解释人类生存状况。“问我点解咁做？我都唔知嘎，呢D系创作嘅冲动，等于我点解饮好立克，点解钟意女人一样。”

《娱乐圈血肉史》系香港“栋笃笑“创始人黄子华的开山之作及标志性作品。在该作品中，黄子华以谐谑的口吻，半真半假地讲述自己在娱乐圈打拼的经历，以及其所见所闻所感。

Legendary comic Carlin comes back to the Beacon theater to angrily rant about airport security, germs, cigars, angels, children and parents, men, names, religion, god, advertising, Bill Jeff and minorities.

live album by George Carlin

Jerry Seinfeld returns to the club that gave him his start in the 1970s, mixing iconic jokes with stories from his childhood and early days in comedy.

Carlin returns to the stage in his 13th live comedy stand-up special, performed at the Beacon Theatre in New York City for HBO®. His spot-on observations on the deterioration of human behavior include Americans’ obsession with their two favorite addictions - shopping and eating; his creative idea for The All-Suicide Channel, a new reality TV network; and the glorious rebirth of the planet to its original pristine condition - once the fires and floods destroy life as we know it.

There's something magical about an Australian accent that seems to make even the most caustic wit come off with good-natured charm. And that delicate blend of deviant behavior and good intentions has skyrocketed Aussie comic Jim Jefferies to international acclaim with critics and fans alike. In this new hour-long special, the man hailed by Q Magazine as "Britain's most offensive stand-up comedian" shares fresh tales from his life on the edge, including a menage a trois in Montreal and attending a party where God is on the guest list.

There's no subject too dark as the comedian skewers taboos and riffs on national tragedies before pulling back the curtain on his provocative style.

If you're a fan of late-night talk shows then, whether you know it or not, you know Emmy Award-winning Louis CK. That's because he has written hilarious bits for all the titans of late-night comedy. Now he's becoming a household name in his own right. Filmed live and uncensored before a raucous One Night Stand audience, CK riffs on the absurdities of married life and countless other everyday observations with a skewed vision and often apocalyptic sense of wisdom that is earning him a cult following among fans of standup. See why he made Entertainment Weekly's it list and was selected by Variety in 2000 as one of the Ten Comics to Watch. Spend an evening with CK, the comedian who is putting the f-u back in funny.

Comedy icon Dave Chappelle makes his triumphant return to the screen with a pair of blistering, fresh stand-up specials. Filmed at The Palladium in Los Angeles, California, in March 2016.

Jeff gives the most dangerous – and enlightening – roast of his life from behind the walls of the Brazos County Jail in Bryan, Texas. In this special he touches on topics surrounding incarceration such as race, solitary confinement and the death penalty.

Louis C.K. muses on religion, eternal love, giving dogs drugs, email fights, teachers and more in a live performance from Washington, D.C.

2015 American TV series or program

US television special

2011 film by Louis C.K.

No music reviewer would make a career writing about pianists solely from repeated performances of a single concerto, nor any pianist out of playing just the one piece. Yet sometimes writing about stand-up comedians can feel worryingly like this. They all hit more or less the same notes: London... young people... children and parenthood... today's dreadful music... religion... growing up in Ireland (obviously not every comic includes this movement, though sometimes it feels like it)... finishing off with differences between men and women, usually with reference to naughty bits and/or naughty business. The difference lies in the phrasing, the flourishes, the individual expression brought to the work by the performer. Dylan Moran, appearing for seven nights at the West End's Palace Theatre while it spends the summer between blockbuster musicals, plays the standard concerto. It's in the phrasing that his skill resides. His slurred, bellowing delivery and shambling, half-cut persona (although in almost two hours he put away perhaps a third of a glass of white wine) are no longer as novel as they once were, but they belie a greater than average discipline in his material. Moran certainly has a gift for the surreal image and the unexpected adjective, but his spontaneous flights of fancy are brief and a little diffident. He prefers to hone his phrases and seems to script them quite tightly; like a snooker player, he can control exactly the angle at which the ball will come off the back cushion. At times he simply sounds like an early-middle-aged grouch, berating young people for "texting each other because they've given up on speech", but when he stretches out and lets fly with his magnificent vocabulary, he's in a different league. He can use a near-nonsense word like "quadrangulate" meaningfully, or wonder about Ann Widdecombe's voice, "How do you get that many fingernails on one blackboard?" Sometimes the word-images work through bizarreness, sometimes they're simply there to add colour or emphasis in unexpected ways: a granny mentioned in passing is so much less prosaic when she's an emphysemic granny. And the mere phrase "fellating a Smurf" is as euphonious as the image it evokes is disconcerting. Moran's growing film and TV career are vying with his live work for supremacy now, and indeed he's slightly less appealing a performer on stage than one might expect. But the words, oh, the words...! Written for the Financial Times.