AltComedy.com

"After making something in complete isolation, going back to performing for live audiences required a total recalibration. There's an intimacy to direct address in film that you can't recreate on stage, but there's an electricity to live performance that can't be captured on camera. I'm still navigating that tension."

"I think we're seeing the end of irony as the dominant mode of alternative comedy. There's a hunger for something more direct, more vulnerable. Not necessarily confessional, but honest about the artifice rather than hiding behind it. The most interesting comics right now are the ones playing with sincerity as a form of experimentation."

"The question isn't whether to use technology in performance, but how to use it in ways that actually enhance the human connection rather than substitute for it. I'm interested in technology that makes live performance more live, not less."

"I never set out to create a template for others to follow. 'Nanette' was me solving a very personal problem with the form. It's been fascinating to see how other comedians have taken that breaking of structure and found their own ways to reassemble the pieces."

"Comedy has always had neurodivergent performers, but we're only now developing language to talk about how different neurotypes approach humor. The patterns, the obsessions, the outsider perspective—these have always been valuable in comedy. Now we're seeing performers explicitly incorporating their neurodivergent experiences into their work rather than masking them."

"I'm drawn to the spaces between defined forms—not just comedy and drama, but visual art, music, storytelling. I think of genre as a consensus reality that we can choose to participate in or step outside of. There's tremendous creative freedom in that stepping outside."

"We didn't want to simply import American or British alternative comedy templates. Nigeria has rich traditions of satirical storytelling, of playing with language and code-switching between different Nigerian languages and English. Our work draws on these traditions while incorporating elements of absurdism and multimedia that speak to contemporary Nigerian life."

"Comedy has always been a safer space for political commentary in Nigeria, but there are still boundaries. We find that approaching political topics through absurdism and metaphor often allows us to go deeper than direct commentary would. The audience understands the coded meanings."

"Our comedy is very specifically Nigerian, but the themes we explore—identity, postcolonialism, technological change, tradition versus modernity—have universal resonance. We've found that the more specifically Nigerian we make our work, the more it connects with international audiences. Universality comes through specificity, not by watering things down."