Discussions of suicide are often heavy and laden with emotional weight when addressed through dramatic narratives in films and novels. How does comedy play into discussions about suicide? How does the structure of a one-man stand-up comedy set change the narrative about depression and suicide? In “Career Suicide,” Chris Gethard engages directly with the audience, seamlessly blending humor with raw, unfiltered discussions about living with mental illness. This special stands as a poignant reminder that laughter and absurdity, even in the most unexpected places, can serve as profound forms of healing. Enter Chris Gethard’s “Career Suicide,” a masterclass in using humor to navigate personal darkness. 

Movies and novels are crafted to engage the audience by taking the receiver through their narratives, with their creators or authors serving as guides. While we absorb their storytelling, we ultimately interpret the material independently. Our reflections, whether shared in discussions or pondered privately, allow us to develop our own perspectives. However, we remain passive observers in the actual creative process. The format of “Career Suicide,” with Gethard standing alone on stage, breaks down the fourth wall. He speaks directly to and interacts with the audience, creating a palpable sense of vulnerability and intimacy that films and books seldom achieve. This direct address style strays from feeling like a performance and falls into the realm of a heartfelt conversation. 

Films, TV series, and novels often explore themes of suicide with dramatic and occasionally sensationalized narratives. While these mediums can effectively initiate conversations, destigmatize the subject matter, and evoke an emotional response from the audience, they may fall short in authenticity compared to “Career Suicide.” Gethard’s one-man show provides an intimate setting where his narrative is delivered with unfiltered sincerity, adding a profound and genuine depth to the discussion. 

What about documentaries? Documentaries frequently delve into the realm of suicide and mental health, usually adopting a journalistic or observational approach. They often incorporate interviews and firsthand testimonies from a range of individuals including experts, survivors, and families touched by suicide. While documentaries offer invaluable perspectives, they are typically crafted from an external viewpoint and follow a predetermined narrative structure or intention. In contrast, Gethard’s performance does not appear to adhere to a rigid narrative framework that might necessitate the omission of certain details. His storytelling is organic and fluid, allowing for a natural exploration of his experiences. 

Straying from traditional media forms, self-help books present firsthand narratives on grappling with suicidality, ranging from practical guidance to intimate personal reflections. However, “Career Suicide” distinguishes itself through its unique fusion of humor and honesty. Gethard’s delivery of personal anecdotes is refreshingly spontaneous and unscripted, devoid of the agenda-driven approach typical of self-help literature. Viewers engage with his show not to seek solutions but to witness an authentic, entertaining, and deeply moving show. This lack of an agenda-driven approach seems to highlight further the profound messaging lying beneath Gethard’s jokes.

Consider Gethard’s portrayal of his therapist as an evocative example. Gethard’s first description of Barb is “[she’s] the best. Even though Barb is kind of the worst.” He goes on to explain that, “she’s not good at actually being a doctor. When you’re a doctor, there’s all kinds of rules that go along with that. When I started with Barb, I was like, ‘I don’t… think she knows that.’ But then very quickly, I’m like, “Oh, wait, no. She just doesn’t give a shit, man”¹. Despite recognizing Barb’s shortcomings in conventional terms, Gethard underscores his appreciation for her and skillfully employs her character to convey a broader message about healing. This facet of the show embodies the notion that traditional expectations do not always align with the most effective healing methods. 

Gethard’s experiences with therapy and medication embody the work of Professor Bradley Lewis, whose research highlights the transformative power of integrating arts and humanities into therapy and the importance of allowing individual narratives to shape treatment approaches. Gethard’s narrative reflects this approach as he candidly shares his struggles and solutions, ultimately finding a sense of stability. He recalls how, at 21, listening to The Smiths made him think for the first time, “Someone gets it”². This moment encapsulates a core theme of the show: the vital role of personal, unorthodox paths in attaining understanding and well-being. To fully navigate and articulate the subtleties of our psychological landscape, we must be willing to embrace unorthodox paths. For Professor Lewis’s work, this involves the synergy of art and therapy. For Chris Gethard, the path involves music and comedy. For my studies at Gallatin, it manifests in visual narratives, particularly film. As Gethard illustrates, finding our way often means discovering our own personal Barb.

1. Senior, Kimberly, director. Chris Gethard: Career Suicide. Performance by Chris Gethard, 2017. MAX
2. Ibid.