Writing about that Netflix special, The Atlantic’s David Sims hit the nail on the head when he articulated the unlikeliness of the act’s continued progression through form and scale. Geegland drifted out of Comedy Bang! Bang! and The Kroll Show and into appearances on late-night shows, and then leveling up, exposure wise, into a stunning Broadway show that also became a Netflix special, titled Oh, Hello on Broadway. Some of this can probably be blamed on the simple math of ubiquity, as Faizon and St. Nowadays, what once felt like a joke in a foreign language has grown into a gag that was tailored specifically for the back of my brain. In hindsight, I can’t remember when I crossed over to the other side. It was funny for whatever broad jokes there were, but they were ultimately driven by characters that were made for someone else.

When I first saw them in a series of Kroll Show sketches several years ago, the act felt like an inside joke several layers too deep. Geegland - the co-dependent geriatric testaments to failed creative ambition played by Nick Kroll and John Mulaney, respectively - initially struck me as having too much of a high barrier to entry, speaking as a person who isn’t super familiar with Upper West Side types. Gil Faizon (charmed, he’s sure) and George St. I’ll admit, it took me a while to warm up to the Oh, Hello act. John Mulaney and Nick Kroll as George St.

Oh hello netflix guest