Want to hear more from the actors and creators of your favorite shows and films? Subscribe to The Cinema Spot on YouTube for all of our upcoming interviews!
Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
Following his awards-winning 2022 HBO stand-up special, Rothaniel, and his 2024 docuseries, Jerrod Carmichael Reality Show, comedian Jerrod Carmichael (Neighbors, Neighbors 2: Sorority Rising, The Carmichael Show, Mid90s, On the Count of Three, Poor Things) returns with a new special, Don’t Be Gay. Arguably, it is a return to form for the talent on the stage once more. The special covers a few subject matters in great detail, i.e., Carmichael’s romantic partner, navigating homosexual relations, his love for his family, and his self-acceptance. His oration (speech) at the Marjorie S. Deane Little Theater in New York City this past February marks a memorable fifty-three minutes of meaningful, albeit peculiar rhetoric.
Don’t Be Gay is performed, written, and executive-produced by Jerrod Carmichael. The special is directed and executive-produced by Ari Katcher.
In this review, I will discuss Jerrod Carmichael: Don’t Be Gay.
HBO’s Don’t Be Gay Logline
According to Warner Bros. Discovery Press, here is the official logline for Jerrod Carmichael’s stand-up special, Don’t Be Gay.
Emmy®-winning comedian Jerrod Carmichael returns to the stage for his fourth HBO stand-up special.
Warner Bros. Discovery Press
Discussion
If you’ve seen any of Carmichael’s stand-up specials before Rothaniel, then whatever you might expect should not be surprising. Otherwise, Don’t Be Gay is such a drastic change from the material delivered in Rothaniel. Whereas Rothaniel showcases Carmichael in a red dress while bathed in a spotlight surrounded by a darkened room, Don’t Be Gay exhibits a more life-like picture. Production designer Katie Akana contrasts his black jacket (over a white tank top) and jeans with tan-colored curtains. Director of photography Sean McGing’s camera isn’t as steady as the camera in Rothaniel, but it captures the comedian’s expressions outstandingly. Lighting designer Tim White and gaffer Steve Becker help in widening the spotlight to offer Carmichael motility, resulting in a brilliant display.
While a handful of subject matter carries on from Rothaniel—almost as if a sequel—, in some twisted way, Don’t Be Gay is an expression of a new period of the stand-up comedian’s life. Rhetorically speaking, the HBO special illustrates the performer at his utmost appeal. The combination of character (ethos), emotion (pathos), reasoning (logos), and timing (kairos) helps convey a masterful speech centered on love, specifically in his personal and social spheres. Initially, Carmichael uses psychology as a tool to peel away at his issues. Yet, after a few minutes, he dismisses therapeutic speech to analyze his life on his own.
Carmichael’s Rhetorical Appeal
Carmichael finds himself in a timeless yet unfortunate historical loop of discrimination, one that might be homophobic, racist, or a blend of both. He suggests that his preference in partners is not based on malice. Rather, he defends his decisions by discussing how one dynamic with men differs from others. For example, a dynamic involving two dominant, masculine men can be a challenge, but never an impossible one. The comic underlines that racism may not profoundly affect him while acknowledging its presence in places.
Additionally, the comedian briefly touches on his mental health, specifically his anxieties towards affirmation. In talking points like this, the appeals work hand-in-hand, with the assertion of love as credible evidence of sentiment shared by Carmichael and his partner. When he brushes on the appeals of love, he makes an interesting argument about weddings being ceremonies wherein that type of love is declared. I truly appreciate how he sugarcoats talk of his loved ones and follows it up with the unexpected, such as addressing his and his boyfriend’s anniversary date.
I’m quite fascinated by Carmichael’s assumptions and realizations in working through problems. At a certain point, it seems to me that he overthinks love and affection insofar as he digs deeper into the rabbit hole. I don’t blame him, though, because love is both simple and complex. His juxtaposition of homosexuality with heterosexuality is subjective and might not hold the strongest justifications. Namely, he disputes that only straight people pretend to settle for one partner at a time, referencing actress-producer Sydney Sweeney as an individual by whom many are tempted. This is another interesting argument, given that the Euphoria/ Immaculate talent called off an engagement to reportedly concentrate on her acting profession.
Family
Carmichael makes references to his father a couple of times, once in his conception of his current relationship and again to juxtapose with his mother. Moreover, he makes a case about his mother, as well as his brother’s children, on how they affect his well-being. While Rothaniel ended on a sort of cliffhanger on whether his Christian mother would be accepting of his homosexuality, the HBO special offers a light-hearted lens on her. Carmichael cites his mother as being one of a myriad moms radicalized by the Church and/or State. Here, he likens Jesus Christ to the late Selena Quintanilla…although I’ll leave it there for the reader’s imagination. Conversely, there is an argument wherein Carmichael implies he should be perceived as the Second Coming of Christ. He states that he knows better than church officials to succumb to greed.
In terms of his other family members, the comedian speaks of his love for a niece and the sacrifices he would make to protect her. Again, he tests the waters of this special’s dark comedy, which, by the final third of the runtime, may have overstayed its welcome. However, nowhere does he outright offend other than his selection of bad word choices.
The Canons of His Thesis
Jerrod Carmichael, ‘Don’t Be Gay’ (2025 special)
When you’re raised straight, you know there’s only one rule: don’t be gay.
For an adult embracing his sexuality as a gay man, Carmichael perfectly comprehends not just his circumstances but also what bears fruit from his roots. His discovery of this new time in his life opens the door to questions, which lead to insight and lessons. He disputes that dipping into communicated emotion is equated with femininity. Hence, his refrain to do so guides him down a deep enough rabbit hole that isn’t too difficult to escape. I admire his arrangement of one talking point to the last, which circles back to an unspoken topic, i.e., how his homosexuality directly affects—or is not correlated to—his identity as a Black man. While his memory and his delivery are both great, Carmichael excels the most in style.
The comedian’s choice of words results in more hits than misses. He never politicizes race, instead approaching it as a normal human facet. Then again, he notes that his first impression of white people might have been ill-mannered on his part. His decision to refer to his partner as his “equal” is noteworthy because he then goes on to discuss the power politics at play between the two. Carmichael’s discussion of transparency is a heavily vulgar bit, ranging from describing his respect for his boyfriend and comparing him to a specific television character, to how he treats those exterior of their relationship. Within this discussion, dark comedy can be found in a poorly timed punchline, detailed sexual activity, a potential dilemma, and the awkward inclusion of the word “cuck”.
Where Carmichael’s verbose style succeeds lies in anecdotes about waffle consumption and more hectic, an infatuation with singer-songwriter D’Angelo, and a certain music video of his. The style is often sexual, which fits HBO’s vibe as an outlet for more mature viewership.
The Crew Behind Don’t Be Gay
Sean McGing serves as the director of photography. Greg Endries serves as the stills photographer.
Tim White serves as the lighting designer of the special. Steve Becker is the gaffer.
Eli Despres is the supervising editor.
James Atkinson is the editor. Yuliia Zolina is the lead assistant editor. Harlan Friedman-Romell is the assistant editor.
Katie Akana serves as the production designer. Anthony Gambino is the set decorator.
Corey Hill is the hairstylist. Tom Broecker is the wardrobe stylist.
The HBO special’s special thanks include Bo Burnham (Eighth Grade, Bo Burnham: Inside, Jerrod Carmichael: Rothaniel), Ari Aster (The Strange Thing About the Johnsons, Beau, Hereditary, Midsommar, Beau Is Afraid, Dream Scenario), Taylor Swift, and Frank Ocean.
Final Thoughts on Jerrod Carmichael: Don’t Be Gay
Jerrod Carmichael’s Don’t Be Gay is a fantastic follow-up to his prior stand-up special, Rothaniel. By coming to terms with his sexuality, the comic addresses being in the closet at a younger age. He admits to hiding certain masturbatory material away from God and the lengths he went to hook up with other men in secret. There are a few moments where he returns to a vulnerable facet of himself, such as in speaking about interacting with strangers at the onset of the Grindr app. Ultimately, the comedian’s ethos and pathos have molded him into a better person who has learned from his mishaps and mistakes. Don’t Be Gay is crucial and potent and only exists because of Rothaniel as a feasible act.
4.5/5 stars
Jerrod Carmichael: Don’t Be Gay is now playing via HBO and HBO Max!
For more comedy-related news and reviews, follow The Cinema Spot on Facebook, Twitter, Instagram, and Bluesky! Also, follow us on Letterboxd for further feature film, short film, and limited series reviews!
Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
