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Reading: Sarah Sherman’s Debut Comedy Special Embraces Body Horror and NSFW Humor
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Sarah Sherman’s Debut Comedy Special Embraces Body Horror and NSFW Humor

News Desk
Last updated: December 14, 2025 3:55 am
News Desk
Published: December 14, 2025
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Sarah Sherman’s Debut Comedy Special Embraces Body Horror and NSFW Humor

Sarah Sherman’s highly anticipated debut comedy special, set to premiere on December 12 on HBO, promises a unique blend of humor and horror, joining her two distinct personas: Sarah Sherman and her alter ego, Sarah Squirm. This special is visually arresting, opening with Sherman emerging from a surreal mix of skulls, mush, and eyeballs, a moment introduced with playful disdain by legendary filmmaker John Waters.

Sherman is best known for her memorable performances on “Saturday Night Live,” where she captivates audiences with her quirky characters and often challenges fellow comedian Colin Jost during “Weekend Update.” However, “Live + In the Flesh” allows her to unleash a raw and uninhibited side of her comedy that breaks free from the constraints of network television.

In a recent conversation, Sherman revealed the process behind enlisting Waters to introduce her special. She meticulously crafted a heartfelt letter, expressing her admiration and humorously depicting her gruesome stage presence. Her passion clearly resonated, as Waters agreed without hesitation to join her project.

Reflecting on her comedic style, Sherman acknowledged her inclination toward body horror. Drawing from her Jewish heritage and experiences, she channels self-deprecation through grotesque imagery. Influenced by iconic female comedians like Joan Rivers and Phyllis Diller, she embraces the absurdity of the human body, often pushing boundaries to highlight societal discomforts.

Sherman thrives on the tension between repulsion and humor, noting the thrill of watching audience reactions as they navigate the extremes of her material. She candidly admits, however, that not every performance goes smoothly—recalling a time in Phoenix when the audience abruptly left due to her unconventional approach.

Despite catering primarily to adult audiences, Sherman occasionally encounters younger fans at her shows. Her proactive stance includes addressing parents directly about the adult content, humorously emphasizing the disparity between her comedic style and family-friendly expectations.

While she expresses frustration over lingering shock value regarding women discussing their bodies in comedy, Sherman remains unapologetic about delving into topics others might shy away from. Drawing comparisons between her experiences and those of male comedians, she highlights the double standards that persist in the industry.

As the special approaches, Sherman teases some of its standout moments—crafted with DIY ingenuity—while revealing that her grotesque inspirations often stem from intense personal musings and intrusive thoughts. This blend of authenticity and absurdity defines her comedic voice, ensuring that her material resonates on multiple levels.

Her recent experience opening for Adam Sandler’s arena tour further expanded her comedic repertoire, albeit with its own challenges. Sherman navigated the complexities of performing in large venues, adjusting her delivery to connect with a broader audience while remaining true to her unique style.

In her special, the comedic extremes culminate in striking visuals and shocking moments, prompting reactions from viewers that vary from laughter to genuine horror. Sherman finds joy in transformation through the use of prosthetics, viewing them as a source of empowerment rather than vulnerability.

Her path through comedy reflects a dedication to authenticity and the transformative power of laughter, presenting a distinct perspective that aims to connect with audiences across the spectrum, all while defiantly embracing the bizarre. The blend of humor and horror in “Live + In the Flesh” offers a captivating glimpse into Sherman’s artistic mind, effectively challenging conventions within the world of comedy.

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