Chappelle’s ‘Dreamer’ Review – No Retreat, No Surrender

How many comedians start their stand-up hours by quoting Henry David Thoreau?

We expect something like that from Dave Chappelle. Thoughtful. Different. Provocative.

Smart.

Yet what many will remember most about “The Dreamer,” his latest Netflix special, is how eager he is to taunt his angriest critics.

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Yes, Chappelle “goes there” more than a few times, even bragging about how he loves to “punch down.” The indifferent special feels like his way of saying, “nanny-nanny poo-poo … I can still say what I want and Netflix won’t do doo-doo.”

That’s wonderful, on paper. He shouldn’t be canceled for jokes.

No one should.

When you push the envelope the jokes should be the best of the best, and that hardly describes “The Dreamer.”

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The show, taped at the Lincoln Theatre in D.C., opens with Chappelle recalling how he struggled to fill the seats in the very theater he’s performing at 24 years ago. His first big joke targets the trans community.

Here we go … or not.

“I’m not f***ing with those people any more. It’s not worth the trouble … maybe three or four times a night,” he says, a fair estimate given what follows.

He spent more time provoking another community.

“Tonight, I’m doing all handicapped jokes. They’re not as organized as the gays,” he cracks before telling a story tied to former GOP congressman Madison Cawthorn, who uses a wheelchair following a car accident.

He moves on to strip clubs, thoughts on the Chris Rock/Will Smith “slap” incident and his own attack at the Hollywood Bowl last year.

Chappelle couldn’t have better material on both fronts, and his storytelling prowess ensures some solid chuckles ensue.

Nothing felt like vintage Chappelle, though, and his observations hardly challenged the audience or home viewers.

At the 38-minute mark, he retreats to snag a cigarette and tells a long, rambling story tied into the special’s title, “The Dreamer.”

The saga begins with an early career disappointment. An HBO showcase went south thanks to noise bleeding into the theater. He eventually had to stare down an old man and his gangster stooges who he thought were responsible for the interruption.

Again, no one weaves a tale like Chappelle, and his body language sells it.

Like “The Closer,” “The Dreamer” wraps with an attempt at something profound. It’s partially successful, even sweet at times. It’s still not vintage Chappelle.

You wait and wait, for something more from Chappelle throughout “The Dreamer,” insights no one else can match. Audiences won’t always agree with his views … they may even rage against them. They’re still original, probing and worth a closer inspection.

He’s at his best when forcing us to re-examine our opinions, even if we end up clinging to them.

The special too often sounds like a placeholder, a way to stay in the public eye and celebrate his victory over Cancel Culture.

He stood up to the “woke mind virus” and emerged even stronger.

At its worst, “The Dreamer” is Chappelle flaunting his ability to be a thorn in the Thought Police’s side. We expect more from the man many dub the comedy GOAT.

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