Status

Stand-ups talk a lot about “status”: whether a comic positions themselves above the audience, looking down—perhaps derisively, certainly without neediness—or whether instead their weakness, or anxiety, or ineptitude is the object of amusement. Some comedians are high status: Katherine Ryan, Sam Morril, Judah Friedlander. Others are more vulnerable: Rose Matafeo, Mae Martin, Emo Philips. And a few cannot be classified, the Schrodinger’s Cats of social hierarchy

Status is something I struggle with as a would-be stand-up. If I introduce myself as an MIT Professor—both because it is a memorable fact and because I go on to talk about teaching philosophy—I’m instantly high-status. But that position is at odds with my comic persona, which is insecure and full of doubt. There’s pressure to deflate the presumption of confidence, and competence, conjured by the initials “M. I. T.”

Of course, accomplishment in philosophy is one thing, comedic skill is quite another. Why not emphasize my inexperien…