(Burnham doesn’t actually live alone in a single room, for instance.) This time, though, it’s different. While Burnham’s initial offering provided an intimate look at his psyche, at times it felt like it skirted the actual circumstances of his life. Often, The Inside Outtakes feels more personal and “real” than Inside. Our doing isn’t done and our doneing isn’t did, okay? So know that.” “We could and would and should have done better,” he continues, “and we have and am and shall continue to have done and did and do. The multiple Burnhams nod along as Burnham gives a convoluted nonanswer to explain the lack of diversity in his solo project. “If you hadn’t asked this question, I was gonna to ask you to ask this question, because it’s so important.” “Thank you for asking this question,” says one of the Burnhams after a long pause. On the panel, Burnham asks himself why there were no women or people of color involved in the making of Inside. The twist, of course, is that they’re all him.

Burnham shows the dozens of takes it took to achieve the final versions of songs like “Content,” “White Woman’s Instagram,” and “Bezos,” often displaying multiple takes of the same moment simultaneously.īurnham is also unafraid to lampoon the one-man-band aspect of Inside-including a sketch in The Outtakes where he’s the host of a talk show that interviews the special’s director, writer, star, editor, and even hair and makeup people.

While the original special was impressive in how professional it looked for something ostensibly made by one trapped man, The Outtakes shows exactly how painstaking it was for Burnham to achieve that goal. With a little space from the belly of the pandemic, it’s unnerving to be dropped back into the psyche of someone who hasn’t left their apartment in multiple months. A year out from Inside and a year closer to a return to “normalcy,” the depths of Burnham’s mind-and the effort and care with which he put into the special-are still somewhat alarming.

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