Nikki Glaser’s 2025 Golden Globes hosting gig was met with unexpected praise. While many anticipated a full-blown roast from the notoriously sharp comedian, Glaser delivered a comparatively tamer monologue, earning positive feedback from both critics and audiences. This strategic restraint, however, wasn’t indicative of a softening in her comedic approach, but rather a calculated decision to reserve the more savage material for a different platform. A subsequent appearance on Howard Stern’s SiriusXM show revealed a treasure trove of jokes deemed too edgy for the Golden Globes stage. Glaser’s “Stern file,” as she called it, showcased the unfiltered humor she’d crafted with her writers, highlighting the calculated risk-taking involved in crafting a comedic performance for a broad audience.
Glaser’s rationale for omitting certain jokes often revolved around context and potential audience reaction. A joke linking attendees to the Diddy trial, for example, was deemed too accusatory and likely to backfire within the room. Similarly, a quip about Adrien Brody and Hitler, while darkly humorous, risked alienating younger viewers unfamiliar with the historical reference. Glaser’s anecdote about her Gen Z assistant not grasping the joke underscored the necessity of considering generational differences in comedic sensibilities. Her decision-making process illuminated the delicate balance between pushing boundaries and ensuring the joke lands effectively.
The unaired jokes spanned a wide range of targets, from celebrities to broader societal issues. Luigi Mangione, Glen Powell, the Catholic Church, and even Glaser herself became fodder for her wit. A jab at the church’s handling of pedophilia, while potent, was ultimately shelved due to the topic’s oversaturation in comedy. Quips about Only Murders in the Building cast members’ financial motivations and a self-deprecating comparison between Amy Adams’ “Night Bitch” and Glaser’s hypothetical “Day Slut” documentary further showcased her range. Glaser’s willingness to poke fun at herself while simultaneously skewering others solidified her brand of self-aware comedy.
Glaser’s wit also took aim at Hollywood’s A-list, with jokes about Nicole Kidman, Ben Affleck, and Denzel Washington. A playful comparison of Kidman to a “wild robot” after two glasses of wine was deemed potentially offensive, while a series of Affleck-related roasts were considered too inflammatory. A joke connecting Denzel Washington’s earring trend to cocaine use exemplified Glaser’s edgy humor, walking the line between observational and provocative. These examples demonstrated Glaser’s ability to tailor her humor to the specific target while maintaining a consistent comedic voice.
The “Stern file” also unveiled more controversial and darker humor. A Bob Dylan joke linking the musician’s unique style to heroin and autism sparked laughter from Stern but was likely too controversial for the Globes audience. Similarly, a joke referencing Alec Baldwin’s involvement in the “Rust” shooting tragedy was deemed too insensitive, despite its dark comedic potential. These jokes, while demonstrating Glaser’s sharp wit, underscored the importance of ethical considerations in comedy.
Her unaired material further encompassed jokes about Daniel Craig’s film “Queer,” Nicolas Cage’s resemblance to a vampire, and political satire involving Matt Gaetz. Even the Golden Globes itself became the target of her final joke, comparing the competitive atmosphere to the life-or-death stakes of the show “Squid Game.” This diverse collection of jokes, ranging from observational to absurdist and from pointed to dark, demonstrated Glaser’s versatility as a comedian and her commitment to pushing comedic boundaries. While some jokes might have been considered too risky for the main stage, their revelation on Stern’s show offered a glimpse into the unfiltered mind of a comedian willing to explore the full spectrum of humor, regardless of the consequences.
