After a rocky few decades, the standup is nearing 60 – and finding contentment at last. But what does his grotesque retelling of The Owl and the Pussy-cat tell us about his inability to connect with people?

Stewart Lee is somewhat fretfully tidying his kitchen. Nothing is exactly where he left it two months ago to go on tour. Plus, he says, “I’ve come back with a load of records that need to be alphabetised, and that’s really stressing me out.” His house is miles from minimalist – posters everywhere, for spaghetti westerns, avant-garde Welsh harpists, the Fall (who he said in an interview in 2005 were the love of his life) – but if anything was an inch out of place, he’d notice. He puts things away with theatrical flourish, like a guy doing an impression of a guy who needs things just-so, for the comic effect of how absolutely impossible that guy would be, but at the same time, it’s funny because it’s true.

In the show he’s been away for, Stewart Lee vs the Man-Wulf, he – a 58-year-old lefty – enters into breakneck dialectic with toxic masculinity in werewolf form (age unknown). “Things have got worse in the 18 months I’ve been doing it,” he says. “I need to really amp the werewolf up. He would be much more explicitly racist and homophobic and transphobic now. But you don’t want people to be really upset in the room.” It feels quite a 2026 dilemma, being unable to even satirise the right without causing the distress it lives for.

From Stewart Lee in his wolf costume to Werner Herzog’s big steak sizzle-up, artists are now under huge duress to ‘chase the algorithm’ and reach audiences. Many of them are hitting burnout – and hitting back

There was a meme recently featuring Tony Soprano looking characteristically menacing, with a caption that reads: “Imagine telling him he needs to create short form content to engage the algorithm.” But that sentiment feels inescapable: 82% of all internet traffic is now made up of videos, and the number of short-form videos published on the likes of TikTok and Instagram grew by 71% in the year from 2024.

You may have noticed there is a particularly high number of videos featuring people’s faces, which the algorithm rewards. All of a sudden, chefs, lawyers, podcasters, critics – all people with jobs once associated with an off-camera existence – are turning the lens on themselves. Even film director Werner Herzog, a once proud non-social media user, is now sizzling steaks and doing unboxing videos to camera.