For fans of late-night comedy seeking a fresh spin on travel programming, the arrival of “Conan O’Brien Must Go” is a dream finally realized. After years of segments showcasing his global escapades in “Conan Without Borders,” Conan O’Brien has fully embraced the travel show format, delivering a series that is as uproariously funny as it is surprisingly insightful. This new Max show takes the core comedic genius of Conan and plants it firmly in diverse international locales, proving to be a must-watch for anyone seeking a Conan Travel Show that breaks the mold.
Building upon the legacy of “Conan Without Borders,” which served as a comedic travel escape for many, including myself during lockdown, “Conan O’Brien Must Go” refines and expands upon what made those segments so captivating. While “Conan Without Borders” offered glimpses into various cultures through Conan’s uniquely absurd lens, his new venture feels more focused and deliberate. Where some celebrity travel shows lean too heavily into either somber historical narratives or relentless, and sometimes tone-deaf, humor, Conan consistently strikes a brilliant balance. He manages to be both laugh-out-loud funny and genuinely engaging, offering viewers a chance to chuckle while also gaining a fresh perspective on the countries he visits.
Initially, my excitement for a full-fledged conan travel show was fueled by rewatching classic “Conan Without Borders” clips, like the iconic “Jordan Schlansky Lectures Conan About Coffee in Naples.” The announcement of “Conan O’Brien Must Go” promised exactly what fans craved: Conan unleashed, traveling the world, and showcasing his signature brand of chaotic comedy without the constraints of a studio talk show. The addition of Werner Herzog’s deadpan voiceover in the opening of each episode immediately signaled that this was going to be a travel experience unlike any other – a wonderfully zany treat.
What immediately sets “Conan O’Brien Must Go” apart from typical travel shows is its unique premise. Instead of simply highlighting tourist hotspots, Conan travels to meet fans he has previously connected with on his podcast. Season one sees him venturing to Norway, Argentina, Thailand, and Ireland, not as a detached observer, but as an involved participant in the lives of his international fanbase. This personal connection is what elevates this conan travel show beyond mere sightseeing. The show’s format smartly blends fan interactions with cultural exploration. Each episode begins with Conan surprising a fan at home, meeting their family, and often hilariously inserting himself into their daily lives. From there, the show expands to include local experiences and encounters, maintaining Conan’s signature unhinged comedic style throughout. As Herzog’s intro perfectly proclaims, “This is madness. This is lunacy. This is chaos,” setting the tone for the delightful mayhem to come.
Standout moments from the first season truly capture the essence of this conan travel show. Witnessing Conan navigate the bustling Damnoen River floating market in Bangkok is pure comedic gold. However, the reunion with Jordan Schlansky in Buenos Aires, where they delve into the world of Argentine meats, is a particular highlight for long-time fans. The familiar comedic tension between the two remains perfectly intact, much to the viewer’s enjoyment. Beyond the laughs, the show’s emphasis on genuine human connection is truly refreshing. Conan doesn’t just interact with fans; he engages in spontaneous conversations with locals, creating authentic and often hilarious moments of cultural exchange.
This focus on people-to-people interactions is a critical element that distinguishes “Conan O’Brien Must Go” from many other travel programs. Too often, travel shows prioritize landmarks and attractions over the human element, or they become overly focused on the host’s perspective or budget travel tips. In contrast, “Conan O’Brien Must Go” makes the people the central focus. Conan spends more time connecting with individuals than ticking off tourist destinations. He immerses himself, often clumsily and hilariously, into the heart of each culture he encounters.
Of course, Conan’s humor, while largely self-deprecating, can occasionally miss the mark. His commitment to comedic bits, such as adopting various personas like a Viking or a gaucho, sometimes feels slightly overextended. While these moments provide laughs, at times, one might wish for slightly less of the exaggerated character work and a bit more exploration of the locations themselves. There’s a desire for an even deeper dive into the travel aspects alongside the comedy.
However, this slight excess is easily forgiven when considering the show’s clever satire of traditional travel show tropes. From Herzog’s dramatic narration to the deliberate overuse of drone shots in the Norway episode, “Conan O’Brien Must Go” subtly pokes fun at the often-sanctimonious nature of travel programming. It suggests that perhaps travel doesn’t always need to be presented with such reverence, and that humor and genuine human connection are equally valuable lenses through which to experience the world.
Despite minor areas for potential refinement, the first season of “Conan O’Brien Must Go” marks the exciting beginning of a conan travel show poised to inject a much-needed dose of humor and heart into the travel TV landscape. Conan’s unique brand of uninhibited comedic chaos translates perfectly across cultures, and his ability to forge genuine connections with people from all walks of life is truly remarkable. Hopefully, Conan will continue to build upon these strengths, offering us even more opportunities to laugh, learn, and connect with the world and its people through his uniquely hilarious and heartwarming perspective.
