Pete Davidson's latest Netflix special, "Turbo Fonzarelli," marks a notable improvement in his comedic delivery compared to his previous special, "Alive From New York." Released in 2020, "Alive From New York" fell short, leaning heavily on name-dropping and controversial elements like casual racism. However, "Turbo Fonzarelli" steers clear of such tendencies, except for a somewhat out-of-place mention of Aretha Franklin’s funeral.

In "Turbo Fonzarelli," Davidson's humor feels more refined. While it's not groundbreaking or highly structured, it's undeniably funnier, a step up from the disjointed humor of his earlier work. Davidson’s natural charm and his nonchalant delivery style are the main draws here. He doesn't strive for complex jokes or intricate storytelling, but his relaxed demeanor and comedic timing make for an enjoyable viewing experience.

Davidson's transition to acting seems a more natural fit for his talents, as evidenced by his roles in "King of Staten Island" and the 2023 Peacock series "Bupkis." These projects, which Davidson both wrote and starred in, reveal that while he has a knack for humor, his writing lacks the discipline and coherence needed for compelling storytelling.

In "Turbo Fonzarelli," Davidson touches on topics like his mother’s love life, his dislike for Make-A-Wish, and dealing with a stalker. The content quickly veers into crude humor. While gross-out humor can be engaging and refreshing, as seen in works like "Jackass" and "Borat," Davidson’s special lacks the boldness and creativity that make such content impactful.

The special feels somewhat juvenile, relying on easy, low-effort jokes. This is particularly evident as Davidson approaches his 30th birthday, a time when many confront the challenges of adulthood. Yet, his comedic style seems stuck in a state of perpetual adolescence, not showing the maturation one might expect.

Fame and charm have undoubtedly contributed to Davidson's success, but "Turbo Fonzarelli" suggests that these qualities alone aren't sufficient for crafting a truly compelling stand-up routine. Unlike comedians like Wanda Sykes, who maintain their comedic edge through a dedication to the craft, Davidson seems content with the easy laughs from his established fan base.

In conclusion, "Turbo Fonzarelli" showcases Davidson's charismatic presence but also highlights his reluctance to push boundaries or refine his comedic artistry. While the special is an improvement from his previous work, it suggests that Davidson's true strengths may lie outside the realm of stand-up comedy.