Saudi Arabia faces increasing criticism for its repressive regime amid ongoing human rights violations and lack of freedoms.

The Riyadh Comedy Festival, touted as “the world’s biggest comedy festival,” is drawing attention not only for its star-studded lineup but also for the stark juxtaposition it creates against the backdrop of Saudi Arabia’s infamous human rights record. Comedians such as Dave Chappelle, Bill Burr, Aziz Ansari, Pete Davidson, and Kevin Hart are reportedly being compensated between 5,000 and .5 million to perform at this event. However, the festival unfolds in a country known for its severe crackdowns on dissent, notably including extrajudicial killings and a chilling history of suppressing free speech.

While the Kingdom of Saudi Arabia has taken some steps towards modernization, particularly in terms of cultural events and allowing women to drive, these measures exist within a broader framework of ongoing human rights abuses. For instance, the timing of the festival coincides with the seventh anniversary of the assassination of journalist Jamal Khashoggi, whose killing has become emblematic of the regime’s disregard for human rights. As of early August 2025, reports indicate that at least 241 individuals have been executed under a judicial system criticized for systematic violations of due process, further highlighting the contradictions between the country’s attempts at progressive branding and its violent enforcement of political conformity.

Despite these alarming realities, some participating comedians have expressed enthusiasm about performing in Saudi Arabia. During a podcast, Bill Burr remarked on the positive reception from the audience and organizers, encapsulating the cognitive dissonance present in the entertainment community’s engagement with the Kingdom. The broader implications of their participation raise ethical questions surrounding the complicity of artists in state-sponsored propaganda, especially in light of the stringent restrictions placed on creative expression in such environments. Comedians participating in the festival are reportedly prohibited from mocking or criticizing the royal family, which contradicts the core tenets of stand-up comedy that often seek to challenge authority.

Saudi Arabia has also sought to improve its global image by investing heavily in entertainment and sports, from hosting wrestling events to merging its golf tour with the PGA. These initiatives appear designed to shift perceptions from past associations with terrorism to a more appealing narrative centered around modernity and hospitality.

However, the values underpinning these entertainment endeavors deserve scrutiny. The broader societal implications of comedians performing in a country with a notorious human rights record bring to light the moral compromises that can occur within the art community. As discussions increasingly center on the intersection of commerce and ethics in performance art, the challenge remains: Can one reconcile the joy of laughter with the grave realities of oppression in a way that is both authentic and socially responsible?

This ongoing debate about moral responsibility in the entertainment industry underscores a critical dilemma facing a world increasingly willing to overlook uncomfortable truths in pursuit of financial gain and personal fame.