In 2017, when every comedian wants to be on Netflix, it’s rare to find someone put out their new stand-up special everywhere BUT Netflix. But Bob Saget isn’t every comedian. And he’d focus on the word butt and go off on a tangent for a few minutes before we could get to the next paragraph.

He didn’t even intend to film Zero to Sixty, but Comedy Dynamics had an opening earlier this year when they’d booked the Music Hall of Williamsburg for filming, and Saget jumped at the opportunity. Comedy Dynamics (which produced four of this year’s five Grammy nominees) decided to release Saget’s new hour simultaneously on multiple platforms — iTunes, Amazon, elsewhere — first before going to Netflix or a more traditional network.

Saget told me all about it on a recent episode of my podcast series, Last Things First, and his adventures from America’s Funniest Home Videos to Full House to Fuller House and beyond. He jokes in Zero to Sixty that he’s contractually obligated for life to keep making fuller and fuller houses.

Saget has a dirty dick joke mouth, which you think could get him into a lot of trouble. But he decides to tell a story revealing a softer side to him, as I recall in my review for Decider:

“I’m the only television father left that you can trust,” Saget jokes. While he still may share his naughty thoughts with us onstage, he leaves them there. Unlike Bill Cosby, who did the reverse. “When you watch an icon fall — I used to love his work, and it’s just strange, and he now claims that he is legally blind so that he cannot identify women who are saying that he molested them sexually.” Saget may decide to act out that scenario, blindly groping at his accusers. In real life, however, Saget says he has maintained a much more innocent profile. He illustrates that with a revealing story about a gig in the early 1980s in Cleveland, where the club owner had given Saget two quaaludes (Cosby’s pill of choice) and instructed the young comic to slip them in a waitress’s drink to have his way with her after the show. Saget apologizes for retelling the story but doesn’t have to apologize for how he chose to act in that moment.

Read my full review of Bob Saget’s Zero to Sixty, only on Decider.