Comedy

Cunk on Earth perfectly satirizes our era of idiocy

Before the beginning of February, American viewers may have been forgiven for not knowing who Philomena Cunk was. The actress who plays her, Diane Morgan, was familiar enough thanks to her appearances in Ricky Gervais’ After Life and brief cameos in the Charlie Brooker-scripted Death to 2020 and Death to 2021. The one, the only, Philomena Cunk, however, remained a British phenomenon, much like Marmite and poor dentistry. Yet Netflix, recognizing the universal brilliance of the Cunk character, stepped in to co-produce her new series, Cunk on Earth, with the BBC. It aired to an appreciative Britain last September — now the United States has the great privilege of seeing Cunk unleashed. For the uninitiated, the set-up is simple but endlessly effective.

Philomena Cunk

Elon Musk loudly booed on stage at Dave Chappelle gig

Is Elon Musk losing his appeal? Cockburn concedes that being the richest man in the world must be pretty sweet. But, what if you were phenomenally unpopular at the same time? That’s Elon Musk. The Dave Chappelle show last night in San Francisco proved that. The comedian invited Twitter boss Musk to join him on stage. “Ladies and gentlemen, make some noise for the richest man in the world,” Chappelle said near the end of his set at the Chase Center. And the crowd did — most of them opting to loudly boo the billionaire. The booing only intensified as Musk wandered around onstage, pacing and waving, looking visibly embarrassed. The video, which was initially posted to Twitter, has since mysteriously been deleted. Ahem.  https://twitter.

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Blockbuster is the best argument in favor of That ’90s Show

Blockbuster is a single-cam sitcom about the last Blockbuster (located inside a strip mall in Michigan). The set is dressed in authentic signage, fluorescent lights, blue walls and an oddly prophetic Howard the Duck poster. The employees have real Blockbuster name tags and uniforms (the producer, John Fox, acquired the rights and handed it over to established showrunner Vanessa Ramos: I have the rights to Blockbuster. Would you like to develop a workplace?). Every episode is packed with movie references and checkout-counter humor. The transitions between scenes are scored to hip-hop beats that sound like something you’d hear on Nickelodeon in the Nineties. You’re inside a Blockbuster for the first time since Carol Danvers fell through its roof in Captain Marvel.

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A comedian explains how to quit social media

James Acaster’s Guide to Quitting Social Media presents itself as a “how-to” or “self-help” manual. But it's actually a 272-page stand-up comedy special. It’s no surprise that a stand-up comedian would write a comedy book — indeed, this is Acaster’s third trip to the literary well — but it’s nevertheless striking how fully the Kettering-born joker commits to the routine this go-round. His new Guide to Quitting Social Media reads like it was meant to be performed on stage. It’s a return to the signature style Acaster became known for following his breakout special Repertoire in 2018. The Netflix collection was filmed in one week and features four distinct, one-hour comedy routines that build upon and call back to each other.

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This season should be Saturday Night Live’s last

The 48th season of Saturday Night Live premieres tomorrow, and this one should be its last. The show has never felt more out of touch — a stale, punch-pulling iteration marked by a dim vision of what comedy can achieve in a politically and socially divisive moment. This is a target-rich environment, but SNL seems firmly of the opinion that taking shots against our current feckless leadership class is verboten. At a time when online comedy is exploding and hilarious sketches and specials abound on YouTube, SNL operates as if they have no competition. This offseason saw the show's biggest staff turnover in almost thirty years. This might have been an opportunity: if Saturday Night Live wanted to be relevant, the talent is obviously out there.

I’ve finally been offended by a joke

From our UK edition

I went to the O2 on Sunday night to see the comedians Dave Chappelle and Chris Rock. Chappelle, who survived an attempt to cancel him last year, didn’t disappoint, delivering some hilarious, politically incorrect jokes, and Rock was equally seditious, although his set went on for too long. But the rest of the evening was pretty painful. The effort it takes to get to this relic of the New Labour era is truly Herculean. Indeed, Rock made a joke about it, claiming he’d set off from his hotel on Wednesday morning and only just arrived. The Tube station is North Greenwich, one beyond Canary Wharf, and your only hope of getting there in less than 90 minutes from west London is via jet ski along the Thames.

Closing the curtain on Norm Macdonald’s comedy

The biggest threat to the comedian of yesteryear was penury, but today even the most famous must dodge slaps, tackles and professional ruin. As a result, many have assumed a defensive posture. But on September 15, 2021, the court jesters were more defensive than ever. Norm Macdonald had perished twenty-four hours earlier, defeated by leukemia, and a chorus of his peers donned headsets to reassure the podcast world they’d “had no idea he was sick.” The one who spoke loudest was Conan O’Brien. Three months before O’Brien had wrapped his three-decade run on late night without a peep from the best guest he ever had: the man who gave us the Moth joke, “b-o-r-e-d,” Swedish-German and “that means he had sex with Madonna without a condom.

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A hazy afternoon with Bill Maher

It’s a beautiful Saturday afternoon in Beverly Hills and Bill Maher — stand-up comedian, late-night television host, prophet of the great American silent majority — is ruminating on what the hell has gone wrong with the left: “It all comes, I think, from two terrible sources: bad parenting and insane universities. That’s where the craziness is coming from.” Maher is sitting with me in “Club Random,” the neon-light-festooned, decked-out bungalow he converted into a television studio in 2020, after social distancing requirements forced his weekly HBO show, Real Time with Bill Maher, to shoot remotely.

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Why I’ll never make it in stand-up

I’m an idiot. Because only an idiot decides to seriously pursue stand-up comedy at thirty, which is when I began. Stand-up is something dumb you start doing in your twenties, like drugs or believing you can change the world. It’s for when you’re full of youthful idealism, energy and collagen. It’s not something you begin when you’re approaching midlife crisis, feeling insecure about your poor life choices and uncomfortable with your aging body in an industry that worships youth. Stand-up is undoubtedly the hardest, most unforgiving performance medium on the planet. Although I grew up memorizing comedy albums, it seemed like something only geniuses and lunatics such as Eddie Murphy, Chris Rock and Robin Williams got to do.

Netflix

How Netflix saved comedy

Comedy has been absorbed into Twitter’s zeitgeist tornado: a whirling panopticon inhabited by 23 percent of the most humorless and opinionated denizens of the internet (and the top 25 percent of them produce almost all the tweets, according to a study by Pew Research Center). Twitter’s superusers are journalists who have never left the eye of the storm; Twitter has become their “ultimate editor.” It has what the New York Times calls an “outsized role in shaping narratives around the world.” But what kind of comedy clicks for these dopamine-addicted trend chasers?

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The delight of Only Murders in the Building

We live in an age in which everything sounds so grave. Our democracy is in peril! Covid numbers are going up! It’s a cause for rejoicing, then, that one of the best new series treats that most serious of subjects — namely, homicide — with such a deft and delightful touch. Hulu’s Only Murders in the Building, which was created by co-star Steve Martin and John Hoffman, expands the honorable tradition of the Thin Man series and Woody Allen’s Manhattan Murder Mystery, movies that used the murder-mystery format as a pretext for their sophisticated urbanites to poke around in other people’s residences and speculate wittily on who done it. The series wraps up its second season on Tuesday.

A four-way race between poet, actor, video artist and sound engineer: Edinburgh Festival’s Burn reviewed

From our UK edition

In a new hour-long monologue, Burn, Alan Cumming examines the life and work of Robert Burns. The biographical material is drawn from Burns’s letters, and the poems are read out in snatches. You won’t learn much except that Burns was a poor farmer who later worked as a taxman. To represent his many flings with women, a few high-heeled shoes are dangled on strings above the stage but this looks strangely cheap given that huge sums have been lavished on graphic imagery projected onto a big screen at the rear. Flashing lights and surges of music add to the sense of distraction. Cumming’s performance centres on dance, which looks like a new departure for him.

Why Harry Hill’s little green aliens are popping up all over London

From our UK edition

Sitting in a posh office overlooking the Royal Academy, the comedian Harry Hill is deploying one of his lesser known modes: introspection. ‘I suppose I’m one of a growing number of celebrities who do art,’ he says, one hand fiddling with his trademark oversized shirt-cuff. His point – which he returns to several times – is one of definition: as much as he enjoys making art, and as much art as he makes, he can never quite see himself as an artist. In his defence, he isn’t alone. After more than a decade as the face of one of the most-loved comedy shows this century, Hill can probably count himself among the ten most recognisable comics in Britain.

Has the Edinburgh Fringe lost its edge?

From our UK edition

Every August, thousands of comedians make the pilgrimage to Scotland for the Edinburgh Festival Fringe. By the end of the month, those who manage to stand out in this crowded field (and it is a very crowded field) might have Live at the Apollo or Netflix calling, or maybe even a sitcom commission. But this year, with performers facing hefty registration fees, rent more expensive than a luxury foreign holiday and exorbitant marketing campaigns, all in the midst of a cost of living crisis, more and more are asking: has the Fringe lost its edge? As the festival kicks off for its 75th year, comedian Vittorio Angelone says its culture seems to have changed.

Who are these pathologically liberal rozzers? Channel 4’s Night Coppers reviewed

From our UK edition

Grizzled police officers of the old school should probably avoid Channel 4’s Night Coppers for reasons of blood pressure. Like most documentary series with close access to the police, this one paints them in a light so favourable as to be almost comically sycophantic. The trouble for those grizzled types is that – the times being as they are – what’s now considered favourable is to make the rozzers who patrol Brighton after dark all seem like that pathologically liberal Dutch cop played by Paul Whitehouse in the late 1990s. https://twitter.com/C4Press/status/1546908729370632192?

Why TikTok reels are reshaping comedy

From our UK edition

Bella Hull started standup six years ago. Back then, she lived in fear of a bad set being uploaded to YouTube, where a shaky camera and lacklustre crowd might stain any Google search of her forever. Now, due to the rise of video ‘reels’, popularised by TikTok, Instagram and YouTube during the pandemic, for Bella and other digital savvy comedians, creating online video is a necessity for reaching fresh, young, and more global audiences. Bella has been publishing funny short-form videos in portrait (AKA TikTok reels) for one year and has amassed over 888k likes on the platform. Jacob Hawley on TikTok (jacobhawley) For a lot of circuit comedians, lockdown forced them to put down the microphone and pick up their smartphone.

Jim Breuer mocks the Covid regime

“Somebody had to say it,” and apparently that somebody is comedian Jim Breuer. In a set that broke Twitter over the July 4 weekend, Breuer came right out and delivered the news: vaccinations didn’t stop Covid. Mandates are stupid. Social distancing is meaningless. The entire Covid regime under which we’ve lived, to various degrees, for the last two-plus years is a worthless and sinister form of social control. Breuer’s twelve-minute routine on The Pandemic isn’t very good. His physical comedy doesn’t hit; the depictions of the vaccine are sloppy-looking, and he accompanies them with a dumb raspberry noise. His “Broadway musical” bit could be funny except that nothing he does resembles a current Broadway musical in the slightest.

How I prepare for the Edinburgh Fringe

From our UK edition

I am going to the Edinburgh Festival this August. That declaration could be said in a number of ways. Celebratory (unlikely). Showing off (possibly). Self-promotion (in there somewhere). However, I’ve been in comedy a while and have reached what my wife recently called ‘solid middle-age’, so announcing I’m going to the Fringe is more of an incantation: a chant designed to steel myself for a taxing endeavour. Not that there will be much tax owing afterwards, I’m not likely to make much money. No-one in Edinburgh does as well out of the Fringe as some bloke called ‘Josh’ who rents you his airing cupboard for six grand. I’m assured this year should be special, as the festival hasn’t happened (properly) since 2019.

Ricky Gervais is an achingly conventional Millennial posing as a naughty maverick

From our UK edition

Just how edgy and dangerous is Ricky Gervais? There is no one more edgy and dangerous, we learn from no less an authority than one R. Gervais. He keeps reminding you of this at intervals in his latest stand-up special, for which he was reputedly paid $20 million (to go with the other $20 million Netflix paid him for its predecessor). Every few sketches, he’ll announce to his live audience that this one was so offensive there’s just no way Netflix is going to broadcast it. But Netflix has done just that – and yet, quite incredibly, neither it nor Gervais has been cancelled. Funny that. https://www.youtube.com/watch?