Louis CK New Stand Up Special Jammer

The recent and fair reckoning of men accused of sexual misconduct has led the culture to consider how to deal with great artists who have done terrible things. Some say it is possible to separate artists from their art and still appreciate the work itself, such as Kate Maltby, who writes, “No one is still abused when you download”Thriller“on iTunes.” Others believe in a stricter assessment of art through the ages, such as Hannah Gadsby, what is being said“Just because it’s been around for centuries, does not mean it’s cool to be a creepy old man. Stop watching women sleep; stop watching women bathe. Go away.”


Louis CK is an interesting example of this, specifically as he even went on to produce material for a dedicated audience. news of his sexual harassment made public. His Grammy, Emmy, and Peabody Award-winning work fundamentally changed the way people think and perform about comedy, and he created one of the most unique series of the past decade, but he was a powerful man who exposed himself and touched in front of emerging women in his field. He started performing again after a short break and barely mentioned his previous misconduct other than the fact that it cost him a lot of money. His special Yours sincerely Louis CK has just been nominated for a Grammy, and his new special (and merchandise) has just been released, some ask if ‘cancel culture’ really exists.

Louis CK Story
Vark Newton

This new stand-up special Sorry continues with the cartoon’s constant stirring of the pot; even his promotional ad during Saturday Night Live Twitter sent in a fierce tizzy. The setback continued, with social media’s outrage machine moved from Dave Chappelle on Louis CK. pretty fast. Whether someone out of principle refuses to watch his special offer or to cancel Louis CK, it must be said that one cannot accurately assess or criticize. Sorry yourself without seeing it.

Related: Louis CK returns to Stand-Up next week with a nationwide tour

The court for controversy

Louis’s legendary and adored comedy special offers from 2007 to 2015 existed in a decidedly different social space. Even though recent stand-up comedy has reflected the evolving sensitivities of culture, Sorry unreservedly retains his old hyper-profane and sexual routine, and never once mentions his scandal. The giant, neon-lit “SORRY” sign that is constantly behind CK is shamelessly ironic and almost mean, as the cartoon seems to go out of its way to upset the politically correct as much as ever.

His set is certainly topical (in the most controversial ways) and it almost seems as if the comedian is spotting at this particular moment whatever will offend the most, which is apparently an impulse within most comics. His targets include the defundering of the police, the coronavirus, protesters, the LGBTQ + experience and pedophilia, one of CK’s consistently favorite topics. He makes jokes about 9/11 that are a joke, does an elaborate bit about baby pants, and makes an impression of a black woman (after saying, “I’m not going to do the black woman [voice], “).

Related: Louis CK comments on misconduct scandal in latest stand-up set

Louis CK Face
Vark Newton

One particular joke is so tasteless and ignorant that it hurts. CK discusses how he believes no one seems to care when overweight individuals are judged by society, while transgender people through his hard eyes get special treatment like bathrooms. “Do you know how many people are fat?” he asks. “About a billion billion. You know how many transmense there are? Like 38.” This awful comparison is an indication of the cartoon’s tendency to confuse hurt with being provocative.

If this all sounds like the setlist of a misanthropic member of the alt-right, it’s because it’s almost. His latest specials is accused of devotion to the alt-right, who with his criticism of the victims of the Parkland shooting, his outbursts against gender pronouns, and his bitterness towards the ‘awake generation’. But Sorry doing something slightly different and actually provocative rather than intentionally shocking, and having some really hilarious moments.

Related: Louis CK has a new Stand-Up Special and of course people are furious

It’s subtle, but it’s there

Although the material is profane and sometimes malicious, CK surprises viewers by adopting interesting perspectives with a kind of dark logic. He undermines the expectations of his more conservative or radical supporters when he delivers a long piece that supports gender fluidity and the non-binary deconstruction of “the rigidity of identities,” a monologue that can actually change some hearts and minds on the subject.

While jokingly joking about pedophilia, he manages to point out the problems when society refuses to talk about anything; his fear of being arrested by simply using a search engine to discover how many children are being abused is telling and challenging. His joke about creating childish inflatable dolls for pedophiles seems insignificant, but he addresses its distorted rationality by asking why creating an inflatable doll seems appalling compared to the alternative of human children being victimized.

Whether that is enough to redeem his material is up to the viewer. CK has excelled throughout his career in providing dark thinking experiments and harsh but hilarious social commentary, and some of it is certainly present in Sorry. Clearly, nothing is out of bounds here, and the question is whether some things should be haunted comedy for centuries. Regardless of one’s opinion of political correctness, censorship and ‘cancellation culture’, the world is clearly entering a moment of setback from comedians, politicians and the voting population. Louis CK could be grouped together with the above Chappelle, Bill Burr, John Cleese, Ricky Gervais, and others who are particularly concerned that society is censoring free speech by making certain topics off limits.

Related: Louis CK banished by Denver Comedy Club after intense setback

Louis CK Jammer Sign
Vark Newton

Sorry not sorry

The special can be very funny amidst its aggressive opposition to political correctness, albeit somewhat top-heavy, with most of the best material appearing in the opening half-hour. His timing and delivery are impeccable even when the jokes swear or become monotonous, and his mastery of the craft is clear from the start. He now directs and produces virtually all of his material, and his complete control over the special allows the editing and directing to sync with the stand-up in smooth and effective ways.

It will be easy to suggest to take Sorry on its own terms and evaluate it on the basis of its comedy, but society is in a moment where the appreciation of a particular comedy depends on a person’s politics, ethics, level of outrage and Twitter feed. Ultimately, whether people even consider watching this special is determined by their relationship to political correctness and evolving social norms. However, when one finally looks at it, they are almost certain to laugh, at least when they are not shrinking.

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