Stand up for Netflix

[After an extended period of doubt about continuing Cinema Salon without the platform of film programming at the Clark, I’ve recommitted to film & tv commentary and developed a new voice, more as a self-portrait in cinema, rather than ex cathedra pronouncements on this and that.  In line with that change, I’m redesigning the website, as I make a series of posts that will bring me up to the moment.  Feel free to comment as I continue to tweak the design.]

Like other tech disrupters, Netflix is sometimes in bad odor these days, but here I look at one of their many innovations (among which is Roma, well deserving the Best Picture Oscar, with review soon to be posted):  they have become the dominant outlet for stand-up comedy.  I guess a taped solo act represents good bang for the producer’s buck, but also brings new audiences (and practitioners) to this performance art. 

Unquestionably, the most provocative and talked-about performance of the year was Hannah Gadsby: Nanette (NFX), which is funny for a while but then deadly serious, while remaining brilliant.  Hannah is a portly 40ish lesbian from as far Down Under as you can go (i.e. Tasmania), who mines humor from her liabilities in the usual way.  But then partway into her act, she swears off comedy as damaging to herself and others, and deconstructs the art of stand-up (and indeed art per se, as she uses her art history degree, instead of her personal quirks, as material).  This performance would have been powerful at any time, but it found its moment in the year of #MeToo.  I’m not going to give anything away, but only urge anyone who might be as brave as Hannah to listen to what she has to say.

The year’s other major breakout was Hasan Minhaj, with his outstanding stand-up act Homecoming King (NFX), which delves his personal history in the typical way (but with high energy, flashy stagecraft, and the unique perspective of a young Indian Muslim raised in California), and then his topical series Patriot Act (NFX).  With the latter, he follows in the footsteps, and maybe takes a step beyond, his fellow Daily Show alums Stephen Colbert, John Oliver, and Samantha Bee.  I recommend watching the stand-up act, and putting the series in regular rotation with the others, as a good way of keeping sane in an insane era.

Somewhat stranded on The Daily Show, Trevor Noah is much more natural and energetic, personal and personable, in his own stand-up performances, the most recent being the finely-honed Son of Patricia (NFX).  Along with his fascinating autobiographical material, he’s a terrific mimic in a Richard Pryor vein.

I consider myself a big fan of Tig Notaro (and lament the passing of One Mississippi), but have to report that her latest routine, Happy to Be Here (NFX), left me cold.

On the other hand, I’ve only lately come around to appreciation of Sarah Silverman, with her stand-up special A Speck of Dust (NFX) and her topical series I Love You, America (Hulu).

Another woman who has muscled her way into the male-dominated field of stand-up is Jen Kirkman, following the pattern of “working blue.”  I was eventually won over by her energy and physicality, and wound up chuckling my way through both I’m Going to Die Alone (And I Feel Fine) (NFX) and Just Keep Livin’? (NFX), though I shy away from recommending either outright.

A newcomer to look out for is Aparna Nancherla, who was featured on the best episode of The Stand-Ups (NFX).  Soft-spoken and smart, she’s putting her Amherst education to good use, making delightful humor out of depression, anxiety, and shyness. 

At the opposite end of the energy scale, one youngster worth a glance is Bo Burnham, whose excellent filmmaking debut with Eighth Grade led me to seek out his earlier stand-up performances, of which Make Happy (NFX) is the pick.

In my survey of this category, I also watched routines by Chelsea Perretti (NFX), John Mulaney (NFX), and W. Kamau Bell (NFX), none of which proved memorable or recommendable, though pleasant and amusing enough to occupy an idle hour.

One known quantity that I didn’t really know at all was Dave Chappelle.  He’s recently had four routines taped by Netflix in four different cities.  I watched two of them – from Austin and LA – in “Collection 1” (NFX).  He was as provocative, if not downright filthy, as I expected, but more expressive and trenchant.  Skilled and funny, as well as out there.  So outrageous you had to laugh at the audacity.  Given his up-from-the-’hood vibe, it came as a surprise to learn that both his parents were college professors, but that explains the smarts on display.

Late-breaking postscript:  I don’t know if it’s true that “Everybody Loves Raymond,” since I never watched that show, but I certainly loved Ray Romano’s follow up, Men of a Certain Age, so when Netflix released his first stand-up routine in 23 years, Right Here Around the Corner (NFX), I tuned in immediately and treated myself to a lot of laughs.  Without adjudicating precedence, in this special Ray literally follows in the footsteps of Louis C.K., through the streets of Greenwich Village and down into the Comedy Cellar, and winds up with a slice of pizza.  That Ray has his wife and four grown (or growing) children with him for pizza is indicative of his difference from the other guy, kinder and gentler, though still personal and provocative.  I guess I love Raymond after all.