Let's put a smile on that face
Happy Monday. Welcome back to Jacob’s Letter, a free pop culture newsletter full of puns and badly-PhotoShopped dog photos.
It’s my favorite time of year. The weather finally acted like fall for once, and this week was full of birthday celebrations for me and Taylor. We celebrated with plenty of friends, family, food, laughter and Lizzo. None of our football teams won this weekend, but you can’t have everything I guess.
Nova was good at making people laugh.
Speaking of laughter, this week’s newsletter mainly focuses on the controversy surrounding the release of the new “Joker” movie and what its director considers comedy, but also gets into some more country music news, a Martin Scorsese v. Marvel feud and more pop culture Halloween recommendations.
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Why so serious?
TW: This article talks about “PC culture” and “woke culture” in comedy. There, you were warned. Also, there’s some quoted profanity here, sorry Nana.
Did y’all know comedy is dead? Dead, buried, gone, nobody can tell any jokes about anything anymore. Sorry, John Mulaney. Goodbye, Ali Wong. Hit the bricks, Robin Thiede. No more making fun of Hitler for you, Taika Waititi. Apparently, “woke culture” and the “PC police” have corrupted comedy so much that people are terrified to go on stage and joke anymore.
At least, that’s the opinion of “Joker” and “The Hangover” director Todd Phillips, who was quoted in this excerpt of a Joaquin Phoenix profile in Vanity Fair this week:
Phillips, who directed the comedies Old School and the Hangover series, pitched the idea of a Joker movie to Warner Bros. as a kind of anti-superhero film, with practically no CGI effects or cartoonish plots, but instead a dark realism drained of heroics. Phillips had found it increasingly difficult, he says, to make comedies in the new “woke” Hollywood, and his brand of irreverent bro humor has lost favor.
“Go try to be funny nowadays with this woke culture,” he says. “There were articles written about why comedies don’t work anymore—I’ll tell you why, because all the fucking funny guys are like, ‘Fuck this shit, because I don’t want to offend you.’ It’s hard to argue with 30 million people on Twitter. You just can’t do it, right? So you just go, ‘I’m out.’ I’m out, and you know what? With all my comedies—I think that what comedies in general all have in common—is they’re irreverent. So I go, ‘How do I do something irreverent, but fuck comedy? Oh I know, let’s take the comic book movie universe and turn it on its head with this.’ And so that’s really where that came from.”
The result is a drama that doubles as a critique of Hollywood: an alienated white guy whose failure to be funny drives him into a vengeful rage. With co-screenwriter Scott Silver, Phillips conceived an origin story for the Joker as a for-hire party clown and mentally ill loner in a late ’70s/early ’80s Gotham, drawing from the filmic palette of classics like Taxi Driver, The King of Comedy, and One Flew Over the Cuckoo’s Nest. He says he conceived the character with Phoenix in mind and gave him the script in late 2017.
This self-pitying line of thinking seems to be standard operating procedure for “edgy” comics these days. Dave Chappelle just did a whole Netflix special called “Sticks and Stones,” where he spent a good portion of his set doubling down on the trans and gay jokes many of his detractors found offensive, and also dedicated a good chunk of his time to accosting his “haters.” Sticks and stones may break your bones, but it seems the words of his critics did hurt him.
Bill Burr, who built a career off of being contrarian, just put out a Netflix special called “Paper Tiger” where he bemoans “cancel culture” and jokes about how he has to go to England just to record saltier material because the U.S. is “too woke.”
Oddly enough (or not oddly, given that the First Amendment exists), both of those specials were not censored. They hit wide release on Netflix and even had considerable marketing pushes behind them. Both made headlines, many of them effuse with praise. Netflix does not release viewership data on much outside “Stranger Things,” but based on the social media conversations after these two specials were posted, it’s safe to say that at least the people they were intended for got to see them.
Much like the engineered backlash about Disney casting race-blind characters, this is a disingenuous straw man argument meant to make you spend more money on a product (comedy, or a Netflix subscription), and feel good about supporting a movement you care about (if we can’t make irreverent jokes about marginalized people, our free speech will be taken away!).
Related: Did you hear the one about the mermaid and the straw man?
Political correctness isn’t coming for Burr or Chappelle. It’s not coming for Louis CK, who is back performing stand-up after admitting he masturbated in front of five different women. It’s not coming for any of the other comics on Netflix that have specials with titles like “I’m Sorry You Feel that Way” (Burr), “Thoughts and Prayers” (Anthony Jeselnik), “Don’t Take It Personal” (Mike Epps), “No Offense” (Theo Von), “Triggered” (Joe Rogan), “Hitler’s Dog, Gossip & Trickery” (Norm McDonald), “Things They Wouldn’t Let Me Say” (Aditi Mittal), “Woke-ish” (Marlon Wayans) or “You Complete Me, Ho” (Ken Jeong). Hell, it never came for our president, who got elected after multiple “jokes” and comments toward women and immigrants and mentally disabled folks that many would call “politically incorrect.” Lewd and irreverent humor is what’s in power in this country right now — if anything, you’d think there would be more Netflix specials like Chappelle’s and Burr’s, not less.
And the PC Police aren’t coming for Todd Phillips, either. “Joker” won the Golden Lion at its premiere at the Venice Film Festival this year — that festival’s top honor. As of Monday morning, “Joker” has made $93.5 million domestically and $234 million worldwide in its first weekend, an all-time record for an October release. Phillips’ other films, from “Road Trip” to “The Hangover” series to “War Dogs,” have made more than a billion dollars in total, according to Box Office Mojo. And I love the original “The Hangover,” but it was just as offensive in 2009 as it is now. Just because someone thinks that “Paging Dr. Fa***t” isn’t a funny joke doesn’t mean they’re sensitive, it means your writing is lazy. And the same people who didn’t find it funny now probably didn’t 10 years ago, too. Social media has just made it easier for a diverse group of voices to be heard.
Related: Universal calls off ‘The Hunt’
Humor grows up and evolves, just as language evolves. George Carlin’s famous bit about the “7 Words You Can’t Say On Television” feels quaint now, because American slang has grown to include most of those words in everyday parlance, for better or worse. Funnily enough, Carlin is the comic most often cited by other comics when they say comedy is supposed to push boundaries and be irreverent, a looking glass to view the world. And it should be, but never at the expense of people on the margins of society — Comedy should always punch up and target those in power, as Carlin told Larry King back in the day:
And I think that’s my biggest issue with the Chappelle and Burr specials and Phillips’ quote. There is a bit in “Sticks and Stones” that simultaneously targets politicians’ inaction on school shootings and the opioid epidemic, and it’s Chappelle at his punching-up best. Burr spends a lot of time in his special making fun of performative white liberalism and makes the case that that is just as dangerous as racism. But most of their jokes are pulled punches that pick on easy targets in the name of being “edgy.” That’s not funny, that’s lazy.
I’ve seen plenty of comedy in the past year that I found funny that didn’t make jokes at the expense of the marginalized. “The Righteous Gemstones” immediately comes to mind as the type of edgy humor Phillips would want to make, but done in an intelligent way. Then there’s “Booksmart.” “Schitt’s Creek.” Patton Oswalt’s latest stand-up tour. Hasan Minhaj’s “Patriot Act” show and his latest stand-up tour. Mike Birbiglia. John Mulaney. Ali Wong is one of the raunchiest and filthiest comics I’ve ever heard, but her jokes are never cruel to others. “A Black Lady Sketch Show” is revolutionary and edgy specifically because of the points of view it includes. The list goes on and on. It’s not hard to find edgy comedy these days. Just don’t be a snowflake.
But anyways, back to “The Joker.” By the time this hits your inbox “Joker” will already be in wide release, as will the slew of thinkpieces and essays about what this film really means, man.
Honestly, the trailer looks fantastic. I’ve heard nothing but great things about Joaquin Phoenix’s performance. But after reading the above quote about comedy and then reading about how Phillips compared his film to “Taxi Driver” and “King of Comedy” makes me think that he didn’t really understand the point of “Taxi Driver.” So I’ll wait to see this until “Joker” comes to Netflix, and when the credits roll, I can switch over and watch a comedy special about how American culture is going to cancel the very thing I just saw.
Marvelous Marty
While we’re on the subject of comic book movies and Martin Scorsese: In case you were not on Twitter this weekend (and honestly, you shouldn’t have been. ‘Tis a silly place), here is a synopsis of what got some Marvel fans angry at one of America’s finest living directors.
Speaking with Empire Magazine, Scorsese told an interviewer that he has tried to watch Marvel comic book movies, but “that’s not cinema”:
“I don’t see them. I tried, you know? But that’s not cinema,” Scorsese told Empire and was then quoted in IndieWire. “Honestly, the closest I can think of them, as well made as they are, with actors doing the best they can under the circumstances, is theme parks. It isn’t the cinema of human beings trying to convey emotional, psychological experiences to another human being.”
This then prompted a bunch of Film Bro posturing on what is and what is not Cínémaah™️, the boring details of which I will spare from you here. Scorsese kind of has a point — these movies do exist on a primal level to make money and move merch for Mickey Mouse, but I won’t say that I didn’t get choked up a time or three during the last few MCU installments, especially during “Avengers: Endgame” or “Guardians of the Galaxy Vol. 2.”
Related: Read my “Avengers: Endgame” review here
But now all I can think of is: What would a Martin Scorsese theme park look like? A ride where you have to choose the right Rolling Stones song to get the roller coaster moving? A Steadicam simulator? A demented game of “Guess Who” where you find out who the rat is in the police department? A VR boxing ring? A horrific haunted house built out of Shudder Island? Consider the possibilities!
High cotton
In the wake of Ken Burns’ “Country Music” documentary, some classic country artists have seen an uptick in record sales, according to Saving Country Music. Not everyone is rushing out to buy a copy of “Jambalaya,” but streaming numbers for folks like Merle Haggard, Johnny Cash, Waylon Jennings, Patsy Cline, Willie Nelson, Marty Stuart, Dolly Parton and others saw some huge upticks in the last few weeks. Hopefully, the documentary will lead to more people discovering some classic country music.
Islands in the Stream
“Islands in the Stream” is a new segment where I’ll discuss any and all happenings on the streaming front every week, since there’s so much of it now. While you’re here, read my deep dive for WFAA about how diverse the streaming landscape is becoming.
This week:
“Stranger Things” just released a teaser for its fourth season, a mere three months after Season 3 debuted on Netflix. That tease coincided with the news that series creators, brothers Matt and Ross Duffer, inked a nine-figure deal with Netflix for future properties beyond “Stranger Things.”
HBO Max is working on a series based on the “DMZ” graphic novel series, about a future where Manhattan has become a demilitarized zone, and has signed Ava DuVernay (“Selma,” “Wrinkle in Time,” “When They See Us”) to direct the show’s pilot.
HBO Max also just snagged exclusive streaming rights to “Sesame Street” for the next five years. On the one hand, it’s great that this show continues to have relevance for today’s youth. On the other hand, the whole point was that Elmo and Big Bird and friends were aired for free on PBS for kids to learn while they watched TV. Episodes will air for free on PBS at some point after they air on HBO Max, but this is worrisome.
U.S. art house and foreign film distributor Kino Lor just launched its own VOD platform, Kino Now, in North America, with plans to distribute more widely as time goes on.
Trailer Park
Want more trailer news for all the movies coming out this September and October? I have just the thing: Read my fall movie season preview here at jakeharrisblog.com.
“Birds of Prey”
Dare I say I am more excited for this than “Joker”? This looks…fun, even, a rarity for a DC property. I still haven’t seen “Suicide Squad,” but one thing this trailer has over that movie is this doesn’t automatically sexualize Margot Robbie right off the bat. Probably 'cause this one’s directed by Cathy Yan.
“6 Underground”
Michael Bay is back, baybee, but instead of making “Bad Boys For Life” he’s making a Netflix explosion action thriller starring Ryan Reynolds.
“His Dark Materials”
I’ve never read “The Golden Compass,” but this made me feel the most “Harry Potter” vibes I’ve felt in a movie/TV series since…the last Harry Potter film, and this might come closest to capturing that tone for a streaming audience.
“Richard Jewell”
Paul Walter Hauser (“I, Tonya” and “BlacKkKlansman”) stars as Richard Jewell, the Atlanta police officer and security guard who found a pipe bomb in Centennial Park during the 1996 Olympics and was later accused of planting the bomb himself. The case was a landmark example of bias in media, and this trailer plays on that fact (“say it again, louder”). Clint Eastwood’s later-career output has been prolific, to say the least. This looks like it could be vying for Oscar glory.
“1917”
This is another repeat trailer, but with more news: Looks like this whole film is going to be pulled off in one shot (or, rather, made to look as if it were pulled off in one shot). I love a good camera gimmick, especially if it’s done well. Director Sam Mendes sounds like the right man for the job.
Letter of Recommendation
Movie: To kick off Spooky Movie Season 2019 I watched George A. Romero’s original “Night of the Living Dead” this week. Much more than the film that kick-started the zombie genre for a new generation, it’s also startlingly resonant with issues plaguing the world today. Zombie films (and other horror monsters) are always products of the time and society that make them, and this was made at a time of great social unrest in America. With its ending, it might be even more applicable today.
Music: One of the best songs from Maren Morris’ latest album was “The Bones,” comparing the foundation of a house to the foundation of a relationship. This week, Morris collaborated with Hozier on a remix of the song, which only makes it better. The harmonies!
Listen to it here:
Podcast: I just started listening to season 5 of “Dissect,” which breaks down influential albums and gives them context. This season is a deep-dive into Kendrick Lamar’s Pulitzer-winning album “DAMN.” Episode 1 is out now on Spotify and will be available everywhere else on Tuesday.
Friday News Dump
A list of online stuff I really liked this week:
Lindsay Ellis hits the nail on the head with how Disney is justifying the existence of its remakes by pandering to the “wokeness” it thinks its audience wants, when that element was never there in the original films in the first place. (via Lindsay Ellis on YouTube)
One of the best things about “The Righteous Gemstones” is the ridiculously catchy “Misbehavin,’” performed by Walton Goggins and Jennifer Nettles. This explains how the song came to be. (via Shane Ryan in Paste Magazine)
I see suits every day at work and out and about a lot (I do live in Dallas, after all) but this piece about the declining suit-wearing population is interesting. (via Mark Dent in Vox)
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This newsletter is written by me and edited by my favorite person, Taylor Tompkins. Views expressed here are my own and don’t reflect the opinions of my employer, yadda yadda yadda.
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See you next week,
Jake