‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary
Even Liberals Aren’t Safe From Francesca Fiorentini’s Political Punchlines
‘Monk’ Returns for One ‘Last Case’ and It’s a Heaping Serving of TV Comfort Food
The State at the Warfield, a Recipe For Fun
With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to Be Gonzo
Keegan-Michael Key Breaks Down Sketch-Comedy in Hilarious New Book
‘Strays’ is Furry, Foul, Filthy, Feculent — and Occasionally Funny
‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line
Buckle Up: This Mile-a-Minute ‘Joy Ride’ Across China is a Raunchy Romp
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(martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary","publishDate":1711494809,"format":"standard","headTitle":"‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Steve Martin has never been one to follow any sort of playbook. It is fitting the first official documentary about his life is similarly unconventional: A freewheeling story told in two parts, one part focused on “Then” and one part focused on “Now” (kind of) with both parts debuting on Apple TV+ on Friday. Both documentarian and subject are trying, the best they can, to make sense of whatever “Steve Martin” is.\u003c/p>\n\u003cp>Directed by self-proclaimed superfan Morgan Neville (the Oscar-winner who has told the story of Fred Rogers and Anthony Bourdain), \u003cem>STEVE! (martin)\u003c/em> never commits to one form. Like its subject, it allows itself to be a little looser, utilizing every technique available to help paint a truer picture of Martin, a man so enigmatic that his close friends don’t even seem to have a handle on him. He’d hardly be the first performer to save it all for the stage: Martin says that it was somewhat comforting to be able to put on a persona during shows. He was also able to continually reinvent himself. Who else could have walked away from stand-up just as they’d reached rock star status?\u003c/p>\n\u003cp>[aside postid='arts_13954358']And so the medium becomes a kitchen sink: There is stock footage, animation, reenactment, home videos, movie clips, stand-up segments, talk show appearances, new interviews with famous friends (Martin and Jerry Seinfeld in conversation, for example), scripted voiceover and some fly-on-the-wall footage of him just spending time with Martin (Marty) Short bike riding, walking through town, playing cards and workshopping jokes for their show. It’s probably the only way to capture an artist who has taken the hyphenate to absurd levels: Magician/balloon artist/novelist/banjo player/screenwriter/essayist/art collector/joke teller/cartoonist/movie star/father/husband/friend. What am I missing?\u003c/p>\n\u003cp>For anyone who’s read Martin’s memoir \u003cem>Born Standing Up\u003c/em>, “Then” might not be especially revelatory, but it’s all context and it remains interesting to hear Martin reflect candidly on a moment that now feels “like a blip.” While he might not have had a plan, he did possess a keen sense of when he’d hit a dead end, whether that be in magic, stand-up or even movies.\u003c/p>\n\u003cp>His life in movies is saved for “Now,” and you see someone still struggling with the agony of never really knowing if a thing would work. Everyone misses once in a while, but Martin had a brutal back-to-back of a wild success in \u003cem>The Jerk\u003c/em> followed by an epic flop in \u003cem>Pennies From Heaven\u003c/em> and that was just the start of his rollercoaster in Hollywood. He’s kind of moved on from that (and \u003cem>Mixed Nuts\u003c/em>) but also kind of not. He said he had to do 40 movies to get five good ones. He’s being a little sarcastic, but hopefully he knows that a lot of people out there love far more than a measly five Steve Martin movies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d30IaPx5Qc8\u003c/p>\n\u003cp>It is especially fascinating to get a glimpse into his complex relationship with critics and how he found an outlet in writing both fiction and non-fiction. Personally, I wish even more time had been spent on the movies and his writings, like \u003cem>Shopgirl\u003c/em>. Everyone is bound to have a favorite that this doesn’t cover enough.\u003c/p>\n\u003cp>If you want to keep Steve Martin in your mind as that wild and crazy guy, or George Banks or Navin or Lucky Day (the list could go on), and don’t care about his relationship with his father, his decision to become a father late in life, reflections on his art collection, the memorabilia he kept over the years and the things he didn’t do that he wishes he did, these films might not be for you. There are no rules to being a fan. For some, biography can mean everything. For others, it matters little when there’s so much joy to be had without it.\u003c/p>\n\u003cp>[aside postid='arts_13954225']Martin, who has been both an open book in some ways and also guarded in others, is really quite vulnerable here — especially in “Now.” Neville captures him looking at the script for \u003cem>Planes, Trains and Automobiles\u003c/em> and reflecting on his late friend and co-star John Candy. There was a great monologue, he said, in which Candy’s Del Griffith tells the story of his life. Martin recalled bawling off camera as Candy delivered it. And yet for whatever reason, it was chopped down to a line or two. He reads a bit of it and starts to cry.\u003c/p>\n\u003cp>There’s more, but if that sounds intriguing, you should really just watch it. Neville has said it doesn’t matter which order. And what does it add up to? On a certain level he’s still an enigma. It’s hard for mere mortals to comprehend a half century of otherworldly fame, but it’s also just nice to watch a familiar face reflect on how he has, at 78, finally found happiness. Besides, Steve Martin’s story is not even remotely finished. These are just two parts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘STEVE! (martin)’ begins streaming on Apple TV+ on March 29, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"It may be hard to comprehend his half century of otherworldly fame, but it’s nice to watch a beloved comic reflect on life.","status":"publish","parent":0,"modified":1711494809,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":918},"headData":{"title":"Review: ‘STEVE! (martin)’ Documentary on Apple TV+ | KQED","description":"It may be hard to comprehend his half century of otherworldly fame, but it’s nice to watch a beloved comic reflect on life.","ogTitle":"‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary","ogDescription":"","ogImgId":"","twTitle":"‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary","twDescription":"","twImgId":"","socialTitle":"Review: ‘STEVE! (martin)’ Documentary on Apple TV+%%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Lindsey Bahr, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steve Martin has never been one to follow any sort of playbook. It is fitting the first official documentary about his life is similarly unconventional: A freewheeling story told in two parts, one part focused on “Then” and one part focused on “Now” (kind of) with both parts debuting on Apple TV+ on Friday. Both documentarian and subject are trying, the best they can, to make sense of whatever “Steve Martin” is.\u003c/p>\n\u003cp>Directed by self-proclaimed superfan Morgan Neville (the Oscar-winner who has told the story of Fred Rogers and Anthony Bourdain), \u003cem>STEVE! (martin)\u003c/em> never commits to one form. Like its subject, it allows itself to be a little looser, utilizing every technique available to help paint a truer picture of Martin, a man so enigmatic that his close friends don’t even seem to have a handle on him. He’d hardly be the first performer to save it all for the stage: Martin says that it was somewhat comforting to be able to put on a persona during shows. He was also able to continually reinvent himself. Who else could have walked away from stand-up just as they’d reached rock star status?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954358","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>And so the medium becomes a kitchen sink: There is stock footage, animation, reenactment, home videos, movie clips, stand-up segments, talk show appearances, new interviews with famous friends (Martin and Jerry Seinfeld in conversation, for example), scripted voiceover and some fly-on-the-wall footage of him just spending time with Martin (Marty) Short bike riding, walking through town, playing cards and workshopping jokes for their show. It’s probably the only way to capture an artist who has taken the hyphenate to absurd levels: Magician/balloon artist/novelist/banjo player/screenwriter/essayist/art collector/joke teller/cartoonist/movie star/father/husband/friend. What am I missing?\u003c/p>\n\u003cp>For anyone who’s read Martin’s memoir \u003cem>Born Standing Up\u003c/em>, “Then” might not be especially revelatory, but it’s all context and it remains interesting to hear Martin reflect candidly on a moment that now feels “like a blip.” While he might not have had a plan, he did possess a keen sense of when he’d hit a dead end, whether that be in magic, stand-up or even movies.\u003c/p>\n\u003cp>His life in movies is saved for “Now,” and you see someone still struggling with the agony of never really knowing if a thing would work. Everyone misses once in a while, but Martin had a brutal back-to-back of a wild success in \u003cem>The Jerk\u003c/em> followed by an epic flop in \u003cem>Pennies From Heaven\u003c/em> and that was just the start of his rollercoaster in Hollywood. He’s kind of moved on from that (and \u003cem>Mixed Nuts\u003c/em>) but also kind of not. He said he had to do 40 movies to get five good ones. He’s being a little sarcastic, but hopefully he knows that a lot of people out there love far more than a measly five Steve Martin movies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d30IaPx5Qc8'\n title='//www.youtube.com/embed/d30IaPx5Qc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It is especially fascinating to get a glimpse into his complex relationship with critics and how he found an outlet in writing both fiction and non-fiction. Personally, I wish even more time had been spent on the movies and his writings, like \u003cem>Shopgirl\u003c/em>. Everyone is bound to have a favorite that this doesn’t cover enough.\u003c/p>\n\u003cp>If you want to keep Steve Martin in your mind as that wild and crazy guy, or George Banks or Navin or Lucky Day (the list could go on), and don’t care about his relationship with his father, his decision to become a father late in life, reflections on his art collection, the memorabilia he kept over the years and the things he didn’t do that he wishes he did, these films might not be for you. There are no rules to being a fan. For some, biography can mean everything. For others, it matters little when there’s so much joy to be had without it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954225","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Martin, who has been both an open book in some ways and also guarded in others, is really quite vulnerable here — especially in “Now.” Neville captures him looking at the script for \u003cem>Planes, Trains and Automobiles\u003c/em> and reflecting on his late friend and co-star John Candy. There was a great monologue, he said, in which Candy’s Del Griffith tells the story of his life. Martin recalled bawling off camera as Candy delivered it. And yet for whatever reason, it was chopped down to a line or two. He reads a bit of it and starts to cry.\u003c/p>\n\u003cp>There’s more, but if that sounds intriguing, you should really just watch it. Neville has said it doesn’t matter which order. And what does it add up to? On a certain level he’s still an enigma. It’s hard for mere mortals to comprehend a half century of otherworldly fame, but it’s also just nice to watch a familiar face reflect on how he has, at 78, finally found happiness. Besides, Steve Martin’s story is not even remotely finished. These are just two parts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘STEVE! (martin)’ begins streaming on Apple TV+ on March 29, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up","authors":["byline_arts_13954796"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_75","arts_990"],"tags":["arts_13672","arts_769","arts_585"],"featImg":"arts_13954799","label":"arts_140"},"arts_13950399":{"type":"posts","id":"arts_13950399","meta":{"index":"posts_1591205157","site":"arts","id":"13950399","score":null,"sort":[1705435833000]},"guestAuthors":[],"slug":"francesca-fiorentini-sf-sketchfest-bitchuation-room","title":"Even Liberals Aren’t Safe From Francesca Fiorentini’s Political Punchlines","publishDate":1705435833,"format":"standard","headTitle":"Even Liberals Aren’t Safe From Francesca Fiorentini’s Political Punchlines | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Comedian and journalist \u003ca href=\"https://www.francescafiorentini.com/\">Francesca Fiorentini\u003c/a> will always refer to her hometown of Palo Alto as “Shallow Alto.” If she tries, she may remember it fondly for being a Peninsula town with great affinity for The Grateful Dead or the occasional Jerry Rice or Joe Montana sighting. But she can’t separate it from its modern persona — a \u003ca href=\"https://www.kqed.org/arts/13923665/palo-alto-book-malcolm-harris-marxist-social-history-capitalism-silicon-valley\">Silicon Valley avatar for tech-fueled excess\u003c/a>.\u003c/p>\n\u003cp>Fiorentini started her 15-year stand-up comedy journey in an unlikely locale, Argentina, but the veteran jokester cultivated her voice on the Bay Area stand-up scene for the better part of the last decade. In addition, she honed it as the host of her viral AJ+ show, the Emmy-shortlisted \u003ca href=\"https://www.ajplus.net/newsbroke\">\u003ci>Newsbroke\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>After listening to hundreds of hours of her weekly comedy podcast \u003ca href=\"https://www.youtube.com/franifio\">\u003ci>The Bitchuation\u003c/i> \u003cem>Room\u003c/em>\u003c/a>, which launched in October 2018, this writer noticed she’s not as outwardly enthusiastic about representing the Bay Area as many of us creatives from San Francisco, Oakland or San Jose. Which led to the inquiry, is it difficult for the Menlo-Atherton High School alumna to throw down for the Peninsula? [aside postid='arts_13950363']\u003c/p>\n\u003cp>“It’s beautiful,” Fiorentini tells KQED. “It’s probably the best weather in the country wasted on some of the worst people in the country. Is that repping enough? I love my mom. Is that repping enough? I love public schools down there, I rep that.”\u003c/p>\n\u003cp>Fiorentini will soon return home for the annual comedy festival \u003ca href=\"https://sfsketchfest.com/\">SF Sketchfest\u003c/a>, which kicks off on Jan. 18 and continues through Feb. 4. She’ll host a \u003ca href=\"https://sched.co/1VUtt\">\u003ci>Bitchuation Room\u003c/i> live show\u003c/a> on Jan. 28 at San Francisco’s Gateway Theatre with comic and labor organizer Nato Green, Emma Vigeland (\u003cem>The Majority Report\u003c/em>) and Miles Gray (\u003cem>The Daily Zeitgeist\u003c/em>). And Fiorentini and Green will perform political stand-up alongside Karinda Dobbins and Dhaya Lakshminarayanan on Jan. 27 for a night dubbed “\u003ca href=\"https://sched.co/1VUwM\">Cornpops and Space Lasers\u003c/a>” at the Lost Church.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fiorentini’s always been a multi-hyphenate at the intersections of journalism and comedy. After \u003cem>Newsbroke\u003c/em> dissolved, \u003ci>The Bitchuation Room\u003c/i> became her independent follow-up project, adopted into the audio space. Losing AJ+’s stability opened her path to work on a special \u003ci>MSNBC\u003c/i> show and contribute to \u003ci>National Geographic\u003c/i>. She previously battled with the idea of only talking about politics seriously and keeping a separate social media account for her irreverent and silly side, before settling firmly against it. Fiorentini asserts that four years of a Donald Trump White House proved that decision right, and so have three years of our rebound President Joe Biden.\u003c/p>\n\u003cp>“We need lots of information with high doses of humor,” says Fiorentini. “Otherwise, it is all too bleak and miserable, and the people who can do both at the same time are true treasures. Like me. I am a treasure — come to my show.”\u003c/p>\n\u003cp>https://youtu.be/ZLmv9oKfLtU?si=H9qyuWpQrq540Cg2\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Fiorentini embraces the idea of challenging her audience, and she affirms it’s necessary to keep complacent liberals — the kind she grew up and lives around — from taking important rights for granted. “That out-of-touch liberal mindset I find even more offensive sometimes because yeah, the right might believe in Q[Anon], but at least they believe in something,” she says.\u003c/p>\n\u003cp>When it comes to covering the right, “it’s important to laugh in the face of absolute impunity and corruption,” she says. “You kinda gotta laugh because you don’t want them to have the last laugh.” [aside postid='arts_13940325']\u003c/p>\n\u003cp>Presidents come and go. While there is and should be a place to make fun of those in power, after the boom of \u003ci>The Daily Show\u003c/i>-style programming from a wide array of popular comics like Samantha Bee, Jim Jefferies and Hasan Minhaj, it’s almost low-hanging fruit at this point. Fiorentini believes comedy requires more than grains of truth; it’s necessary to dig in and name the issues more than the figureheads.\u003c/p>\n\u003cp>“As soon as you really talk about some of these underlying issues of power, of white supremacy, of capitalism, of patriarchy, suddenly things start to get a little uneasy,” explains Fiorentini. “The money starts to dry up. The people who want to support you don’t feel comfortable supporting you. You start talking about colonialism and the West Bank and people start to freak out.”\u003c/p>\n\u003cp>https://youtu.be/UEKJUr4Uv0Y?si=xDVYxGfSqOGmkAWS\u003c/p>\n\u003cp>On The\u003cem> Bitchuation Room, \u003c/em>Fiorentini has the freedom to speak her truth to power thanks to its listener-supported format. But working for herself also comes with the reality of no days off. She returned to work shortly after giving birth to her first child in 2022 with her husband, fellow comedian Matt Lieb.\u003c/p>\n\u003cp>“I didn’t have maternity [leave],” says Fiorentini. “You know, no rest for the vaginally torn.”\u003c/p>\n\u003cp>Despite her critiques of the Bay Area’s obscene wealth inequality, Fiorentini relishes the opportunity to return home. As a “lefty stand-up comic who likes kombucha and kale, I could not be from anywhere else,” she admits.\u003c/p>\n\u003cp>\u003ci>The Bitchuation Room\u003c/i> platforms many Bay Area comedians and activists both currently residing here and repping from elsewhere. It’s the notion of the Bay Area’s comedic identity that coaxes some more boisterous pride out of the comic, who deals with the most cynical news of the day for listeners’ information and entertainment.\u003c/p>\n\u003cp>“Joke writing is a muscle, and monologue joke writing is the crossfit of comedy. So I’ve put meat on my bones and learned how to succinctly get across potentially tough concepts by using comedy,” says Fiorentini. “In fact, I think jokes might be the best way of explaining how our world and our country work… ’cause often it feels like we’re living inside of one big joke, and we’re the punchline.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Francesca Fiorentini performs a \u003ca href=\"https://sched.co/1VUwM\">stand-up set at SF Sketchfest on Jan. 27\u003c/a>, and hosts a \u003ca href=\"https://sfsketchfest.com/schedule-and-tickets/\">live edition of ‘The Bitchuation Room’ on Jan. 28\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area-raised, progressive comedian returns home for SF Sketchfest, which kicks off Jan. 18.","status":"publish","parent":0,"modified":1705435833,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1051},"headData":{"title":"Even Liberals Aren’t Safe From Francesca Fiorentini’s Political Punchlines | KQED","description":"The Bay Area-raised, progressive comedian returns home for SF Sketchfest, which kicks off Jan. 18.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Danny Acosta","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13950399/francesca-fiorentini-sf-sketchfest-bitchuation-room","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian and journalist \u003ca href=\"https://www.francescafiorentini.com/\">Francesca Fiorentini\u003c/a> will always refer to her hometown of Palo Alto as “Shallow Alto.” If she tries, she may remember it fondly for being a Peninsula town with great affinity for The Grateful Dead or the occasional Jerry Rice or Joe Montana sighting. But she can’t separate it from its modern persona — a \u003ca href=\"https://www.kqed.org/arts/13923665/palo-alto-book-malcolm-harris-marxist-social-history-capitalism-silicon-valley\">Silicon Valley avatar for tech-fueled excess\u003c/a>.\u003c/p>\n\u003cp>Fiorentini started her 15-year stand-up comedy journey in an unlikely locale, Argentina, but the veteran jokester cultivated her voice on the Bay Area stand-up scene for the better part of the last decade. In addition, she honed it as the host of her viral AJ+ show, the Emmy-shortlisted \u003ca href=\"https://www.ajplus.net/newsbroke\">\u003ci>Newsbroke\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>After listening to hundreds of hours of her weekly comedy podcast \u003ca href=\"https://www.youtube.com/franifio\">\u003ci>The Bitchuation\u003c/i> \u003cem>Room\u003c/em>\u003c/a>, which launched in October 2018, this writer noticed she’s not as outwardly enthusiastic about representing the Bay Area as many of us creatives from San Francisco, Oakland or San Jose. Which led to the inquiry, is it difficult for the Menlo-Atherton High School alumna to throw down for the Peninsula? \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950363","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s beautiful,” Fiorentini tells KQED. “It’s probably the best weather in the country wasted on some of the worst people in the country. Is that repping enough? I love my mom. Is that repping enough? I love public schools down there, I rep that.”\u003c/p>\n\u003cp>Fiorentini will soon return home for the annual comedy festival \u003ca href=\"https://sfsketchfest.com/\">SF Sketchfest\u003c/a>, which kicks off on Jan. 18 and continues through Feb. 4. She’ll host a \u003ca href=\"https://sched.co/1VUtt\">\u003ci>Bitchuation Room\u003c/i> live show\u003c/a> on Jan. 28 at San Francisco’s Gateway Theatre with comic and labor organizer Nato Green, Emma Vigeland (\u003cem>The Majority Report\u003c/em>) and Miles Gray (\u003cem>The Daily Zeitgeist\u003c/em>). And Fiorentini and Green will perform political stand-up alongside Karinda Dobbins and Dhaya Lakshminarayanan on Jan. 27 for a night dubbed “\u003ca href=\"https://sched.co/1VUwM\">Cornpops and Space Lasers\u003c/a>” at the Lost Church.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fiorentini’s always been a multi-hyphenate at the intersections of journalism and comedy. After \u003cem>Newsbroke\u003c/em> dissolved, \u003ci>The Bitchuation Room\u003c/i> became her independent follow-up project, adopted into the audio space. Losing AJ+’s stability opened her path to work on a special \u003ci>MSNBC\u003c/i> show and contribute to \u003ci>National Geographic\u003c/i>. She previously battled with the idea of only talking about politics seriously and keeping a separate social media account for her irreverent and silly side, before settling firmly against it. Fiorentini asserts that four years of a Donald Trump White House proved that decision right, and so have three years of our rebound President Joe Biden.\u003c/p>\n\u003cp>“We need lots of information with high doses of humor,” says Fiorentini. “Otherwise, it is all too bleak and miserable, and the people who can do both at the same time are true treasures. Like me. I am a treasure — come to my show.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZLmv9oKfLtU'\n title='//www.youtube.com/embed/ZLmv9oKfLtU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Fiorentini embraces the idea of challenging her audience, and she affirms it’s necessary to keep complacent liberals — the kind she grew up and lives around — from taking important rights for granted. “That out-of-touch liberal mindset I find even more offensive sometimes because yeah, the right might believe in Q[Anon], but at least they believe in something,” she says.\u003c/p>\n\u003cp>When it comes to covering the right, “it’s important to laugh in the face of absolute impunity and corruption,” she says. “You kinda gotta laugh because you don’t want them to have the last laugh.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940325","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Presidents come and go. While there is and should be a place to make fun of those in power, after the boom of \u003ci>The Daily Show\u003c/i>-style programming from a wide array of popular comics like Samantha Bee, Jim Jefferies and Hasan Minhaj, it’s almost low-hanging fruit at this point. Fiorentini believes comedy requires more than grains of truth; it’s necessary to dig in and name the issues more than the figureheads.\u003c/p>\n\u003cp>“As soon as you really talk about some of these underlying issues of power, of white supremacy, of capitalism, of patriarchy, suddenly things start to get a little uneasy,” explains Fiorentini. “The money starts to dry up. The people who want to support you don’t feel comfortable supporting you. You start talking about colonialism and the West Bank and people start to freak out.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UEKJUr4Uv0Y'\n title='//www.youtube.com/embed/UEKJUr4Uv0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On The\u003cem> Bitchuation Room, \u003c/em>Fiorentini has the freedom to speak her truth to power thanks to its listener-supported format. But working for herself also comes with the reality of no days off. She returned to work shortly after giving birth to her first child in 2022 with her husband, fellow comedian Matt Lieb.\u003c/p>\n\u003cp>“I didn’t have maternity [leave],” says Fiorentini. “You know, no rest for the vaginally torn.”\u003c/p>\n\u003cp>Despite her critiques of the Bay Area’s obscene wealth inequality, Fiorentini relishes the opportunity to return home. As a “lefty stand-up comic who likes kombucha and kale, I could not be from anywhere else,” she admits.\u003c/p>\n\u003cp>\u003ci>The Bitchuation Room\u003c/i> platforms many Bay Area comedians and activists both currently residing here and repping from elsewhere. It’s the notion of the Bay Area’s comedic identity that coaxes some more boisterous pride out of the comic, who deals with the most cynical news of the day for listeners’ information and entertainment.\u003c/p>\n\u003cp>“Joke writing is a muscle, and monologue joke writing is the crossfit of comedy. So I’ve put meat on my bones and learned how to succinctly get across potentially tough concepts by using comedy,” says Fiorentini. “In fact, I think jokes might be the best way of explaining how our world and our country work… ’cause often it feels like we’re living inside of one big joke, and we’re the punchline.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Francesca Fiorentini performs a \u003ca href=\"https://sched.co/1VUwM\">stand-up set at SF Sketchfest on Jan. 27\u003c/a>, and hosts a \u003ca href=\"https://sfsketchfest.com/schedule-and-tickets/\">live edition of ‘The Bitchuation Room’ on Jan. 28\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950399/francesca-fiorentini-sf-sketchfest-bitchuation-room","authors":["byline_arts_13950399"],"programs":["arts_140"],"categories":["arts_1","arts_968"],"tags":["arts_549","arts_10278","arts_21845","arts_585"],"featImg":"arts_13950411","label":"arts_140"},"arts_13939340":{"type":"posts","id":"arts_13939340","meta":{"index":"posts_1591205157","site":"arts","id":"13939340","score":null,"sort":[1702496777000]},"guestAuthors":[],"slug":"monk-returns-for-one-last-case-and-its-a-heaping-serving-of-tv-comfort-food","title":"‘Monk’ Returns for One ‘Last Case’ and It’s a Heaping Serving of TV Comfort Food","publishDate":1702496777,"format":"standard","headTitle":"‘Monk’ Returns for One ‘Last Case’ and It’s a Heaping Serving of TV Comfort Food | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The USA Network detective series \u003cem>Monk\u003c/em>, like its title character, always stood out as being a little … unusual.\u003c/p>\n\u003cp>An hour-long police procedural, the show aired from 2002 until 2009 and presented a different murder to solve each episode. Yet — like the classic TV series \u003cem>Columbo\u003c/em> — it not only focused on the particulars of its central mystery, but also took time to have fun with the quirky brilliance of its lead investigator, Adrian Monk (played by \u003ca href=\"https://www.npr.org/2018/07/31/634299761/tony-shalhoub-on-mrs-maisel-and-questioning-his-worth-as-an-actor\">Tony Shalhoub\u003c/a>), who had obsessive-compulsive disorder. Now, after almost 15 years, Shalhoub and most of his original castmates are back, in a new movie on the Peacock streaming service, titled \u003cem>Mr. Monk’s Last Case.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13939092']Despite some dark and dramatic moments, the original \u003cem>Monk \u003c/em>played like a comedy. In fact, creator Andy Breckman submitted the show for Emmy consideration in the comedy categories, and Shalhoub competed against sitcom stars to win the award for lead actor three times. And until \u003ca href=\"https://www.npr.org/2017/10/23/559035940/the-walking-dead-returns-to-form-in-season-8-premiere\">\u003cem>The Walking Dead\u003c/em>\u003c/a> came along, the finale of \u003cem>Monk \u003c/em>held the record as the most-viewed scripted drama on cable television.\u003c/p>\n\u003cp>In that last episode of \u003cem>Monk\u003c/em>, back in 2009, Adrian finally cracked the case that had triggered his OCD compulsions — the unsolved murder of his wife, Trudy. Now, in this movie sequel, writer Breckman and director Randy Zisk revisit the character after all this time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Krfd3OWb4hs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Mr. Monk’s Last Case\u003c/em> begins by establishing how the title character has, and hasn’t, moved on since we last saw him. We learn that Adrian retired from the crime-solving business and got a hefty cash advance to write a book about all the murders he’d solved.\u003c/p>\n\u003cp>[aside postid='arts_13938662']Unfortunately, Adrian’s fears and compulsions didn’t leave him, and while working obsessively on his memoirs, he became a relative recluse. The outbreak of COVID didn’t help, but his stepdaughter Molly, a newly introduced character played by Caitlin McGee, moved in with Adrian during the pandemic. She quickly became the most important person in his life, and he was so grateful, he promised to use his book advance to pay for her impending wedding.\u003c/p>\n\u003cp>As this new \u003cem>Monk \u003c/em>movie begins, all seems fine — but not for long. Very quickly, there’s a murder that Adrian feels compelled to solve. And even before that, there’s bad news when Adrian visits the office of his publisher. She’s read the first several hundred pages of his manuscript — and hates them.\u003c/p>\n\u003cp>Adrian’s attention to detail, which helps him solve crimes, apparently doesn’t help so much when it comes to writing memoirs — especially when he goes on for pages about how one murder suspect and he coincidentally used the exact same model of vacuum cleaner. The publisher delivers the blow that she’s rejecting Adrian’s manuscript — and she demands he returns the advance.\u003c/p>\n\u003cfigure id=\"attachment_13939342\" class=\"wp-caption aligncenter\" style=\"max-width: 851px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg\" alt=\"A smiling woman wearing a white shirt places something in the jacket pocket of an older man.\" width=\"851\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-768x576.jpg 768w\" sizes=\"(max-width: 851px) 100vw, 851px\">\u003cfigcaption class=\"wp-caption-text\">Molly (Caitlin McGee) helps look after Monk (Tony Shalhoub) in ‘Mr. Monk’s Last Case.’ \u003ccite>(Steve Wilkie/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The publisher’s concern that people may not care as much about Monk after all these years is a sly little nod to what this TV movie is facing. It’s waited so long to reintroduce the character that it’s a whole new world out here — reflected by the fact that \u003cem>Mr. Monk’s Last Case \u003c/em>is premiering not on cable, but streaming on Peacock.\u003c/p>\n\u003cp>[aside postid='arts_13939170']But Adrian Monk and his cohorts do just fine in their 2023 return. Shalhoub slips back into the character with assurance and precision, nailing the comedy in each scene while making room for some somber tones of loss and depression.\u003c/p>\n\u003cp>This movie sequel, however, is anything but depressing. It’s TV comfort food, and it’s enjoyable to catch up not only with Adrian Monk, but with his castmates from the original series. The title of this new Peacock movie is \u003cem>Mr. Monk’s Last Case —\u003c/em> but given how well its ingredients fold together, I wouldn’t necessarily take that title literally.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Monk%27+returns+for+one+%27Last+Case%27+and+it%27s+a+heaping+serving+of+TV+comfort+food&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Mr. Monk’s Last Case’ is streaming now on Peacock.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"After nearly 15 years, Tony Shalhoub slips back into his Adrian Monk character with assurance and precision.","status":"publish","parent":0,"modified":1705002983,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":731},"headData":{"title":"‘Mr. Monk’s Last Case’ Is Comfort TV at Its Best | KQED","description":"After nearly 15 years, Tony Shalhoub slips back into his Adrian Monk character with assurance and precision.","ogTitle":"‘Monk’ Returns for One ‘Last Case’ and It's a Heaping Serving of TV Comfort Food","ogDescription":"","ogImgId":"","twTitle":"‘Monk’ Returns for One ‘Last Case’ and It's a Heaping Serving of TV Comfort Food","twDescription":"","twImgId":"","socialTitle":"‘Mr. Monk’s Last Case’ Is Comfort TV at Its Best %%page%% %%sep%% KQED"},"sticky":false,"nprImageCredit":"Steve Wilkie","nprByline":"David Bianculli","nprImageAgency":"Peacock","nprStoryId":"1218765740","nprApiLink":"http://api.npr.org/query?id=1218765740&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/12/13/1218765740/mr-monks-last-case-review-tony-shalhoub?ft=nprml&f=1218765740","nprRetrievedStory":"1","nprPubDate":"Wed, 13 Dec 2023 13:35:00 -0500","nprStoryDate":"Wed, 13 Dec 2023 10:46:33 -0500","nprLastModifiedDate":"Wed, 13 Dec 2023 13:35:47 -0500","nprAudio":"https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2023/12/20231213_fa_1e01d824-08ec-4148-b993-64f6c649560b.mp3?orgId=427869011&topicId=1163&d=447&p=13&story=1218765740&ft=nprml&f=1218765740","nprAudioM3u":"http://api.npr.org/m3u/11219095930-c65769.m3u?orgId=427869011&topicId=1163&d=447&p=13&story=1218765740&ft=nprml&f=1218765740","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13939340/monk-returns-for-one-last-case-and-its-a-heaping-serving-of-tv-comfort-food","audioUrl":"https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2023/12/20231213_fa_1e01d824-08ec-4148-b993-64f6c649560b.mp3?orgId=427869011&topicId=1163&d=447&p=13&story=1218765740&ft=nprml&f=1218765740","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The USA Network detective series \u003cem>Monk\u003c/em>, like its title character, always stood out as being a little … unusual.\u003c/p>\n\u003cp>An hour-long police procedural, the show aired from 2002 until 2009 and presented a different murder to solve each episode. Yet — like the classic TV series \u003cem>Columbo\u003c/em> — it not only focused on the particulars of its central mystery, but also took time to have fun with the quirky brilliance of its lead investigator, Adrian Monk (played by \u003ca href=\"https://www.npr.org/2018/07/31/634299761/tony-shalhoub-on-mrs-maisel-and-questioning-his-worth-as-an-actor\">Tony Shalhoub\u003c/a>), who had obsessive-compulsive disorder. Now, after almost 15 years, Shalhoub and most of his original castmates are back, in a new movie on the Peacock streaming service, titled \u003cem>Mr. Monk’s Last Case.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939092","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Despite some dark and dramatic moments, the original \u003cem>Monk \u003c/em>played like a comedy. In fact, creator Andy Breckman submitted the show for Emmy consideration in the comedy categories, and Shalhoub competed against sitcom stars to win the award for lead actor three times. And until \u003ca href=\"https://www.npr.org/2017/10/23/559035940/the-walking-dead-returns-to-form-in-season-8-premiere\">\u003cem>The Walking Dead\u003c/em>\u003c/a> came along, the finale of \u003cem>Monk \u003c/em>held the record as the most-viewed scripted drama on cable television.\u003c/p>\n\u003cp>In that last episode of \u003cem>Monk\u003c/em>, back in 2009, Adrian finally cracked the case that had triggered his OCD compulsions — the unsolved murder of his wife, Trudy. Now, in this movie sequel, writer Breckman and director Randy Zisk revisit the character after all this time.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Krfd3OWb4hs'\n title='//www.youtube.com/embed/Krfd3OWb4hs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mr. Monk’s Last Case\u003c/em> begins by establishing how the title character has, and hasn’t, moved on since we last saw him. We learn that Adrian retired from the crime-solving business and got a hefty cash advance to write a book about all the murders he’d solved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938662","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Unfortunately, Adrian’s fears and compulsions didn’t leave him, and while working obsessively on his memoirs, he became a relative recluse. The outbreak of COVID didn’t help, but his stepdaughter Molly, a newly introduced character played by Caitlin McGee, moved in with Adrian during the pandemic. She quickly became the most important person in his life, and he was so grateful, he promised to use his book advance to pay for her impending wedding.\u003c/p>\n\u003cp>As this new \u003cem>Monk \u003c/em>movie begins, all seems fine — but not for long. Very quickly, there’s a murder that Adrian feels compelled to solve. And even before that, there’s bad news when Adrian visits the office of his publisher. She’s read the first several hundred pages of his manuscript — and hates them.\u003c/p>\n\u003cp>Adrian’s attention to detail, which helps him solve crimes, apparently doesn’t help so much when it comes to writing memoirs — especially when he goes on for pages about how one murder suspect and he coincidentally used the exact same model of vacuum cleaner. The publisher delivers the blow that she’s rejecting Adrian’s manuscript — and she demands he returns the advance.\u003c/p>\n\u003cfigure id=\"attachment_13939342\" class=\"wp-caption aligncenter\" style=\"max-width: 851px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg\" alt=\"A smiling woman wearing a white shirt places something in the jacket pocket of an older man.\" width=\"851\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-768x576.jpg 768w\" sizes=\"(max-width: 851px) 100vw, 851px\">\u003cfigcaption class=\"wp-caption-text\">Molly (Caitlin McGee) helps look after Monk (Tony Shalhoub) in ‘Mr. Monk’s Last Case.’ \u003ccite>(Steve Wilkie/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The publisher’s concern that people may not care as much about Monk after all these years is a sly little nod to what this TV movie is facing. It’s waited so long to reintroduce the character that it’s a whole new world out here — reflected by the fact that \u003cem>Mr. Monk’s Last Case \u003c/em>is premiering not on cable, but streaming on Peacock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939170","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But Adrian Monk and his cohorts do just fine in their 2023 return. Shalhoub slips back into the character with assurance and precision, nailing the comedy in each scene while making room for some somber tones of loss and depression.\u003c/p>\n\u003cp>This movie sequel, however, is anything but depressing. It’s TV comfort food, and it’s enjoyable to catch up not only with Adrian Monk, but with his castmates from the original series. The title of this new Peacock movie is \u003cem>Mr. Monk’s Last Case —\u003c/em> but given how well its ingredients fold together, I wouldn’t necessarily take that title literally.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Monk%27+returns+for+one+%27Last+Case%27+and+it%27s+a+heaping+serving+of+TV+comfort+food&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Mr. Monk’s Last Case’ is streaming now on Peacock.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939340/monk-returns-for-one-last-case-and-its-a-heaping-serving-of-tv-comfort-food","authors":["byline_arts_13939340"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_74","arts_75","arts_990"],"tags":["arts_21794","arts_585"],"featImg":"arts_13939348","label":"arts_140"},"arts_13936507":{"type":"posts","id":"arts_13936507","meta":{"index":"posts_1591205157","site":"arts","id":"13936507","score":null,"sort":[1697641203000]},"guestAuthors":[],"slug":"the-state-comedy-warfield-a-recipe-for-fun","title":"The State at the Warfield, a Recipe For Fun","publishDate":1697641203,"format":"standard","headTitle":"The State at the Warfield, a Recipe For Fun | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There are two kinds of people in this world: people for whom the words “porcupine racetrack” mean very little. And those for whom the phrase sparks pure, stupid, unfettered joy — and an urge to watch the 1995 cult-classic sketch from MTV’s \u003cem>The State\u003c/em> for the 400th time, then rant at you about their favorite part. (Ken Marino as the gambling priest, obviously.)\u003c/p>\n\u003cp>Well, fellow members of the latter group, assemble! Specifically, assemble at the Warfield on Oct. 25, when members of The State will deliver the only Bay Area performance on their 2023 reunion tour. David Wain, Michael Ian Black, Thomas Lennon, Kerri Kenney-Silver, Michael Showalter and the rest of the gang have all steadily worked together in various combinations over the years — \u003cem>Reno 911!\u003c/em>, \u003cem>Stella\u003c/em>, the sacred text that is \u003cem>Wet Hot American Summer\u003c/em>. But this show marks a rare live appearance for the original, NYU-born sketch comedy troupe, performing material from their show that aired for two short but highly influential years in the mid-90s.\u003c/p>\n\u003cp>https://vimeo.com/410325198\u003c/p>\n\u003cp>America may not have been ready for \u003cem>The State\u003c/em> during its original run. The show was mostly panned by critics, and the fact that the group began writing recurring characters that essentially mocked MTV’s demand for recurring characters is pretty telling re: the extent that the network knew what to do with them.\u003c/p>\n\u003cp>But in the years since the show went off the air, its mythos has only grown. Meanwhile other cult favorites like \u003cem>Mr. Show\u003c/em> and \u003cem>Tim and Eric Awesome Show, Great Job!\u003c/em> — both of which had more than a dash of \u003cem>The State\u003c/em>’s absurdism in their DNA — helped to further dismantle the lines between what used to be called “alt” and mainstream comedy. For more recent evidence of the group’s reach, check out the crop of comedians currently on the rise in Hollywood, like the creators of the gleefully deranged \u003cem>Bottoms\u003c/em>, \u003ca href=\"https://www.vanityfair.com/hollywood/2023/08/emma-seligman-bottoms-interview\">who cited \u003cem>Wet Hot American Summer\u003c/em>\u003c/a> as a creative “North Star.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which is to say, The State ultimately helped nudge comedy to the left of center. They made it a little more irreverent, more subversive, more delightfully strange. That means the modern comedic landscape is one in which two off-brand Barry Whites \u003ca href=\"https://archive.nytimes.com/artsbeat.blogs.nytimes.com/2009/07/15/more-state-secrets-when-barry-and-le-von-met-240-worth-of-pudding/\">dancing suggestively around $240 worth of pudding\u003c/a>, six dudes in blue and pink sweatsuits acting out \u003ca href=\"https://vimeo.com/643746338\">the concept of hormones\u003c/a>, a whole sketch that’s just the cast talking in funny voices about \u003ca href=\"https://www.youtube.com/watch?v=WzCoEM6aDpc\">fried bumblebees\u003c/a> — they all come off as somehow \u003cem>not that weird\u003c/em>.\u003c/p>\n\u003cp>So thank you, The State. And fellow devotees: \u003ca href=\"https://www.youtube.com/watch?v=tCp42HcPheE\">Put a bag on your head and hop on the ugly bus\u003c/a> to the Warfield with me next week, so we can thank ‘em in person.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The State: Breakin’ Hearts and Dippin’ Balls Tour’ takes place at 8 p.m. at The Warfield (982 Market St., San Francisco) \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/502339\">Tickets and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A rare live show from the cult-favorite comedy troupe that birthed ‘Wet Hot American Summer,’ ‘Reno 911!’ and more.","status":"publish","parent":0,"modified":1705003219,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":503},"headData":{"title":"The State at the Warfield, a Recipe For Fun | KQED","description":"A rare live show from the cult-favorite comedy troupe that birthed ‘Wet Hot American Summer,’ ‘Reno 911!’ and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"the-state-comdey-warfield-a-recipe-for-fun","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13936507/the-state-comedy-warfield-a-recipe-for-fun","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are two kinds of people in this world: people for whom the words “porcupine racetrack” mean very little. And those for whom the phrase sparks pure, stupid, unfettered joy — and an urge to watch the 1995 cult-classic sketch from MTV’s \u003cem>The State\u003c/em> for the 400th time, then rant at you about their favorite part. (Ken Marino as the gambling priest, obviously.)\u003c/p>\n\u003cp>Well, fellow members of the latter group, assemble! Specifically, assemble at the Warfield on Oct. 25, when members of The State will deliver the only Bay Area performance on their 2023 reunion tour. David Wain, Michael Ian Black, Thomas Lennon, Kerri Kenney-Silver, Michael Showalter and the rest of the gang have all steadily worked together in various combinations over the years — \u003cem>Reno 911!\u003c/em>, \u003cem>Stella\u003c/em>, the sacred text that is \u003cem>Wet Hot American Summer\u003c/em>. But this show marks a rare live appearance for the original, NYU-born sketch comedy troupe, performing material from their show that aired for two short but highly influential years in the mid-90s.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"410325198"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>America may not have been ready for \u003cem>The State\u003c/em> during its original run. The show was mostly panned by critics, and the fact that the group began writing recurring characters that essentially mocked MTV’s demand for recurring characters is pretty telling re: the extent that the network knew what to do with them.\u003c/p>\n\u003cp>But in the years since the show went off the air, its mythos has only grown. Meanwhile other cult favorites like \u003cem>Mr. Show\u003c/em> and \u003cem>Tim and Eric Awesome Show, Great Job!\u003c/em> — both of which had more than a dash of \u003cem>The State\u003c/em>’s absurdism in their DNA — helped to further dismantle the lines between what used to be called “alt” and mainstream comedy. For more recent evidence of the group’s reach, check out the crop of comedians currently on the rise in Hollywood, like the creators of the gleefully deranged \u003cem>Bottoms\u003c/em>, \u003ca href=\"https://www.vanityfair.com/hollywood/2023/08/emma-seligman-bottoms-interview\">who cited \u003cem>Wet Hot American Summer\u003c/em>\u003c/a> as a creative “North Star.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which is to say, The State ultimately helped nudge comedy to the left of center. They made it a little more irreverent, more subversive, more delightfully strange. That means the modern comedic landscape is one in which two off-brand Barry Whites \u003ca href=\"https://archive.nytimes.com/artsbeat.blogs.nytimes.com/2009/07/15/more-state-secrets-when-barry-and-le-von-met-240-worth-of-pudding/\">dancing suggestively around $240 worth of pudding\u003c/a>, six dudes in blue and pink sweatsuits acting out \u003ca href=\"https://vimeo.com/643746338\">the concept of hormones\u003c/a>, a whole sketch that’s just the cast talking in funny voices about \u003ca href=\"https://www.youtube.com/watch?v=WzCoEM6aDpc\">fried bumblebees\u003c/a> — they all come off as somehow \u003cem>not that weird\u003c/em>.\u003c/p>\n\u003cp>So thank you, The State. And fellow devotees: \u003ca href=\"https://www.youtube.com/watch?v=tCp42HcPheE\">Put a bag on your head and hop on the ugly bus\u003c/a> to the Warfield with me next week, so we can thank ‘em in person.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The State: Breakin’ Hearts and Dippin’ Balls Tour’ takes place at 8 p.m. at The Warfield (982 Market St., San Francisco) \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/502339\">Tickets and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13936507/the-state-comedy-warfield-a-recipe-for-fun","authors":["7237"],"programs":["arts_140"],"categories":["arts_1","arts_968"],"tags":["arts_549","arts_18884","arts_585"],"featImg":"arts_13936529","label":"arts_140"},"arts_13935844":{"type":"posts","id":"arts_13935844","meta":{"index":"posts_1591205157","site":"arts","id":"13935844","score":null,"sort":[1696444400000]},"guestAuthors":[],"slug":"with-an-audacious-title-and-bowen-yang-as-god-dicks-the-musical-dares-to-be-gonzo","title":"With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to Be Gonzo","publishDate":1696444400,"format":"standard","headTitle":"With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to Be Gonzo | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>You don’t expect to see a movie named \u003cem>Dicks: The Musical\u003c/em> on the marquee and neither did its makers.\u003c/p>\n\u003cp>It’s the nature of creating a delirious, Dadaist riff on \u003cem>The Parent Trap\u003c/em> — only with two obviously dissimilar gay men as long-lost identical twins and Bowen Yang playing God — that you can never be sure it’s really happening. Josh Sharp and Aaron Jackson, who created and star in \u003cem>Dicks: The Musical,\u003c/em> certainly struggled to believe it.\u003c/p>\n\u003cp>[aside postid='arts_13935703']“Every step of the way we thought it would fall through,” Jackson says. “It really wasn’t until visiting the sets and walking through those that it was like: ‘Oh my God, they’re going to make it.’”\u003c/p>\n\u003cp>The movies are awash in more of the same, but\u003cem> Dicks: The Musical\u003c/em> — nobody’s idea of a retread — may be the most demented riff on a familiar story yet. The film, which A24 releases in theaters Friday, has been called the most gonzo movie of the year. It’s lewd, ridiculous and surreal. Hanna-Barbera was an inspiration.\u003c/p>\n\u003cp>Megan Thee Stallion plays the boys’ boss. A disembodied part of their mother’s (Megan Mullally) female anatomy is a prominent character. A pair of monstrous pets kept by the boys’ father (Nathan Lane) named the Sewer Boys have surprisingly integral roles. Director Larry Charles calls “the ultimate anti-AI movie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SQDmT_Cih2Q\u003c/p>\n\u003cp>For even for the adventurous A24, \u003cem>Dicks: The Musical\u003c/em> is a test of just how far the specialty studio can push the envelope. It’s especially notable, too, for a big-screen comedy landscape that’s been moribund for years. Few comedies are released theatrically, and most of the ones that are timidly stick to familiar territory. But \u003cem>Dicks: The Musical\u003c/em>, a freewheeling queer cult-favorite-to-be, is a gleefully tasteless bid to break free of comedy doldrums.\u003c/p>\n\u003cp>“I sometimes miss comedies that were just like: This is dumb and we’re going to do a bunch of jokes,” says Sharp. “We just tried to make our own favorite movie. It’s just sort of the movie we wish existed.”\u003c/p>\n\u003cp>[aside postid='arts_13935225']Sharp and Jackson spoke the day after \u003cem>Dicks: The Musical\u003c/em> made its raucous premiere last month at the Toronto International Film Festival’s midnight program. As the movie ended, inflatable penises rained from above and a chorus of singers burst forth to sing the unprintable final song.\u003c/p>\n\u003cp>That next day, Sharp, Jackson and Yang sat on a couch, still enthralled by the outrageous experience and surprised that they were even there, in the first place. Just days earlier, the A24 film received an interim agreement from the actors union allowing them to promote the movie.\u003c/p>\n\u003cp>“It’s going to make more money than \u003cem>Barbie\u003c/em>,” joked Jackson. “We’re excited to see its life and we’re excited for the Sewer Boys to spread their wings.”\u003c/p>\n\u003cp>“They’re really hitting,” chimed Yang, the \u003cem>Saturday Night Live\u003c/em> standout.\u003c/p>\n\u003cfigure id=\"attachment_13935846\" class=\"wp-caption aligncenter\" style=\"max-width: 1794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png\" alt=\"A Black woman wearing a pale yellow business suit leans in and admonishes two shocked looking white men wearing button down shirts and pants.\" width=\"1794\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png 1794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1536x1079.png 1536w\" sizes=\"(max-width: 1794px) 100vw, 1794px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion, Josh Sharp and Aaron Jackson in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em> is derived from a 40-minute sketch show that Sharp and Jackson began performing at New York’s Upright Citizens Brigade Theatre in 2014. They used \u003cem>The Parent Trap\u003c/em> as a template in part simply because its one-on-one scenes worked well for a two-man show. They start off playing aggressively heterosexual business bros.\u003c/p>\n\u003cp>“We never wanted it to feel like parody. It was more using it as a trope,” says Sharp. “\u003cem>The Parent Trap\u003c/em> now is basically \u003cem>The Odyssey\u003c/em>. It’s a form we all know.”\u003c/p>\n\u003cp>But while \u003cem>The Parent Trap\u003c/em> (the 1961 original and its 1998 remake) celebrates the reunion of a nuclear family, \u003cem>Dicks: The Musical\u003c/em> is an outlandishly bizarro hard-R fantasia that delights in transgressing gender roles, moviemaking rules, basic decency — whatever you got.\u003c/p>\n\u003cp>[aside postid='arts_13933589']“It’s certainly queer but we always talked about it as being queer in the way of just being able to push in a lot of different directions,’” says Sharp. “We just like the idea that we can be sort of off-leash and be absurdist and stupid and silly and foul and profane and broad.”\u003c/p>\n\u003cp>Charles, a writer on \u003cem>Seinfeld\u003c/em> and director of \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>Borat\u003c/em>, has long sought out original comic voices. After seeing the UCB show (it was titled \u003cem>Identical F—ing Twins\u003c/em>; A24 came up with the movie title) and reading a draft of Jackson and Sharp’s script, Charles sensed, he says, “If I could trick everybody, we could make this movie.”\u003c/p>\n\u003cp>“To me, they’re like a gay Abbott and Costello,” says Charles. “The possibilities of what they can do together are boundless. Like Sacha (Baron Cohen) they’re undiscovered treasures that the audience is waiting for and doesn’t even realize it.”\u003c/p>\n\u003cp>From the beginning, Charles wanted to preserve as much of the live-wire nature of the show. Nothing was too much, too silly or too grotesque. Jokes would fly at \u003cem>Blazing Saddles\u003c/em> speed.\u003c/p>\n\u003cp>“There’s a tentativeness around comedy right now,” Charles says. “People maybe want to go for a bigger laugh but they’re afraid they’re going to offend too many people. And there’s often too many people involved in the decision making of what’s funny.”\u003c/p>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em>, though, was principally a brain trust of Sharp, Jackson and Charles. (Producer Kori Adelson with Chernin Entertainment, who first approached the duo about a movie adaptation, was also integral.)\u003c/p>\n\u003cp>[aside postid='arts_13930323']As others joined, they had to be prepared for just what they were stepping into. Megan Thee Stallion — whose high-octane performance has some calling for a best-song Oscar nomination — spoke to Jackson and Sharp about the business her character runs in the film — a sales company for “Vroomba” parts.\u003c/p>\n\u003cp>“She was like, ‘So what do we do again?’” Sharp recalls. “We’d explain it to her and she was like, ‘Oh so it’s dumb.’ We were like, ‘Yeah, it’s really dumb.’”\u003c/p>\n\u003cp>Yang had seen the UCB show. “I remember from go it was like: I love this,” he says. As Jackson and Sharp developed the movie, they carved out the role of God, as narrator, for Yang. As he read the screenplay, Yang could tell this wasn’t exactly a traditional deity.\u003c/p>\n\u003cp>“That was all good raw material for me to be like, ’Oh, he’s God but he’s going to do drugs and not be super invested in the story and make comments like, ‘That number was fierce,’” says Yang.\u003c/p>\n\u003cp>There are risks, of course, in total irreverence. Yang’s show-stopping final number isn’t one likely to be cheered by some religious conservatives. At the premiere, Sharp said during that scene’s shoot Mullally walked over to him and Jackson and said: “You guys are going to get death threats … We’re all going to get death threats.”\u003c/p>\n\u003cfigure id=\"attachment_13935848\" class=\"wp-caption aligncenter\" style=\"max-width: 1808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png\" alt=\"A senior bohemian couple sit close together on a couch. He is wearing a white feather jacket and white pants and smoking a cigarette. She is decked out in flowing 1970s brown skirts and layers. They are both wearing spectacles.\" width=\"1808\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1536x1014.png 1536w\" sizes=\"(max-width: 1808px) 100vw, 1808px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lane and Megan Mullally in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really love the idea of trying to get that audience to laugh almost like a horror movie,” he adds. “I want people to scream until they’re laughing.”\u003c/p>\n\u003cp>The joy of \u003cem>Dicks: The Musical\u003c/em> is how it doesn’t take anything — most of all itself — even the slightest bit serious. The movie deconstructs along the way. One moment catches an actor breaking. One shot pulls back to reveal the Dolly track it. A New York street scene zooms out to show the surrounding hills of Los Angeles. What is this, exactly, you might wonder.\u003c/p>\n\u003cp>“It’s its own world,” says Sharp.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dicks: The Musical’ is released nationwide on Oct. 6, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"This freewheeling, queer, cult-favorite-to-be is a gleefully tasteless bid to break free of comedy doldrums.","status":"publish","parent":0,"modified":1705003278,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1415},"headData":{"title":"‘Dicks: The Musical’: Behind-the-Scenes of the Audacious Comedy | KQED","description":"This freewheeling, queer, cult-favorite-to-be is a gleefully tasteless bid to break free of comedy doldrums.","ogTitle":"With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to be Gonzo","ogDescription":"","ogImgId":"","twTitle":"With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to be Gonzo","twDescription":"","twImgId":"","socialTitle":"‘Dicks: The Musical’: Behind-the-Scenes of the Audacious Comedy %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Jake Coyle, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13935844/with-an-audacious-title-and-bowen-yang-as-god-dicks-the-musical-dares-to-be-gonzo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You don’t expect to see a movie named \u003cem>Dicks: The Musical\u003c/em> on the marquee and neither did its makers.\u003c/p>\n\u003cp>It’s the nature of creating a delirious, Dadaist riff on \u003cem>The Parent Trap\u003c/em> — only with two obviously dissimilar gay men as long-lost identical twins and Bowen Yang playing God — that you can never be sure it’s really happening. Josh Sharp and Aaron Jackson, who created and star in \u003cem>Dicks: The Musical,\u003c/em> certainly struggled to believe it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935703","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Every step of the way we thought it would fall through,” Jackson says. “It really wasn’t until visiting the sets and walking through those that it was like: ‘Oh my God, they’re going to make it.’”\u003c/p>\n\u003cp>The movies are awash in more of the same, but\u003cem> Dicks: The Musical\u003c/em> — nobody’s idea of a retread — may be the most demented riff on a familiar story yet. The film, which A24 releases in theaters Friday, has been called the most gonzo movie of the year. It’s lewd, ridiculous and surreal. Hanna-Barbera was an inspiration.\u003c/p>\n\u003cp>Megan Thee Stallion plays the boys’ boss. A disembodied part of their mother’s (Megan Mullally) female anatomy is a prominent character. A pair of monstrous pets kept by the boys’ father (Nathan Lane) named the Sewer Boys have surprisingly integral roles. Director Larry Charles calls “the ultimate anti-AI movie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SQDmT_Cih2Q'\n title='//www.youtube.com/embed/SQDmT_Cih2Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For even for the adventurous A24, \u003cem>Dicks: The Musical\u003c/em> is a test of just how far the specialty studio can push the envelope. It’s especially notable, too, for a big-screen comedy landscape that’s been moribund for years. Few comedies are released theatrically, and most of the ones that are timidly stick to familiar territory. But \u003cem>Dicks: The Musical\u003c/em>, a freewheeling queer cult-favorite-to-be, is a gleefully tasteless bid to break free of comedy doldrums.\u003c/p>\n\u003cp>“I sometimes miss comedies that were just like: This is dumb and we’re going to do a bunch of jokes,” says Sharp. “We just tried to make our own favorite movie. It’s just sort of the movie we wish existed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935225","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Sharp and Jackson spoke the day after \u003cem>Dicks: The Musical\u003c/em> made its raucous premiere last month at the Toronto International Film Festival’s midnight program. As the movie ended, inflatable penises rained from above and a chorus of singers burst forth to sing the unprintable final song.\u003c/p>\n\u003cp>That next day, Sharp, Jackson and Yang sat on a couch, still enthralled by the outrageous experience and surprised that they were even there, in the first place. Just days earlier, the A24 film received an interim agreement from the actors union allowing them to promote the movie.\u003c/p>\n\u003cp>“It’s going to make more money than \u003cem>Barbie\u003c/em>,” joked Jackson. “We’re excited to see its life and we’re excited for the Sewer Boys to spread their wings.”\u003c/p>\n\u003cp>“They’re really hitting,” chimed Yang, the \u003cem>Saturday Night Live\u003c/em> standout.\u003c/p>\n\u003cfigure id=\"attachment_13935846\" class=\"wp-caption aligncenter\" style=\"max-width: 1794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png\" alt=\"A Black woman wearing a pale yellow business suit leans in and admonishes two shocked looking white men wearing button down shirts and pants.\" width=\"1794\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png 1794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1536x1079.png 1536w\" sizes=\"(max-width: 1794px) 100vw, 1794px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion, Josh Sharp and Aaron Jackson in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em> is derived from a 40-minute sketch show that Sharp and Jackson began performing at New York’s Upright Citizens Brigade Theatre in 2014. They used \u003cem>The Parent Trap\u003c/em> as a template in part simply because its one-on-one scenes worked well for a two-man show. They start off playing aggressively heterosexual business bros.\u003c/p>\n\u003cp>“We never wanted it to feel like parody. It was more using it as a trope,” says Sharp. “\u003cem>The Parent Trap\u003c/em> now is basically \u003cem>The Odyssey\u003c/em>. It’s a form we all know.”\u003c/p>\n\u003cp>But while \u003cem>The Parent Trap\u003c/em> (the 1961 original and its 1998 remake) celebrates the reunion of a nuclear family, \u003cem>Dicks: The Musical\u003c/em> is an outlandishly bizarro hard-R fantasia that delights in transgressing gender roles, moviemaking rules, basic decency — whatever you got.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933589","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It’s certainly queer but we always talked about it as being queer in the way of just being able to push in a lot of different directions,’” says Sharp. “We just like the idea that we can be sort of off-leash and be absurdist and stupid and silly and foul and profane and broad.”\u003c/p>\n\u003cp>Charles, a writer on \u003cem>Seinfeld\u003c/em> and director of \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>Borat\u003c/em>, has long sought out original comic voices. After seeing the UCB show (it was titled \u003cem>Identical F—ing Twins\u003c/em>; A24 came up with the movie title) and reading a draft of Jackson and Sharp’s script, Charles sensed, he says, “If I could trick everybody, we could make this movie.”\u003c/p>\n\u003cp>“To me, they’re like a gay Abbott and Costello,” says Charles. “The possibilities of what they can do together are boundless. Like Sacha (Baron Cohen) they’re undiscovered treasures that the audience is waiting for and doesn’t even realize it.”\u003c/p>\n\u003cp>From the beginning, Charles wanted to preserve as much of the live-wire nature of the show. Nothing was too much, too silly or too grotesque. Jokes would fly at \u003cem>Blazing Saddles\u003c/em> speed.\u003c/p>\n\u003cp>“There’s a tentativeness around comedy right now,” Charles says. “People maybe want to go for a bigger laugh but they’re afraid they’re going to offend too many people. And there’s often too many people involved in the decision making of what’s funny.”\u003c/p>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em>, though, was principally a brain trust of Sharp, Jackson and Charles. (Producer Kori Adelson with Chernin Entertainment, who first approached the duo about a movie adaptation, was also integral.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13930323","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As others joined, they had to be prepared for just what they were stepping into. Megan Thee Stallion — whose high-octane performance has some calling for a best-song Oscar nomination — spoke to Jackson and Sharp about the business her character runs in the film — a sales company for “Vroomba” parts.\u003c/p>\n\u003cp>“She was like, ‘So what do we do again?’” Sharp recalls. “We’d explain it to her and she was like, ‘Oh so it’s dumb.’ We were like, ‘Yeah, it’s really dumb.’”\u003c/p>\n\u003cp>Yang had seen the UCB show. “I remember from go it was like: I love this,” he says. As Jackson and Sharp developed the movie, they carved out the role of God, as narrator, for Yang. As he read the screenplay, Yang could tell this wasn’t exactly a traditional deity.\u003c/p>\n\u003cp>“That was all good raw material for me to be like, ’Oh, he’s God but he’s going to do drugs and not be super invested in the story and make comments like, ‘That number was fierce,’” says Yang.\u003c/p>\n\u003cp>There are risks, of course, in total irreverence. Yang’s show-stopping final number isn’t one likely to be cheered by some religious conservatives. At the premiere, Sharp said during that scene’s shoot Mullally walked over to him and Jackson and said: “You guys are going to get death threats … We’re all going to get death threats.”\u003c/p>\n\u003cfigure id=\"attachment_13935848\" class=\"wp-caption aligncenter\" style=\"max-width: 1808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png\" alt=\"A senior bohemian couple sit close together on a couch. He is wearing a white feather jacket and white pants and smoking a cigarette. She is decked out in flowing 1970s brown skirts and layers. They are both wearing spectacles.\" width=\"1808\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1536x1014.png 1536w\" sizes=\"(max-width: 1808px) 100vw, 1808px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lane and Megan Mullally in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really love the idea of trying to get that audience to laugh almost like a horror movie,” he adds. “I want people to scream until they’re laughing.”\u003c/p>\n\u003cp>The joy of \u003cem>Dicks: The Musical\u003c/em> is how it doesn’t take anything — most of all itself — even the slightest bit serious. The movie deconstructs along the way. One moment catches an actor breaking. One shot pulls back to reveal the Dolly track it. A New York street scene zooms out to show the surrounding hills of Los Angeles. What is this, exactly, you might wonder.\u003c/p>\n\u003cp>“It’s its own world,” says Sharp.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dicks: The Musical’ is released nationwide on Oct. 6, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935844/with-an-audacious-title-and-bowen-yang-as-god-dicks-the-musical-dares-to-be-gonzo","authors":["byline_arts_13935844"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_74","arts_69","arts_75"],"tags":["arts_977","arts_3226","arts_13825","arts_585"],"featImg":"arts_13935845","label":"arts_140"},"arts_13935738":{"type":"posts","id":"arts_13935738","meta":{"index":"posts_1591205157","site":"arts","id":"13935738","score":null,"sort":[1696280147000]},"guestAuthors":[],"slug":"keegan-michael-key-breaks-down-sketch-comedy-in-hilarious-new-book","title":"Keegan-Michael Key Breaks Down Sketch-Comedy in Hilarious New Book","publishDate":1696280147,"format":"aside","headTitle":"Keegan-Michael Key Breaks Down Sketch-Comedy in Hilarious New Book | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13935742\" class=\"wp-caption aligncenter\" style=\"max-width: 918px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935742\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-02-at-1.47.38-PM.png\" alt=\"A blue book cover featuring the head and shoulders of a smiling middle-aged Black man and, around him, smaller depictions of him dressed up as a variety of characters.\" width=\"918\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-02-at-1.47.38-PM.png 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-02-at-1.47.38-PM-800x1020.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-02-at-1.47.38-PM-160x204.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-02-at-1.47.38-PM-768x979.png 768w\" sizes=\"(max-width: 918px) 100vw, 918px\">\u003cfigcaption class=\"wp-caption-text\">‘The History of Sketch Comedy: A Journey through the Art and Craft of Humor’ by Keegan-Michael Key and Elle Key. \u003ccite>(Chronicle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keegan-Michael and Elle know more than a few of the Key characteristics of successful sketch comedy.\u003c/p>\n\u003cp>Which means they would be the first to point out that lines like that don’t pass muster.\u003c/p>\n\u003cp>[aside postid='arts_13935438']Keegan-Michael Key, half of the famed \u003cem>Key & Peele\u003c/em> comedy duo, and his wife, Elle Key, a writer, director and producer, have translated their award-winning podcast, \u003ca href=\"https://www.audible.com/pd/The-History-of-Sketch-Comedy-Podcast/B08RSN2ZV1\">\u003cem>The History of Sketch Comedy\u003c/em>\u003c/a>, into a hilarious and informative new book.\u003c/p>\n\u003cp>\u003ca href=\"https://www.barnesandnoble.com/w/the-history-of-sketch-comedy-keegan-michael-key/1142167946\" target=\"_blank\" rel=\"noopener\">\u003cem>The History of Sketch Comedy: A Journey Through the Art and Craft of Humor\u003c/em>\u003c/a> traces the art form from its earliest iterations hundreds of years ago to its current purveyors, including \u003cem>Saturday Night Live\u003c/em> and \u003cem>A Black Lady Sketch Show\u003c/em>, among others.\u003c/p>\n\u003cp>In between, the authors deconstruct some of the medium’s most notable examples. The Keys provide transcripts of some of these classics, such as “The Argument” from the \u003cem>Monty Python\u003c/em> troupe. As Michael Palin and John Cleese banter back and forth, Keegan-Michael Key interjects every so often. “It’s so stupid,” he writes. “And by stupid I do mean awesome.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is where the book is at its best, because it is clear the Keys love and appreciate the science behind a good sketch, which they point out requires the following: “characters, a premise, and some sort of comedic escalation or heightening.”\u003c/p>\n\u003cp>It was a particular treat to read Key’s breakdown of the famed (215 million views and counting on YouTube) “Substitute Teacher” sketch from \u003cem>Key & Peele\u003c/em>. Watching Key’s Mr. Garvey character butcher names (A-A-Ron!) is laugh-out-loud funny. So, is reading about how he and Jordan Peele made that three minutes of comedy bliss come to life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Dd7FixvoKBw\u003c/p>\n\u003cp>[aside postid='arts_13933480']\u003cem>The History of Sketch Comedy\u003c/em> also features essays from comic giants, and in some cases, famous fans — Peele, Mel Brooks, Carol Burnett, Jim Carrey, Stephen Colbert, Julia Louis-Dreyfus, Ken Jeong, Mike Myers, Gary Oldman and others.\u003c/p>\n\u003cp>Readers probably will feel as though they learned something by reading this book. They definitely will laugh throughout the process.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The History of Sketch Comedy: A Journey Through the Art and Craft of Humor’ is out on Oct. 3, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘The History of Sketch Comedy’ also features essays from comic giants like Mel Brooks, Carol Burnett and Jim Carrey.","status":"publish","parent":0,"modified":1705003293,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":416},"headData":{"title":"Keegan-Michael Key Breaks Down Sketch-Comedy in Hilarious New Book | KQED","description":"‘The History of Sketch Comedy’ also features essays from comic giants like Mel Brooks, Carol Burnett and Jim Carrey.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Mike Householder, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13935738/keegan-michael-key-breaks-down-sketch-comedy-in-hilarious-new-book","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13935742\" class=\"wp-caption aligncenter\" style=\"max-width: 918px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935742\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-02-at-1.47.38-PM.png\" alt=\"A blue book cover featuring the head and shoulders of a smiling middle-aged Black man and, around him, smaller depictions of him dressed up as a variety of characters.\" width=\"918\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-02-at-1.47.38-PM.png 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-02-at-1.47.38-PM-800x1020.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-02-at-1.47.38-PM-160x204.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-02-at-1.47.38-PM-768x979.png 768w\" sizes=\"(max-width: 918px) 100vw, 918px\">\u003cfigcaption class=\"wp-caption-text\">‘The History of Sketch Comedy: A Journey through the Art and Craft of Humor’ by Keegan-Michael Key and Elle Key. \u003ccite>(Chronicle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keegan-Michael and Elle know more than a few of the Key characteristics of successful sketch comedy.\u003c/p>\n\u003cp>Which means they would be the first to point out that lines like that don’t pass muster.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935438","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Keegan-Michael Key, half of the famed \u003cem>Key & Peele\u003c/em> comedy duo, and his wife, Elle Key, a writer, director and producer, have translated their award-winning podcast, \u003ca href=\"https://www.audible.com/pd/The-History-of-Sketch-Comedy-Podcast/B08RSN2ZV1\">\u003cem>The History of Sketch Comedy\u003c/em>\u003c/a>, into a hilarious and informative new book.\u003c/p>\n\u003cp>\u003ca href=\"https://www.barnesandnoble.com/w/the-history-of-sketch-comedy-keegan-michael-key/1142167946\" target=\"_blank\" rel=\"noopener\">\u003cem>The History of Sketch Comedy: A Journey Through the Art and Craft of Humor\u003c/em>\u003c/a> traces the art form from its earliest iterations hundreds of years ago to its current purveyors, including \u003cem>Saturday Night Live\u003c/em> and \u003cem>A Black Lady Sketch Show\u003c/em>, among others.\u003c/p>\n\u003cp>In between, the authors deconstruct some of the medium’s most notable examples. The Keys provide transcripts of some of these classics, such as “The Argument” from the \u003cem>Monty Python\u003c/em> troupe. As Michael Palin and John Cleese banter back and forth, Keegan-Michael Key interjects every so often. “It’s so stupid,” he writes. “And by stupid I do mean awesome.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is where the book is at its best, because it is clear the Keys love and appreciate the science behind a good sketch, which they point out requires the following: “characters, a premise, and some sort of comedic escalation or heightening.”\u003c/p>\n\u003cp>It was a particular treat to read Key’s breakdown of the famed (215 million views and counting on YouTube) “Substitute Teacher” sketch from \u003cem>Key & Peele\u003c/em>. Watching Key’s Mr. Garvey character butcher names (A-A-Ron!) is laugh-out-loud funny. So, is reading about how he and Jordan Peele made that three minutes of comedy bliss come to life.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Dd7FixvoKBw'\n title='//www.youtube.com/embed/Dd7FixvoKBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933480","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>The History of Sketch Comedy\u003c/em> also features essays from comic giants, and in some cases, famous fans — Peele, Mel Brooks, Carol Burnett, Jim Carrey, Stephen Colbert, Julia Louis-Dreyfus, Ken Jeong, Mike Myers, Gary Oldman and others.\u003c/p>\n\u003cp>Readers probably will feel as though they learned something by reading this book. They definitely will laugh throughout the process.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The History of Sketch Comedy: A Journey Through the Art and Craft of Humor’ is out on Oct. 3, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935738/keegan-michael-key-breaks-down-sketch-comedy-in-hilarious-new-book","authors":["byline_arts_13935738"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_968","arts_75","arts_990"],"tags":["arts_585"],"featImg":"arts_13935745","label":"arts_140"},"arts_13933517":{"type":"posts","id":"arts_13933517","meta":{"index":"posts_1591205157","site":"arts","id":"13933517","score":null,"sort":[1692392073000]},"guestAuthors":[],"slug":"strays-dog-comedy-will-ferrell-jamie-foxx-isla-fisher-randall-park","title":"‘Strays’ is Furry, Foul, Filthy, Feculent — and Occasionally Funny","publishDate":1692392073,"format":"standard","headTitle":"‘Strays’ is Furry, Foul, Filthy, Feculent — and Occasionally Funny | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Hey there, fellow obsessive dog owner. Ever wonder what your beloved pooch is thinking? Of course you do. If they could only tell us what’s on their minds, right?\u003c/p>\n\u003cp>Well, in \u003cem>Strays\u003c/em>, an aggressively raunchy, gleefully gross and only occasionally truly funny comedy voiced by Will Ferrell and Jamie Foxx, we find out. Turns out our canine friends are endlessly curious about why we collect their poop in little plastic bags. It must be for something really important, they surmise. But what? And why do we keep needing more?\u003c/p>\n\u003cp>[aside postid='arts_13933289']It’s actually one of the film’s cleverer jokes, and Foxx’s Boston terrier, Bug, has an opinion on the matter — but we won’t elaborate because it’s kinda gross. There’s a lot of gross, both kinda and mega, over this film’s 93-minute running time. Also a lot of poop jokes, and penis jokes, both canine and human. You get the picture. Although some of these pictures may stay in your mind for way longer than you’d like.\u003c/p>\n\u003cp>\u003cem>Strays\u003c/em>, directed by Josh Greenbaum with a script by Dan Perrault, begins with its star, Reggie, a border terrier with a furiously upbeat attitude, declaring that “today is the best day ever — because every day is the best day ever!” Hmmm, where else have we heard virtually that same line …. Oh yes, in \u003cem>Barbie\u003c/em>! The resemblance pretty much stops there.\u003c/p>\n\u003cp>Reggie, voiced by Ferrell with relentless puppy-like innocence, loves his owner, Doug. But Doug doesn’t love him back. Let’s stop here to note that in this film, real dogs play the four leading canines — kudos to their hardworking trainers — and humans appear in supporting roles, including one celebrity cameo and also Will Forte as the most odious dog owner you’ve ever met.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Forte’s Doug is particularly vile to Reggie, because it’s Reggie who dug up (literally) incriminating evidence that Doug was two-timing his girlfriend, leading to her exit. Doug held onto her dog solely out of spite. He never plays with Reggie or takes him outside, except to play a profanely titled “game” in which Doug drives him somewhere and tosses a tennis ball, then drives away, hoping he won’t return. But he always does.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BzwOLKTbCUw\u003c/p>\n\u003cp>But one day Doug takes Reggie far, far away and the poor pooch can’t find his way back. In this gritty urban setting, he meets the strays — led by Bug (Foxx). Not exactly strays, but taking some time in the streets for various reasons, are sexy Australian Shepherd Maggie (Isla Fisher), and Hunter (Randall Park), a Great Dane with anxiety issues.\u003c/p>\n\u003cp>The group welcomes Reggie, who wants nothing more than to get home, and introduces him to the adventurous life of a stray. Rule number one: If you want to own something, pee on it. The other rules are too risqué to describe here.\u003c/p>\n\u003cp>Reggie’s new friends soon make him understand that his owner actually abandoned him. It’s a tough moment. “Maybe I should talk to him, since I’m a therapy dog,” says Hunter. Suddenly, though, this makeshift family is on a mission. Reggie, newly aware of Doug’s mendacity, is determined to get back home and, well, bite off Doug’s favorite body part. This is an experience the rest of the pack refuses to miss. Us, we could maybe pass.\u003c/p>\n\u003cp>[aside postid='arts_13932565']Anyway, the journey will include, among other things: Reggie and Bug getting dragged into the sky by a giant (computer-animated) eagle; the pack eating a forest worth of psychedelic mushrooms and mauling bunnies while high; and everyone falling prey to a dog-catcher. At the pound, it is Reggie who inspires the captive dogs to break free with the memorable slogan: “Let’s all poop to freedom!”\u003c/p>\n\u003cp>What ensues is one of the grosser scenes you’ll have witnessed in a while, but that’s child’s play compared to the harrowing (and somewhat tonally imbalanced) finale, a painful scene involving four dogs, one human, one baseball bat and one Miley Cyrus song (“Wrecking Ball”) which you may now want to skip for a while.\u003c/p>\n\u003cp>The moral of the story, if you’re a dog: Family is everything, but sometimes you find it where you least expect. Love your owner but not unconditionally, because he could be a terrible human.\u003c/p>\n\u003cp>Also: stay away from psychedelic mushrooms. And those plastic poop bags? Still a mystery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Strays’ is released nationwide on Friday Aug. 18, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘Strays’ is an aggressively raunchy, gleefully gross and occasionally truly funny comedy voiced by Will Ferrell and Jamie Foxx.","status":"publish","parent":0,"modified":1705005130,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":807},"headData":{"title":"‘Strays’ Movie Review: Furry, Foul, Filthy and Funny | KQED","description":"‘Strays’ is an aggressively raunchy, gleefully gross and occasionally truly funny comedy voiced by Will Ferrell and Jamie Foxx.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘Strays’ Movie Review: Furry, Foul, Filthy and Funny %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Jocelyn Noveck, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13933517/strays-dog-comedy-will-ferrell-jamie-foxx-isla-fisher-randall-park","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hey there, fellow obsessive dog owner. Ever wonder what your beloved pooch is thinking? Of course you do. If they could only tell us what’s on their minds, right?\u003c/p>\n\u003cp>Well, in \u003cem>Strays\u003c/em>, an aggressively raunchy, gleefully gross and only occasionally truly funny comedy voiced by Will Ferrell and Jamie Foxx, we find out. Turns out our canine friends are endlessly curious about why we collect their poop in little plastic bags. It must be for something really important, they surmise. But what? And why do we keep needing more?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933289","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s actually one of the film’s cleverer jokes, and Foxx’s Boston terrier, Bug, has an opinion on the matter — but we won’t elaborate because it’s kinda gross. There’s a lot of gross, both kinda and mega, over this film’s 93-minute running time. Also a lot of poop jokes, and penis jokes, both canine and human. You get the picture. Although some of these pictures may stay in your mind for way longer than you’d like.\u003c/p>\n\u003cp>\u003cem>Strays\u003c/em>, directed by Josh Greenbaum with a script by Dan Perrault, begins with its star, Reggie, a border terrier with a furiously upbeat attitude, declaring that “today is the best day ever — because every day is the best day ever!” Hmmm, where else have we heard virtually that same line …. Oh yes, in \u003cem>Barbie\u003c/em>! The resemblance pretty much stops there.\u003c/p>\n\u003cp>Reggie, voiced by Ferrell with relentless puppy-like innocence, loves his owner, Doug. But Doug doesn’t love him back. Let’s stop here to note that in this film, real dogs play the four leading canines — kudos to their hardworking trainers — and humans appear in supporting roles, including one celebrity cameo and also Will Forte as the most odious dog owner you’ve ever met.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Forte’s Doug is particularly vile to Reggie, because it’s Reggie who dug up (literally) incriminating evidence that Doug was two-timing his girlfriend, leading to her exit. Doug held onto her dog solely out of spite. He never plays with Reggie or takes him outside, except to play a profanely titled “game” in which Doug drives him somewhere and tosses a tennis ball, then drives away, hoping he won’t return. But he always does.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BzwOLKTbCUw'\n title='//www.youtube.com/embed/BzwOLKTbCUw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But one day Doug takes Reggie far, far away and the poor pooch can’t find his way back. In this gritty urban setting, he meets the strays — led by Bug (Foxx). Not exactly strays, but taking some time in the streets for various reasons, are sexy Australian Shepherd Maggie (Isla Fisher), and Hunter (Randall Park), a Great Dane with anxiety issues.\u003c/p>\n\u003cp>The group welcomes Reggie, who wants nothing more than to get home, and introduces him to the adventurous life of a stray. Rule number one: If you want to own something, pee on it. The other rules are too risqué to describe here.\u003c/p>\n\u003cp>Reggie’s new friends soon make him understand that his owner actually abandoned him. It’s a tough moment. “Maybe I should talk to him, since I’m a therapy dog,” says Hunter. Suddenly, though, this makeshift family is on a mission. Reggie, newly aware of Doug’s mendacity, is determined to get back home and, well, bite off Doug’s favorite body part. This is an experience the rest of the pack refuses to miss. Us, we could maybe pass.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932565","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Anyway, the journey will include, among other things: Reggie and Bug getting dragged into the sky by a giant (computer-animated) eagle; the pack eating a forest worth of psychedelic mushrooms and mauling bunnies while high; and everyone falling prey to a dog-catcher. At the pound, it is Reggie who inspires the captive dogs to break free with the memorable slogan: “Let’s all poop to freedom!”\u003c/p>\n\u003cp>What ensues is one of the grosser scenes you’ll have witnessed in a while, but that’s child’s play compared to the harrowing (and somewhat tonally imbalanced) finale, a painful scene involving four dogs, one human, one baseball bat and one Miley Cyrus song (“Wrecking Ball”) which you may now want to skip for a while.\u003c/p>\n\u003cp>The moral of the story, if you’re a dog: Family is everything, but sometimes you find it where you least expect. Love your owner but not unconditionally, because he could be a terrible human.\u003c/p>\n\u003cp>Also: stay away from psychedelic mushrooms. And those plastic poop bags? Still a mystery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Strays’ is released nationwide on Friday Aug. 18, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933517/strays-dog-comedy-will-ferrell-jamie-foxx-isla-fisher-randall-park","authors":["byline_arts_13933517"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_74","arts_75"],"tags":["arts_8819","arts_585"],"featImg":"arts_13933518","label":"arts_140"},"arts_13933480":{"type":"posts","id":"arts_13933480","meta":{"index":"posts_1591205157","site":"arts","id":"13933480","score":null,"sort":[1692385770000]},"guestAuthors":[],"slug":"a-beautiful-city-comedian-chris-estrada-on-sf-and-the-iconic-punch-line","title":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line","publishDate":1692385770,"format":"standard","headTitle":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.instagram.com/chrisestradacomic/?hl=en\">Chris Estrada\u003c/a> loves wandering around San Francisco.\u003c/p>\n\u003cp>Standing on the corner of Columbus and Vallejo with a slicked-back gentlemen’s cut and a crisp, black T-shirt, the Los Angeles-born stand-up comedian is arguably one of today’s funniest entertainers. [pullquote size=\"medium\" align=\"right\" citation=\"Comedian Chris Estrada\"]‘I truly love walking around San Francisco just because it’s such a beautiful city.’[/pullquote] He’s also the star and co-creator of the widely acclaimed TV series \u003cem>This Fool\u003c/em>, now in its second season on Hulu. While actors and writers, including Estrada, continue to \u003ca href=\"https://www.kqed.org/news/11956178/its-now-or-never-writers-and-actors-see-conflict-with-big-tech-as-existential\">strike over labor disputes\u003c/a>, the 39-year-old is making audiences laugh in person at some of the best comedy clubs in the country, including a \u003ca href=\"https://www.punchlinecomedyclub.com/\">current run at the Punch Line\u003c/a> in San Francisco.\u003c/p>\n\u003cp>“I truly love walking around San Francisco just because it’s such a beautiful city,” said Estrada while visiting Molinari Delicatessen for a quick lunch on Thursday afternoon. “We’re right down the street from City Lights. I love City Lights. It’s one of my favorite bookstores in the country.”\u003c/p>\n\u003cp>He’s also a fan of Mr. Bings in North Beach and the quieter side of the Sunset because it’s right by the water (he loves the fog). Estrada’s no stranger to the Punch Line, where he’s previously been an opener, and he’s performed at Cobb’s and Comedy Central’s Clusterfest at the Civic Center.\u003c/p>\n\u003cp>This time, however, Estrada makes his headline debut at the venue where the likes of comedy figures such as the late Robin Williams, Dana Carvey and Dave Chappelle have all stood on stage making audiences laugh through the decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This weekend, Estrada isn’t alone. He’s tapped local comedian Allison Hooker as host, and L.A.-based comic Zack Chapaloni to warm up the crowd.\u003c/p>\n\u003cp>Estrada’s comedy style is both personal and universal. He can write a joke with details that instantly resonate with Latinos, and still have the entire audience laughing. He wants everyone in on the joke.\u003c/p>\n\u003cp>He also draws on his own life: the absurdity of missing the thrill of toxic relationships, or how being nice is an “ugly people quality” while calling himself “an ugly fool with a heart of gold.”\u003c/p>\n\u003cp>Making audiences erupt in laughter at clubs like the Punch Line this past week is something Estrada said he’s been working toward for the last decade — and it feels good.\u003c/p>\n\u003cp>“That club is really special. It’s just beautiful in there. To me, it’s one of the perfect clubs in the country,” Estrada said. “It’s low ceilings. It’s incredibly intimate. It fits about 180, maybe 200 [people], which is nice. It’s just small, wide and that backdrop is iconic. That painted backdrop of San Francisco — I love it.”\u003c/p>\n\u003ch2>‘I just kept going and going’\u003c/h2>\n\u003cp>Losing a nighttime job as a valet for the Beverly Hilton changed the trajectory of Estrada’s life. Having grown up in working-class neighborhoods like Inglewood and South Central, he often jokes that he always held “three shitty jobs” that would pay him the equivalent of one shitty job.\u003c/p>\n\u003cp>When he lost the valet gig — parking luxury cars at star-studded events like the Golden Globes — his nights suddenly freed up. Estrada worked up the nerve to finally give his stand-up comedy dreams a chance.\u003c/p>\n\u003cfigure id=\"attachment_13933490\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg\" alt=\"A man in a blue jacket sits inside a bookstore with a full bookshelf behind him.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Chris Estrada hangs out at City Lights Bookstore in San Francisco’s North Beach neighborhood on Aug. 17, 2023, during a headlining run at the Punchline comedy club. \u003ccite>(Beth LeBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I went and I had a decent set the first time. And then, I was like, ‘Fuck it. I don’t have anything to do at night anymore so I’m just going to keep doing this,’” he said. “I kept doing it blindly. I just kept going and going.”\u003c/p>\n\u003cp>He said headlining the Punch Line feels like a real stepping stone, especially when he reflects on the trips he used to make to San Francisco from Los Angeles just to watch performances and get a feel for the local scene.\u003c/p>\n\u003cp>“The clubs out here, the people out here, they’re pretty savvy, comedically,” he said. “Audiences, they’re just a sharp, city audience.”\u003c/p>\n\u003ch2>Getting inspiration from Bay Area punk\u003c/h2>\n\u003cp>Besides his affinity for stand-up, Estrada is also a huge music enthusiast. He admits to driving out of his way to places like Going Underground Records in downtown Bakersfield just to pick up a rare album. He loves Joe Strummer, and often wears punk and hardcore T-shirts from local and national bands. So it’s no surprise to learn that Estrada is well-versed in Bay Area punk bands and long-lost music venues in San Francisco. [pullquote size=\"medium\" align=\"right\" citation=\"Comedian Chris Estrada\"]‘San Francisco itself has such a history of punk music. I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.’[/pullquote] “I also like to walk around and look for old punk venues that don’t exist anymore. There was this Filipino place out here in the ’70s called Mabuhay Gardens and they used to rent out its place to punk shows,” he said. “There was another place not too far from here called the Deaf Club. It was a club for deaf people and then a lot of punk bands used to perform there. I always look around for these places.”\u003c/p>\n\u003cp>He’s a fan of Berkeley-formed hardcore punk band Spitboy, and said drummer \u003ca href=\"https://www.kqed.org/arts/11470573/the-struggles-and-victories-of-a-chicana-woman-in-a-hardcore-band\">Michelle Cruz Gonzales\u003c/a> attended one of his Punch Line shows this week. He enjoys The Avengers, The Dils and Crime. He also recommends new bands like Oakland punks Deseos Primitivos, who he found on Bandcamp and whose album he immediately bought at a record store in downtown L.A.\u003c/p>\n\u003cp>“San Francisco itself has such a history of punk music,” he said. “I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.”\u003c/p>\n\u003cp>Music accompanies Estrada on the road, bringing him comfort on long drives and flights while on tour. It’s also what gets him in the right mindset before he takes the stage. [aside label='More on Bay Area Music' tag='bay-area-punk'] “There’s a song, it’s not like an energetic song, it’s called ‘\u003ca href=\"https://youtu.be/3Ifb_Zs0X9s\">State of the Art\u003c/a>’ by Jesse Malin. Then, there’s another song called ‘\u003ca href=\"https://youtu.be/3MUGAxpI0Bc\">Ante Up’\u003c/a> by a hip-hop group called M.O.P. — and that just has such a strong energy,” he said. “‘Ante Up,’ because it’s such an amped-up, hyped song, it’s about robbing rappers, it just gets me in a really good mood when I need it. But when I feel anxiety, the other one calms me down.”\u003c/p>\n\u003cp>With his last remaining performances at the Punch Line, Estrada hopes to win over people in the crowd who aren’t as familiar with his stand-up career. He recognizes that Hollywood fame only lasts a few seasons for many in the industry. It’s comedy he’s betting on — and he aims to leave audiences across the country wanting an encore.\u003c/p>\n\u003cp>“Because of \u003cem>This Fool\u003c/em>, most people are coming to see me because of that. Some of them don’t know me as a stand-up comedian. I don’t know how long I’ll have the show. Maybe we’ll have a third season, maybe we won’t. Who knows? At some point, it ends,” Estrada said.\u003c/p>\n\u003cp>“I don’t want [audiences] to keep coming because they know the show,” he added. “I want a large part of them to keep coming because they know me as a comedian.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Chris Estrada performs at the Punch Line in San Francisco through Aug. 19. \u003c/em>\u003ca href=\"https://www.punchlinecomedyclub.com/\">\u003cem>Details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Ahead of his headlining shows at the famed comedy club, the star of Hulu's 'This Fool' shares his favorite SF treasures. ","status":"publish","parent":0,"modified":1705005131,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1434},"headData":{"title":"Chris Estrada on Headlining the Punch Line and His Favorite SF Treasures | KQED","description":"Ahead of his headlining shows at the famed comedy club, the star of Hulu's 'This Fool' shares his favorite SF treasures. ","ogTitle":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line","ogDescription":"","ogImgId":"","twTitle":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line","twDescription":"","twImgId":"","socialTitle":"Chris Estrada on Headlining the Punch Line and His Favorite SF Treasures %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13933480/a-beautiful-city-comedian-chris-estrada-on-sf-and-the-iconic-punch-line","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/chrisestradacomic/?hl=en\">Chris Estrada\u003c/a> loves wandering around San Francisco.\u003c/p>\n\u003cp>Standing on the corner of Columbus and Vallejo with a slicked-back gentlemen’s cut and a crisp, black T-shirt, the Los Angeles-born stand-up comedian is arguably one of today’s funniest entertainers. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I truly love walking around San Francisco just because it’s such a beautiful city.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Comedian Chris Estrada","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> He’s also the star and co-creator of the widely acclaimed TV series \u003cem>This Fool\u003c/em>, now in its second season on Hulu. While actors and writers, including Estrada, continue to \u003ca href=\"https://www.kqed.org/news/11956178/its-now-or-never-writers-and-actors-see-conflict-with-big-tech-as-existential\">strike over labor disputes\u003c/a>, the 39-year-old is making audiences laugh in person at some of the best comedy clubs in the country, including a \u003ca href=\"https://www.punchlinecomedyclub.com/\">current run at the Punch Line\u003c/a> in San Francisco.\u003c/p>\n\u003cp>“I truly love walking around San Francisco just because it’s such a beautiful city,” said Estrada while visiting Molinari Delicatessen for a quick lunch on Thursday afternoon. “We’re right down the street from City Lights. I love City Lights. It’s one of my favorite bookstores in the country.”\u003c/p>\n\u003cp>He’s also a fan of Mr. Bings in North Beach and the quieter side of the Sunset because it’s right by the water (he loves the fog). Estrada’s no stranger to the Punch Line, where he’s previously been an opener, and he’s performed at Cobb’s and Comedy Central’s Clusterfest at the Civic Center.\u003c/p>\n\u003cp>This time, however, Estrada makes his headline debut at the venue where the likes of comedy figures such as the late Robin Williams, Dana Carvey and Dave Chappelle have all stood on stage making audiences laugh through the decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This weekend, Estrada isn’t alone. He’s tapped local comedian Allison Hooker as host, and L.A.-based comic Zack Chapaloni to warm up the crowd.\u003c/p>\n\u003cp>Estrada’s comedy style is both personal and universal. He can write a joke with details that instantly resonate with Latinos, and still have the entire audience laughing. He wants everyone in on the joke.\u003c/p>\n\u003cp>He also draws on his own life: the absurdity of missing the thrill of toxic relationships, or how being nice is an “ugly people quality” while calling himself “an ugly fool with a heart of gold.”\u003c/p>\n\u003cp>Making audiences erupt in laughter at clubs like the Punch Line this past week is something Estrada said he’s been working toward for the last decade — and it feels good.\u003c/p>\n\u003cp>“That club is really special. It’s just beautiful in there. To me, it’s one of the perfect clubs in the country,” Estrada said. “It’s low ceilings. It’s incredibly intimate. It fits about 180, maybe 200 [people], which is nice. It’s just small, wide and that backdrop is iconic. That painted backdrop of San Francisco — I love it.”\u003c/p>\n\u003ch2>‘I just kept going and going’\u003c/h2>\n\u003cp>Losing a nighttime job as a valet for the Beverly Hilton changed the trajectory of Estrada’s life. Having grown up in working-class neighborhoods like Inglewood and South Central, he often jokes that he always held “three shitty jobs” that would pay him the equivalent of one shitty job.\u003c/p>\n\u003cp>When he lost the valet gig — parking luxury cars at star-studded events like the Golden Globes — his nights suddenly freed up. Estrada worked up the nerve to finally give his stand-up comedy dreams a chance.\u003c/p>\n\u003cfigure id=\"attachment_13933490\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg\" alt=\"A man in a blue jacket sits inside a bookstore with a full bookshelf behind him.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Chris Estrada hangs out at City Lights Bookstore in San Francisco’s North Beach neighborhood on Aug. 17, 2023, during a headlining run at the Punchline comedy club. \u003ccite>(Beth LeBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I went and I had a decent set the first time. And then, I was like, ‘Fuck it. I don’t have anything to do at night anymore so I’m just going to keep doing this,’” he said. “I kept doing it blindly. I just kept going and going.”\u003c/p>\n\u003cp>He said headlining the Punch Line feels like a real stepping stone, especially when he reflects on the trips he used to make to San Francisco from Los Angeles just to watch performances and get a feel for the local scene.\u003c/p>\n\u003cp>“The clubs out here, the people out here, they’re pretty savvy, comedically,” he said. “Audiences, they’re just a sharp, city audience.”\u003c/p>\n\u003ch2>Getting inspiration from Bay Area punk\u003c/h2>\n\u003cp>Besides his affinity for stand-up, Estrada is also a huge music enthusiast. He admits to driving out of his way to places like Going Underground Records in downtown Bakersfield just to pick up a rare album. He loves Joe Strummer, and often wears punk and hardcore T-shirts from local and national bands. So it’s no surprise to learn that Estrada is well-versed in Bay Area punk bands and long-lost music venues in San Francisco. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘San Francisco itself has such a history of punk music. I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Comedian Chris Estrada","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> “I also like to walk around and look for old punk venues that don’t exist anymore. There was this Filipino place out here in the ’70s called Mabuhay Gardens and they used to rent out its place to punk shows,” he said. “There was another place not too far from here called the Deaf Club. It was a club for deaf people and then a lot of punk bands used to perform there. I always look around for these places.”\u003c/p>\n\u003cp>He’s a fan of Berkeley-formed hardcore punk band Spitboy, and said drummer \u003ca href=\"https://www.kqed.org/arts/11470573/the-struggles-and-victories-of-a-chicana-woman-in-a-hardcore-band\">Michelle Cruz Gonzales\u003c/a> attended one of his Punch Line shows this week. He enjoys The Avengers, The Dils and Crime. He also recommends new bands like Oakland punks Deseos Primitivos, who he found on Bandcamp and whose album he immediately bought at a record store in downtown L.A.\u003c/p>\n\u003cp>“San Francisco itself has such a history of punk music,” he said. “I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.”\u003c/p>\n\u003cp>Music accompanies Estrada on the road, bringing him comfort on long drives and flights while on tour. It’s also what gets him in the right mindset before he takes the stage. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More on Bay Area Music ","tag":"bay-area-punk"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> “There’s a song, it’s not like an energetic song, it’s called ‘\u003ca href=\"https://youtu.be/3Ifb_Zs0X9s\">State of the Art\u003c/a>’ by Jesse Malin. Then, there’s another song called ‘\u003ca href=\"https://youtu.be/3MUGAxpI0Bc\">Ante Up’\u003c/a> by a hip-hop group called M.O.P. — and that just has such a strong energy,” he said. “‘Ante Up,’ because it’s such an amped-up, hyped song, it’s about robbing rappers, it just gets me in a really good mood when I need it. But when I feel anxiety, the other one calms me down.”\u003c/p>\n\u003cp>With his last remaining performances at the Punch Line, Estrada hopes to win over people in the crowd who aren’t as familiar with his stand-up career. He recognizes that Hollywood fame only lasts a few seasons for many in the industry. It’s comedy he’s betting on — and he aims to leave audiences across the country wanting an encore.\u003c/p>\n\u003cp>“Because of \u003cem>This Fool\u003c/em>, most people are coming to see me because of that. Some of them don’t know me as a stand-up comedian. I don’t know how long I’ll have the show. Maybe we’ll have a third season, maybe we won’t. Who knows? At some point, it ends,” Estrada said.\u003c/p>\n\u003cp>“I don’t want [audiences] to keep coming because they know the show,” he added. “I want a large part of them to keep coming because they know me as a comedian.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Chris Estrada performs at the Punch Line in San Francisco through Aug. 19. \u003c/em>\u003ca href=\"https://www.punchlinecomedyclub.com/\">\u003cem>Details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933480/a-beautiful-city-comedian-chris-estrada-on-sf-and-the-iconic-punch-line","authors":["11852"],"categories":["arts_1","arts_968"],"tags":["arts_6425","arts_9964","arts_549","arts_13501","arts_5234","arts_1256","arts_4681","arts_5732","arts_3986","arts_913","arts_3432"],"featImg":"arts_13933444","label":"arts"},"arts_13931227":{"type":"posts","id":"arts_13931227","meta":{"index":"posts_1591205157","site":"arts","id":"13931227","score":null,"sort":[1688662264000]},"guestAuthors":[],"slug":"buckle-up-this-mile-a-minute-joy-ride-across-china-is-a-raunchy-romp","title":"Buckle Up: This Mile-a-Minute ‘Joy Ride’ Across China is a Raunchy Romp","publishDate":1688662264,"format":"standard","headTitle":"Buckle Up: This Mile-a-Minute ‘Joy Ride’ Across China is a Raunchy Romp | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There’s an early moment in \u003cem>Joy Ride \u003c/em>when you’ll know if you’re on board with this exuberantly raunchy comedy or not. On a neighborhood playground, a white kid tells a young Chinese American girl named Lolo that the place is off-limits to “ching chongs.”\u003c/p>\n\u003cp>Lolo then does something that maybe a lot of us who’ve been on the receiving end of racist bullying have fantasized about doing: She drops an F-bomb and punches him in the face. It’s an extreme response, but also a hilarious and, frankly, cathartic one — a blissfully efficient counter to every stereotype of the shy, docile Asian kid.\u003c/p>\n\u003cp>[aside postid='arts_13930824']Lolo soon becomes best friends with Audrey, one of the only other Asian American girls in their Washington state suburb. That aside, the two could hardly be more different: Where Lolo is unapologetically crude and outspoken, Audrey is quiet and eager-to-please. And while Lolo speaks Mandarin fluently and grew up steeped in Chinese culture, Audrey is more westernized, having been adopted as a baby in China and raised by white parents.\u003c/p>\n\u003cp>Years later, they’re still best friends and total opposites: Audrey, played by Ashley Park, is a lawyer on the fast track to making partner at her firm, while Lolo, played by Sherry Cola, is a broke artist who makes sexually explicit sculptures.\u003c/p>\n\u003cp>The story gets going when Audrey is sent on a business trip to Beijing to woo a potential client. Lolo comes along for fun, and to serve as Audrey’s translator. Lolo also brings along her K-pop-obsessed cousin, nicknamed Deadeye, who’s played by the non-binary actor Sabrina Wu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The script, written by Cherry Chevapravatdumrong and Teresa Hsiao, is heavy on contrivance: Thanks to Lolo’s meddling, Audrey winds up putting her work on hold and trying to track down her birth mother. But the director Adele Lim keeps the twists and the laughs coming so swiftly that it’s hard not to get swept up in the adventure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UCtE8zur6CM\u003c/p>\n\u003cp>The comedy kicks up a notch once Audrey looks up her old college pal Kat, who’s now a successful actor on a Chinese soap opera. Kat is played by \u003ca href=\"https://www.npr.org/2023/01/23/1150819757/oscar-nominee-stephanie-hsu-is-everywhere-all-at-once\">Stephanie Hsu\u003c/a>, who, after her melancholy breakout performance in \u003ca href=\"https://www.npr.org/2022/03/25/1088531021/everything-everywhere-all-at-once-movie-review\">\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/a>, gets to show off some dazzling comedic chops here\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Like Lolo, with whom she initially butts heads, Kat has had a lot of sex, something she’s trying to hide from her strictly Christian fiancé. But no one in \u003cem>Joy Ride\u003c/em> holds onto their secrets, or their inhibitions, for very long. As they make their way through the scenic countryside, Audrey, Lolo, Kat and Deadeye run afoul of a drug dealer, hook up with some hunky Chinese basketball players and disguise themselves as a fledgling K-pop group for reasons too outlandish to get into here.\u003c/p>\n\u003cp>In a way, \u003cem>Joy Ride\u003c/em> — which counts\u003ca href=\"https://www.npr.org/2021/05/18/997827530/seth-rogen-on-the-comedy-advice-he-got-at-12-that-he-still-thinks-about\"> Seth Rogen\u003c/a> as one its producers — marks the latest step in a logical progression for the mainstream Hollywood comedy. If \u003ca href=\"https://www.npr.org/2011/05/12/136145907/in-bridesmaids-a-divorce-from-chick-flick-norms\">\u003cem>Bridesmaids\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2017/07/20/538152967/filthy-freewheeling-girls-trip-features-the-summers-breakout-performance\">\u003cem>Girls Trip\u003c/em>\u003c/a> set out to prove that women could be as gleefully gross as, say, the men in\u003ca href=\"https://www.npr.org/2009/06/04/104713733/the-hangover-a-night-to-not-remember\"> \u003cem>The Hangover\u003c/em>\u003c/a> movies, this one is clearly bent on doing the same for Asian American women and non-binary characters.\u003c/p>\n\u003cp>[aside postid='arts_13930502']Like many of those earlier models, \u003cem>Joy Ride\u003c/em> boasts mile-a-minute pop-culture references, filthy one-liners and a few priceless sight gags, including some strategic full-frontal nudity. Naturally, it also forces Audrey and Lolo to confront their differences in ways that put their friendship to the test.\u003c/p>\n\u003cp>If it doesn’t all work, the hit-to-miss ratio is still impressively high. \u003cem>Joy Ride\u003c/em> may be reworking a formula, but it does so with disarming energy and verve, plus a level of savvy about Asian culture that we still rarely see in Hollywood movies. Director Lim can stage a gross-out moment or a frisky montage as well as anyone. But she also gives the comedy a subversive edge, whether she’s pushing back on lazy assumptions about Asian masculinity or — in one queasily funny scene — making clear just how racist Asians can be toward other Asians.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The actors are terrific. Deadeye is named Deadeye for their seeming lack of expression, but Wu makes this character, in some ways, the emotional glue that holds the group together. You can hear Cola’s past stand-up experience in just about every one of Lolo’s foul-mouthed zingers. And Park gives the movie’s trickiest performance as Audrey, an insecure overachiever who, as the movie progresses, learns a lot about herself. Maybe that’s a cliché, too, but \u003cem>Joy Ride\u003c/em> gives it just the punch it needs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buckle+up%3A+This+mile-a-minute+%27Joy+Ride%27+across+China+is+a+raunchy+romp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"It's hard not to get swept up in this journey — full of filthy one-liners and priceless sight gags.","status":"publish","parent":0,"modified":1705005311,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":835},"headData":{"title":"‘Joy Ride’ Review: Energetic Comedy That’s Asian Culture Savvy | KQED","description":"It's hard not to get swept up in this journey — full of filthy one-liners and priceless sight gags.","ogTitle":"Buckle Up: This Mile-a-Minute ’Joy Ride’ Across China is a Raunchy Romp","ogDescription":"","ogImgId":"","twTitle":"Buckle Up: This Mile-a-Minute ’Joy Ride’ Across China is a Raunchy Romp","twDescription":"","twImgId":"","socialTitle":"‘Joy Ride’ Review: Energetic Comedy That’s Asian Culture Savvy %%page%% %%sep%% KQED"},"sticky":false,"nprImageCredit":"Ed Araquel","nprByline":"Justin Chang","nprImageAgency":"Lionsgate","nprStoryId":"1186024981","nprApiLink":"http://api.npr.org/query?id=1186024981&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/07/07/1186024981/joy-ride-review?ft=nprml&f=1186024981","nprRetrievedStory":"1","nprPubDate":"Thu, 06 Jul 2023 05:00:00 -0400","nprStoryDate":"Thu, 06 Jul 2023 05:00:57 -0400","nprLastModifiedDate":"Thu, 06 Jul 2023 05:00:57 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13931227/buckle-up-this-mile-a-minute-joy-ride-across-china-is-a-raunchy-romp","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an early moment in \u003cem>Joy Ride \u003c/em>when you’ll know if you’re on board with this exuberantly raunchy comedy or not. On a neighborhood playground, a white kid tells a young Chinese American girl named Lolo that the place is off-limits to “ching chongs.”\u003c/p>\n\u003cp>Lolo then does something that maybe a lot of us who’ve been on the receiving end of racist bullying have fantasized about doing: She drops an F-bomb and punches him in the face. It’s an extreme response, but also a hilarious and, frankly, cathartic one — a blissfully efficient counter to every stereotype of the shy, docile Asian kid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13930824","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Lolo soon becomes best friends with Audrey, one of the only other Asian American girls in their Washington state suburb. That aside, the two could hardly be more different: Where Lolo is unapologetically crude and outspoken, Audrey is quiet and eager-to-please. And while Lolo speaks Mandarin fluently and grew up steeped in Chinese culture, Audrey is more westernized, having been adopted as a baby in China and raised by white parents.\u003c/p>\n\u003cp>Years later, they’re still best friends and total opposites: Audrey, played by Ashley Park, is a lawyer on the fast track to making partner at her firm, while Lolo, played by Sherry Cola, is a broke artist who makes sexually explicit sculptures.\u003c/p>\n\u003cp>The story gets going when Audrey is sent on a business trip to Beijing to woo a potential client. Lolo comes along for fun, and to serve as Audrey’s translator. Lolo also brings along her K-pop-obsessed cousin, nicknamed Deadeye, who’s played by the non-binary actor Sabrina Wu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The script, written by Cherry Chevapravatdumrong and Teresa Hsiao, is heavy on contrivance: Thanks to Lolo’s meddling, Audrey winds up putting her work on hold and trying to track down her birth mother. But the director Adele Lim keeps the twists and the laughs coming so swiftly that it’s hard not to get swept up in the adventure.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UCtE8zur6CM'\n title='//www.youtube.com/embed/UCtE8zur6CM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The comedy kicks up a notch once Audrey looks up her old college pal Kat, who’s now a successful actor on a Chinese soap opera. Kat is played by \u003ca href=\"https://www.npr.org/2023/01/23/1150819757/oscar-nominee-stephanie-hsu-is-everywhere-all-at-once\">Stephanie Hsu\u003c/a>, who, after her melancholy breakout performance in \u003ca href=\"https://www.npr.org/2022/03/25/1088531021/everything-everywhere-all-at-once-movie-review\">\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/a>, gets to show off some dazzling comedic chops here\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Like Lolo, with whom she initially butts heads, Kat has had a lot of sex, something she’s trying to hide from her strictly Christian fiancé. But no one in \u003cem>Joy Ride\u003c/em> holds onto their secrets, or their inhibitions, for very long. As they make their way through the scenic countryside, Audrey, Lolo, Kat and Deadeye run afoul of a drug dealer, hook up with some hunky Chinese basketball players and disguise themselves as a fledgling K-pop group for reasons too outlandish to get into here.\u003c/p>\n\u003cp>In a way, \u003cem>Joy Ride\u003c/em> — which counts\u003ca href=\"https://www.npr.org/2021/05/18/997827530/seth-rogen-on-the-comedy-advice-he-got-at-12-that-he-still-thinks-about\"> Seth Rogen\u003c/a> as one its producers — marks the latest step in a logical progression for the mainstream Hollywood comedy. If \u003ca href=\"https://www.npr.org/2011/05/12/136145907/in-bridesmaids-a-divorce-from-chick-flick-norms\">\u003cem>Bridesmaids\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2017/07/20/538152967/filthy-freewheeling-girls-trip-features-the-summers-breakout-performance\">\u003cem>Girls Trip\u003c/em>\u003c/a> set out to prove that women could be as gleefully gross as, say, the men in\u003ca href=\"https://www.npr.org/2009/06/04/104713733/the-hangover-a-night-to-not-remember\"> \u003cem>The Hangover\u003c/em>\u003c/a> movies, this one is clearly bent on doing the same for Asian American women and non-binary characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13930502","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Like many of those earlier models, \u003cem>Joy Ride\u003c/em> boasts mile-a-minute pop-culture references, filthy one-liners and a few priceless sight gags, including some strategic full-frontal nudity. Naturally, it also forces Audrey and Lolo to confront their differences in ways that put their friendship to the test.\u003c/p>\n\u003cp>If it doesn’t all work, the hit-to-miss ratio is still impressively high. \u003cem>Joy Ride\u003c/em> may be reworking a formula, but it does so with disarming energy and verve, plus a level of savvy about Asian culture that we still rarely see in Hollywood movies. Director Lim can stage a gross-out moment or a frisky montage as well as anyone. But she also gives the comedy a subversive edge, whether she’s pushing back on lazy assumptions about Asian masculinity or — in one queasily funny scene — making clear just how racist Asians can be toward other Asians.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The actors are terrific. Deadeye is named Deadeye for their seeming lack of expression, but Wu makes this character, in some ways, the emotional glue that holds the group together. You can hear Cola’s past stand-up experience in just about every one of Lolo’s foul-mouthed zingers. And Park gives the movie’s trickiest performance as Audrey, an insecure overachiever who, as the movie progresses, learns a lot about herself. Maybe that’s a cliché, too, but \u003cem>Joy Ride\u003c/em> gives it just the punch it needs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buckle+up%3A+This+mile-a-minute+%27Joy+Ride%27+across+China+is+a+raunchy+romp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931227/buckle-up-this-mile-a-minute-joy-ride-across-china-is-a-raunchy-romp","authors":["byline_arts_13931227"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_74","arts_75"],"tags":["arts_13689","arts_549","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13931228","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/12/CodeSwitchLifeKit_StationGraphics_300x300EmailGraphic.png","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2022/02/mindshift2021-tile-3000x3000-1-scaled-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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