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Sometimes he even \u003ca href=\"https://thecomicscomic.com/2015/08/31/kevin-hart-plays-to-53000-at-philadelphia-stadium-for-new-stand-up-concert-film-what-now-tour/\">headlines stadiums for over 50,000 people\u003c/a>.\u003c/p>\n\u003cp>So when tickets go on sale for the star comedian’s Oct. 25 show at the Paramount Theatre in Oakland — with just 3,000 seats — expect them to sell out quickly.\u003c/p>\n\u003cp>Fortunately, you can get \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">presale tickets\u003c/a> on Wednesday, April 17, at 10 a.m. using the presale code COMEDY. Tickets go on sale to the general public two days later, on Friday, April 19, at 10 a.m.\u003c/p>\n\u003cp>[aside postID='arts_13955679']Playing smaller venues on this tour was a deliberate decision by the comedian. “I wanted to change things up by creating a more intimate environment,” Hart said in a statement. “This hour is about connecting with the audience and feeding off the crowd’s energy and laughter.”\u003c/p>\n\u003cp>At the ornate art-deco Paramount Theatre in Oakland, that energy should be especially evident. Be quick with the click for tickets \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The star comedian's Oct. 25 show at the Paramount Theatre in Oakland is sure to sell out quickly. ","status":"publish","parent":0,"modified":1713287716,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":168},"headData":{"title":"Kevin Hart Presale Code for Tickets at the Paramount Theatre in Oakland | KQED","description":"The star comedian's Oct. 25 show at the Paramount Theatre in Oakland is sure to sell out quickly. ","ogTitle":"Ticket Alert: Kevin Hart at the Paramount Theatre in Oakland","ogDescription":"","ogImgId":"","twTitle":"Ticket Alert: Kevin Hart at the Paramount Theatre in Oakland","twDescription":"","twImgId":"","socialTitle":"Kevin Hart Presale Code for Tickets at the Paramount Theatre in Oakland %%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956040/tickets-presale-code-kevin-hart-paramount-theatre-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Kevin Hart usually plays arenas. Sometimes he even \u003ca href=\"https://thecomicscomic.com/2015/08/31/kevin-hart-plays-to-53000-at-philadelphia-stadium-for-new-stand-up-concert-film-what-now-tour/\">headlines stadiums for over 50,000 people\u003c/a>.\u003c/p>\n\u003cp>So when tickets go on sale for the star comedian’s Oct. 25 show at the Paramount Theatre in Oakland — with just 3,000 seats — expect them to sell out quickly.\u003c/p>\n\u003cp>Fortunately, you can get \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">presale tickets\u003c/a> on Wednesday, April 17, at 10 a.m. using the presale code COMEDY. Tickets go on sale to the general public two days later, on Friday, April 19, at 10 a.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955679","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Playing smaller venues on this tour was a deliberate decision by the comedian. “I wanted to change things up by creating a more intimate environment,” Hart said in a statement. “This hour is about connecting with the audience and feeding off the crowd’s energy and laughter.”\u003c/p>\n\u003cp>At the ornate art-deco Paramount Theatre in Oakland, that energy should be especially evident. Be quick with the click for tickets \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">here\u003c/a>.\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956040/tickets-presale-code-kevin-hart-paramount-theatre-oakland","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_74","arts_990"],"tags":["arts_1143","arts_21734","arts_700","arts_4798"],"featImg":"arts_12832319","label":"arts_140"},"arts_13955913":{"type":"posts","id":"arts_13955913","meta":{"index":"posts_1591205157","site":"arts","id":"13955913","score":null,"sort":[1712956692000]},"guestAuthors":[],"slug":"conan-obrien-hot-ones-best-guest-ever","title":"Is Conan O’Brien the Most Perfect ‘Hot Ones’ Guest Ever?","publishDate":1712956692,"format":"standard","headTitle":"Is Conan O’Brien the Most Perfect ‘Hot Ones’ Guest Ever? | KQED","labelTerm":{},"content":"\u003cp>By now, someone’s probably sent you the clip of \u003ca href=\"https://www.youtube.com/watch?v=FALlhXl6CmA\">Conan O’Brien on the internet series \u003cem>Hot Ones\u003c/em>\u003c/a>, going full chaos gremlin: red-cheeked, sweating, drooling, his face smeared with hot sauce and bellowing about seizing the moment (“This isn’t a bit! This is LIIIIIFE!”). He looks crazed. If you haven’t yet seen that clip, sit tight. It’s going viral, as the kids used to say.\u003c/p>\n\u003cp>And it’s not the first time. You know that Paul Rudd meme, where \u003ca href=\"https://www.youtube.com/watch?v=3Yd3lQVbkYc\">he grins widely, radiating warmth and camaraderie\u003c/a> (“Hey. Look at us.”)? That’s from \u003cem>Hot Ones\u003c/em>, too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13955916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/giphy.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>Ditto \u003ca href=\"https://www.youtube.com/watch?v=1ntwS9EbaQ8\">Jennifer Lawrence panicking and laugh-sobbing\u003c/a> (“What do you mean? What do you MEAN?”).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13955917\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/giphy-1.gif\" alt=\"\" width=\"480\" height=\"318\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now it’s Conan’s turn. He turned up on the show to promote\u003ca href=\"https://www.youtube.com/watch?v=eDFFY6swDY0\"> his new Max travel series \u003c/a>and wasted no time seizing control of the interview and the premise itself. O’Brien is known as a performer who can’t help but be “on” all the time, no matter the size of his audience. When he wrote on \u003cem>The Simpsons\u003c/em>, he and his colleagues in the writers’ room would be sitting around a table; they’d be pitching jokes, and he’d be miming an elaborate routine in which he was an astronaut strapping himself into a rocket ship — all for the benefit of the guys across the table from him. On his podcast,\u003cem> Conan O’Brien Needs a Friend\u003c/em>, he tosses out an incessant series of bits to the delight (mostly) of his producer and assistant. There’s a restless, needy quality to his comedy that would be worrisome if his instincts weren’t so sharp if he wasn’t funny as he is.\u003c/p>\n\u003ch3>The perfect guest?\u003c/h3>\n\u003cp>But before we unpack how and why O’Brien just became the best \u003cem>Hot Ones\u003c/em> guest ever, we need to consider the show itself.\u003c/p>\n\u003cp>The first time you heard the premise of \u003cem>Hot Ones\u003c/em>, the YouTube series on which celebrities are interviewed by the affable and scrupulously well-prepared host Sean Evans as they consume a series of increasingly spicy buffalo wings, you probably thought it sounded like a dumb gimmick. Then you probably started poking around to see if any of your favorite celebrities had been a guest. Then you watched one episode. And then, it was all over.\u003c/p>\n\u003cp>[aside postid='arts_13952823']There are entire Reddit forums dedicated to ranking which \u003cem>Hot Ones\u003c/em> guests are “the best,” but determining that involves a very subjective calculus. Some want to see guests melt down; others want them to power through without breaking a sweat. Some watch in the hope that they’ll gain new insights into the personality of a given celebrity as the various hot sauces start to dissolve their pat, media-trained soundbites like the blood of the \u003ca href=\"https://www.youtube.com/watch?v=gEqHJ1tomnk\">Xenomorph eats through the Nostromo\u003c/a>.\u003c/p>\n\u003cp>The good news is that there’s a \u003cem>Hot Ones\u003c/em> episode for whatever you’re looking for. Different guests react very differently, and your favorite episode may not be anyone else’s.\u003c/p>\n\u003cp>For me, a great guest has to come in with hubris — the excessive pride of tragic heroes — because they bring their own narrative arc to the endeavor. Because Idris Elba approached the challenge with dismissive bravado, \u003ca href=\"https://www.youtube.com/watch?v=tYRS0aXaBC8\">his downfall — coughing, sweating, swearing, mock-threatening a producer\u003c/a> — was all the more satisfying. Ditto \u003ca href=\"https://www.youtube.com/watch?v=U9DyHthJ6LA\">Gordon Ramsay\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A7ClNliCW0w\u003c/p>\n\u003cp>But it’s also delightful when an episode seems to confirm your pre-existing impression of a guest. Padma Lakshmi \u003ca href=\"https://www.youtube.com/watch?v=p-P5-7eV9GE\">stayed cool in every sense of the word \u003c/a>as she answered Evans’ questions and commented insightfully on the flavor profiles of the various sauces (even the infamous Da Bomb, which clocks in at 119,700 Scoville units and reportedly tastes as if kerosene were angry at you).\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=2-cQ_Wtv0sQ\">Elijah Wood\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=qxGmGGmvFD8\">Tom Holland\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=uBJq-XCP27c\">Michael Cera\u003c/a> demonstrated a deep knowledge of the show, endearing them to fans. Alton Brown brought a \u003ca href=\"https://www.youtube.com/watch?v=T1-k7VYwsHg\">know-it-all diffidence\u003c/a>, which was not particularly endearing. \u003ca href=\"https://www.youtube.com/watch?v=3_9v-7rtVDk\">Key & Peele \u003c/a>belong to that cohort of guests who turn on the host hilariously (see also: \u003ca href=\"https://www.youtube.com/watch?v=_sZH-psg9yE\">Shaq\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=8Lvrikv6oPs\">Bill Burr\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=Tdje6vlVXuA\">Lizzo\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=f4lxK6EU04k\">Michael Rapaport\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=A5YxwFgRRCI\">Ed Helms\u003c/a>). \u003ca href=\"https://www.youtube.com/watch?v=qaoEyTZpv18\">Lorde\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=UGuC6wunr-I&t=1s\">Jenna Ortega\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=ZgQMW4eVrzw\">Charlize Theron\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=t69oHRPb4E8\">Rachael Ray\u003c/a> weren’t bothered by the heat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7SuBAKIHdLU\u003c/p>\n\u003cp>Many guests have raved about interviewer Sean Evans over the years. Specifically, they’ve marveled at his questions, which are both deeply researched and novel. It’s fun to watch celebrities who have repeatedly spent their careers answering the same questions on press junkets realize that they’ve just been asked a question about something they dearly love and no one else has ever asked them about.\u003c/p>\n\u003cp>And it’s true — Evans is a good interviewer. But as a host myself, I’d love to hear him give his researchers some of the love he gets from guests. And if I have any quibble with the show, it’s that Evans is so thoroughly prepared that his questions always sound more like written English than spoken English; there’s a formality in the wording that doesn’t quite jibe with the looseness of the chemistry the show aims for.\u003c/p>\n\u003ch3>Now, about that Conan episode.\u003c/h3>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@firstwefeast/video/7356962983794314539\" data-video-id=\"7356962983794314539\">\n\u003csection>\u003ca title=\"@firstwefeast\" href=\"https://www.tiktok.com/@firstwefeast?refer=embed\" target=\"_blank\" rel=\"noopener\">@firstwefeast\u003c/a> @Team Coco \u003ca title=\"♬ original sound - Firstwefeast\" href=\"https://www.tiktok.com/music/original-sound-7356963250321230634?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Firstwefeast\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Conan has catapulted himself to the top of the list of \u003cem>Hot Ones\u003c/em> All-Stars because he knew exactly what he was getting into and what he had to do.\u003c/p>\n\u003ch3>1. He came prepared\u003c/h3>\n\u003cp>Conan brought along a human bit. He introduced us to his personal doctor (actually longtime writer and producer José Arroyo). It felt like an old-school show-biz gag, something you could picture Johnny Carson or Steve Allen doing. O’Brien’s ability to genuflect to his comedy forbears while striking out and doing something ridiculous on his own has endeared him to millions.\u003c/p>\n\u003ch3>2. He came to conquer\u003c/h3>\n\u003cp>Conan not only demonstrated a breezy familiarity with the show, but he also wasted little time ridiculing its premise (“What’s WRONG with you people? You don’t know what real danger looks like anymore!”).\u003c/p>\n\u003ch3>3. He was, predictably, nuts\u003c/h3>\n\u003cp>\u003cem>Hot Ones\u003c/em> fans talk admiringly about the Padmas and the Charlizes – celebrities who run the show’s gauntlet without being bothered by the heat. Conan decided that he wouldn’t just mock the show’s premise; he’d put every previous guest who shrugged off the sauces’ spiciness to shame. He used his innate comic sensibility — that artisanal mix of restless/needy — to achieve icon status.\u003c/p>\n\u003cp>He didn’t merely dab the wings with hot sauce; he doused them with it. He loaded them up and smeared them across the table until they were laden with every stray drop. He licked them — lovingly, yet somehow angrily at the same time. He spread them across his face like woad; he slathered them around his nipples. He guzzled Da Bomb straight from the bottle.\u003c/p>\n\u003cp>I’ll say that again:\u003cem> He guzzled Da Bomb straight from the bottle! \u003c/em>\u003c/p>\n\u003cp>More importantly, He committed to the bit. Completely. Consummately.\u003c/p>\n\u003cp>He kept up the show of not being bothered, even as his face began to redden and his brow began to sweat. He kept it up, even as he started to drool, guzzle milk, pant, and give increasingly abstruse, rambling answers to Evans’ questions. And all that red sauce around his mouth made him look like an extra from \u003cem>Cannibal Holocaust\u003c/em> if it had been set in County Cork.\u003c/p>\n\u003cp>[aside postid='arts_13955884']Even those of us who delighted in, say, an Aubrey Plaza managing to maintain her too-cool-for-school composure even as \u003ca href=\"https://www.youtube.com/watch?v=iS68LmqFVeA\">she snorted milk up her nose\u003c/a> to cool the burn had never seen anything like this. We likely never will again.\u003c/p>\n\u003cp>Conan was so clearly suffering, and he’d done it to himself. We knew that because A. we have eyes, and B. because he began the interview by joking that, growing up as he did in an Irish household, “I never saw a spice until I was about 52 years old.” And yet here he’d joyously hurled himself into a swirling miasma of extreme pain and gastric distress, all for a lousy YouTube show bit, just to be an idiot capering for our delight in the global village.\u003c/p>\n\u003cp>We watched in helpless confusion and wonder (and a bit of fear) as he strapped himself into that rocket and took off.\u003c/p>\n\u003cp>Fans of \u003cem>Hot Ones\u003c/em> refer to those celebrities who make it through the sauces without complaint as Spice Lords.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This week, Conan O’Brien went them all one better. Not because he could endure the spice but because he gave himself over to it. He became a Spice Legend.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Conan+O%27Brien+the+best+%27Hot+Ones%27+guest+ever%3F+Discuss.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"‘Hot Ones’ fans refer to guests who make it through without complaint as Spice Lords. This week, Conan became a Spice Legend. ","status":"publish","parent":0,"modified":1712959290,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1527},"headData":{"title":"‘Hot Ones’ Best Guest of all Time? Spice Legend, Conan O’Brien | KQED","description":"‘Hot Ones’ fans refer to guests who make it through without complaint as Spice Lords. This week, Conan became a Spice Legend. ","ogTitle":"Is Conan O’Brien the Most Perfect ‘Hot Ones’ Guest Ever?","ogDescription":"","ogImgId":"","twTitle":"Is Conan O’Brien the Most Perfect ‘Hot Ones’ Guest Ever?","twDescription":"","twImgId":"","socialTitle":"‘Hot Ones’ Best Guest of all Time? Spice Legend, Conan O’Brien %%page%% %%sep%% KQED"},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprImageCredit":"Tim Mosenfelder","nprByline":"Glen Weldon","nprImageAgency":"Getty Images","nprStoryId":"1244413652","nprApiLink":"http://api.npr.org/query?id=1244413652&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/04/12/1244413652/conan-obrien-hot-ones?ft=nprml&f=1244413652","nprRetrievedStory":"1","nprPubDate":"Fri, 12 Apr 2024 15:28:00 -0400","nprStoryDate":"Fri, 12 Apr 2024 15:21:41 -0400","nprLastModifiedDate":"Fri, 12 Apr 2024 15:28:11 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955913/conan-obrien-hot-ones-best-guest-ever","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>By now, someone’s probably sent you the clip of \u003ca href=\"https://www.youtube.com/watch?v=FALlhXl6CmA\">Conan O’Brien on the internet series \u003cem>Hot Ones\u003c/em>\u003c/a>, going full chaos gremlin: red-cheeked, sweating, drooling, his face smeared with hot sauce and bellowing about seizing the moment (“This isn’t a bit! This is LIIIIIFE!”). He looks crazed. If you haven’t yet seen that clip, sit tight. It’s going viral, as the kids used to say.\u003c/p>\n\u003cp>And it’s not the first time. You know that Paul Rudd meme, where \u003ca href=\"https://www.youtube.com/watch?v=3Yd3lQVbkYc\">he grins widely, radiating warmth and camaraderie\u003c/a> (“Hey. Look at us.”)? That’s from \u003cem>Hot Ones\u003c/em>, too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13955916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/giphy.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>Ditto \u003ca href=\"https://www.youtube.com/watch?v=1ntwS9EbaQ8\">Jennifer Lawrence panicking and laugh-sobbing\u003c/a> (“What do you mean? What do you MEAN?”).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13955917\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/giphy-1.gif\" alt=\"\" width=\"480\" height=\"318\">\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>Now it’s Conan’s turn. He turned up on the show to promote\u003ca href=\"https://www.youtube.com/watch?v=eDFFY6swDY0\"> his new Max travel series \u003c/a>and wasted no time seizing control of the interview and the premise itself. O’Brien is known as a performer who can’t help but be “on” all the time, no matter the size of his audience. When he wrote on \u003cem>The Simpsons\u003c/em>, he and his colleagues in the writers’ room would be sitting around a table; they’d be pitching jokes, and he’d be miming an elaborate routine in which he was an astronaut strapping himself into a rocket ship — all for the benefit of the guys across the table from him. On his podcast,\u003cem> Conan O’Brien Needs a Friend\u003c/em>, he tosses out an incessant series of bits to the delight (mostly) of his producer and assistant. There’s a restless, needy quality to his comedy that would be worrisome if his instincts weren’t so sharp if he wasn’t funny as he is.\u003c/p>\n\u003ch3>The perfect guest?\u003c/h3>\n\u003cp>But before we unpack how and why O’Brien just became the best \u003cem>Hot Ones\u003c/em> guest ever, we need to consider the show itself.\u003c/p>\n\u003cp>The first time you heard the premise of \u003cem>Hot Ones\u003c/em>, the YouTube series on which celebrities are interviewed by the affable and scrupulously well-prepared host Sean Evans as they consume a series of increasingly spicy buffalo wings, you probably thought it sounded like a dumb gimmick. Then you probably started poking around to see if any of your favorite celebrities had been a guest. Then you watched one episode. And then, it was all over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952823","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>There are entire Reddit forums dedicated to ranking which \u003cem>Hot Ones\u003c/em> guests are “the best,” but determining that involves a very subjective calculus. Some want to see guests melt down; others want them to power through without breaking a sweat. Some watch in the hope that they’ll gain new insights into the personality of a given celebrity as the various hot sauces start to dissolve their pat, media-trained soundbites like the blood of the \u003ca href=\"https://www.youtube.com/watch?v=gEqHJ1tomnk\">Xenomorph eats through the Nostromo\u003c/a>.\u003c/p>\n\u003cp>The good news is that there’s a \u003cem>Hot Ones\u003c/em> episode for whatever you’re looking for. Different guests react very differently, and your favorite episode may not be anyone else’s.\u003c/p>\n\u003cp>For me, a great guest has to come in with hubris — the excessive pride of tragic heroes — because they bring their own narrative arc to the endeavor. Because Idris Elba approached the challenge with dismissive bravado, \u003ca href=\"https://www.youtube.com/watch?v=tYRS0aXaBC8\">his downfall — coughing, sweating, swearing, mock-threatening a producer\u003c/a> — was all the more satisfying. Ditto \u003ca href=\"https://www.youtube.com/watch?v=U9DyHthJ6LA\">Gordon Ramsay\u003c/a>.\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/A7ClNliCW0w'\n title='//www.youtube.com/embed/A7ClNliCW0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it’s also delightful when an episode seems to confirm your pre-existing impression of a guest. Padma Lakshmi \u003ca href=\"https://www.youtube.com/watch?v=p-P5-7eV9GE\">stayed cool in every sense of the word \u003c/a>as she answered Evans’ questions and commented insightfully on the flavor profiles of the various sauces (even the infamous Da Bomb, which clocks in at 119,700 Scoville units and reportedly tastes as if kerosene were angry at you).\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=2-cQ_Wtv0sQ\">Elijah Wood\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=qxGmGGmvFD8\">Tom Holland\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=uBJq-XCP27c\">Michael Cera\u003c/a> demonstrated a deep knowledge of the show, endearing them to fans. Alton Brown brought a \u003ca href=\"https://www.youtube.com/watch?v=T1-k7VYwsHg\">know-it-all diffidence\u003c/a>, which was not particularly endearing. \u003ca href=\"https://www.youtube.com/watch?v=3_9v-7rtVDk\">Key & Peele \u003c/a>belong to that cohort of guests who turn on the host hilariously (see also: \u003ca href=\"https://www.youtube.com/watch?v=_sZH-psg9yE\">Shaq\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=8Lvrikv6oPs\">Bill Burr\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=Tdje6vlVXuA\">Lizzo\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=f4lxK6EU04k\">Michael Rapaport\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=A5YxwFgRRCI\">Ed Helms\u003c/a>). \u003ca href=\"https://www.youtube.com/watch?v=qaoEyTZpv18\">Lorde\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=UGuC6wunr-I&t=1s\">Jenna Ortega\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=ZgQMW4eVrzw\">Charlize Theron\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=t69oHRPb4E8\">Rachael Ray\u003c/a> weren’t bothered by the heat.\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/7SuBAKIHdLU'\n title='//www.youtube.com/embed/7SuBAKIHdLU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many guests have raved about interviewer Sean Evans over the years. Specifically, they’ve marveled at his questions, which are both deeply researched and novel. It’s fun to watch celebrities who have repeatedly spent their careers answering the same questions on press junkets realize that they’ve just been asked a question about something they dearly love and no one else has ever asked them about.\u003c/p>\n\u003cp>And it’s true — Evans is a good interviewer. But as a host myself, I’d love to hear him give his researchers some of the love he gets from guests. And if I have any quibble with the show, it’s that Evans is so thoroughly prepared that his questions always sound more like written English than spoken English; there’s a formality in the wording that doesn’t quite jibe with the looseness of the chemistry the show aims for.\u003c/p>\n\u003ch3>Now, about that Conan episode.\u003c/h3>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@firstwefeast/video/7356962983794314539\" data-video-id=\"7356962983794314539\">\n\u003csection>\u003ca title=\"@firstwefeast\" href=\"https://www.tiktok.com/@firstwefeast?refer=embed\" target=\"_blank\" rel=\"noopener\">@firstwefeast\u003c/a> @Team Coco \u003ca title=\"♬ original sound - Firstwefeast\" href=\"https://www.tiktok.com/music/original-sound-7356963250321230634?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Firstwefeast\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Conan has catapulted himself to the top of the list of \u003cem>Hot Ones\u003c/em> All-Stars because he knew exactly what he was getting into and what he had to do.\u003c/p>\n\u003ch3>1. He came prepared\u003c/h3>\n\u003cp>Conan brought along a human bit. He introduced us to his personal doctor (actually longtime writer and producer José Arroyo). It felt like an old-school show-biz gag, something you could picture Johnny Carson or Steve Allen doing. O’Brien’s ability to genuflect to his comedy forbears while striking out and doing something ridiculous on his own has endeared him to millions.\u003c/p>\n\u003ch3>2. He came to conquer\u003c/h3>\n\u003cp>Conan not only demonstrated a breezy familiarity with the show, but he also wasted little time ridiculing its premise (“What’s WRONG with you people? You don’t know what real danger looks like anymore!”).\u003c/p>\n\u003ch3>3. He was, predictably, nuts\u003c/h3>\n\u003cp>\u003cem>Hot Ones\u003c/em> fans talk admiringly about the Padmas and the Charlizes – celebrities who run the show’s gauntlet without being bothered by the heat. Conan decided that he wouldn’t just mock the show’s premise; he’d put every previous guest who shrugged off the sauces’ spiciness to shame. He used his innate comic sensibility — that artisanal mix of restless/needy — to achieve icon status.\u003c/p>\n\u003cp>He didn’t merely dab the wings with hot sauce; he doused them with it. He loaded them up and smeared them across the table until they were laden with every stray drop. He licked them — lovingly, yet somehow angrily at the same time. He spread them across his face like woad; he slathered them around his nipples. He guzzled Da Bomb straight from the bottle.\u003c/p>\n\u003cp>I’ll say that again:\u003cem> He guzzled Da Bomb straight from the bottle! \u003c/em>\u003c/p>\n\u003cp>More importantly, He committed to the bit. Completely. Consummately.\u003c/p>\n\u003cp>He kept up the show of not being bothered, even as his face began to redden and his brow began to sweat. He kept it up, even as he started to drool, guzzle milk, pant, and give increasingly abstruse, rambling answers to Evans’ questions. And all that red sauce around his mouth made him look like an extra from \u003cem>Cannibal Holocaust\u003c/em> if it had been set in County Cork.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955884","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Even those of us who delighted in, say, an Aubrey Plaza managing to maintain her too-cool-for-school composure even as \u003ca href=\"https://www.youtube.com/watch?v=iS68LmqFVeA\">she snorted milk up her nose\u003c/a> to cool the burn had never seen anything like this. We likely never will again.\u003c/p>\n\u003cp>Conan was so clearly suffering, and he’d done it to himself. We knew that because A. we have eyes, and B. because he began the interview by joking that, growing up as he did in an Irish household, “I never saw a spice until I was about 52 years old.” And yet here he’d joyously hurled himself into a swirling miasma of extreme pain and gastric distress, all for a lousy YouTube show bit, just to be an idiot capering for our delight in the global village.\u003c/p>\n\u003cp>We watched in helpless confusion and wonder (and a bit of fear) as he strapped himself into that rocket and took off.\u003c/p>\n\u003cp>Fans of \u003cem>Hot Ones\u003c/em> refer to those celebrities who make it through the sauces without complaint as Spice Lords.\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>This week, Conan O’Brien went them all one better. Not because he could endure the spice but because he gave himself over to it. He became a Spice Legend.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Conan+O%27Brien+the+best+%27Hot+Ones%27+guest+ever%3F+Discuss.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955913/conan-obrien-hot-ones-best-guest-ever","authors":["byline_arts_13955913"],"categories":["arts_1","arts_968","arts_12276","arts_75"],"tags":["arts_1297","arts_2391","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13955919","label":"source_arts_13955913"},"arts_13955101":{"type":"posts","id":"arts_13955101","meta":{"index":"posts_1591205157","site":"arts","id":"13955101","score":null,"sort":[1711995147000]},"guestAuthors":[],"slug":"snl-tiny-desk-skit-npr-bowen-yang-ramy-youssef","title":"‘SNL’ Sends Up the NPR Tiny Desk With an Intern Who Pleads, ‘Keep the Ruckus Down’","publishDate":1711995147,"format":"standard","headTitle":"‘SNL’ Sends Up the NPR Tiny Desk With an Intern Who Pleads, ‘Keep the Ruckus Down’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>If imitation is the sincerest form of flattery, count us flattered. \u003ca href=\"https://www.kqed.org/arts/tag/saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> poked fun at \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">NPR’s Tiny Desk\u003c/a> this weekend in a skit about an office concert gone awry after it gets interrupted by a work-obsessed NPR intern.\u003c/p>\n\u003cp>The skit opens up at the Tiny Desk with this weekend’s host, \u003ca href=\"https://video.kqed.org/video/ramy-youssef-discusses-his-hulu-comedy-series-ramy-x9ovpl/\">Ramy Youssef\u003c/a>, playing the part of the lead singer of a band that’s performing to a crowd of NPR staff.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e_Ae2uz4IJU\u003c/p>\n\u003cp>“Thank you so much NPR. We are the Jonah Hughes Band. I’m Jonah Hughes,” Youssef says. “That last one usually has a lot more synth, but since this is a Tiny Desk concert, we got to be quirking it up.”\u003c/p>\n\u003cp>His bandmate interjects, “Yup, that’s why I play a milk carton shaker.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She is usually on the cello,” Youssef says.\u003c/p>\n\u003cp>As the band starts up its next song about an ex-girlfriend — titled “Crazy Girl (Amanda)” — a 35-year-old NPR intern played by Bowen Yang walks in asks the band to “keep the ruckus down.”\u003c/p>\n\u003cp>Another employee explains that Yang is working on a podcast about “AI and rural queers,” to which Yang waltzes back in to announce that he landed on a title for the podcast.\u003c/p>\n\u003cp>[aside postid='arts_13919975']“It’s called \u003cem>Beep Boop I’m Gay Now\u003c/em>. It’s a play on \u003ca href=\"https://www.npr.org/programs/wait-wait-dont-tell-me/\">\u003cem>Wait Wait Don’t Tell Me\u003c/em>\u003c/a>, but it’s not funny at all,” Yang says.\u003c/p>\n\u003cp>Youssef attempts to keep performing, but Yang interrupts again to say, “I’m just on an important zoom with Ira and Terry — Glass and Gross.”\u003c/p>\n\u003cp>Facing backlash from the angry crowd, Yang’s character tries to drop a hard truth: “I’m brave enough to say it, that desk is not tiny. Never was. Just feels small because there’s so much crap on it,” he says.\u003c/p>\n\u003cp>As the argument grows, Yang picks up a microphone and breaks into an impromptu taping for his podcast. Youssef agrees to participate — and even comes up with a theme song for the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If you’re gay or a robot in a small rural town, beep beep beep boop,” the band sings.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27SNL%27+sends+up+the+NPR+Tiny+Desk+with+an+intern+who+pleads%2C+%27keep+the+ruckus+down%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"‘Saturday Night Live’ poked fun at NPR’s Tiny Desk over the weekend, with the assistance of Bowen Yang and Ramy Youssef.","status":"publish","parent":0,"modified":1711995147,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":415},"headData":{"title":"SNL’s Tiny Desk Skit With Ramy Youssef Lovingly Prods NPR | KQED","description":"‘Saturday Night Live’ poked fun at NPR’s Tiny Desk over the weekend, with the assistance of Bowen Yang and Ramy Youssef.","ogTitle":"‘SNL’ Sends Up the NPR Tiny Desk With an Intern Who Pleads, ‘Keep the Ruckus Down’","ogDescription":"","ogImgId":"","twTitle":"‘SNL’ Sends Up the NPR Tiny Desk With an Intern Who Pleads, ‘Keep the Ruckus Down’","twDescription":"","twImgId":"","socialTitle":"SNL’s Tiny Desk Skit With Ramy Youssef Lovingly Prods NPR%%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Juliana Kim","nprImageAgency":"NPR","nprStoryId":"1241891854","nprApiLink":"http://api.npr.org/query?id=1241891854&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/31/1241891854/snl-tiny-desk?ft=nprml&f=1241891854","nprRetrievedStory":"1","nprPubDate":"Mon, 01 Apr 2024 07:08:00 -0400","nprStoryDate":"Sun, 31 Mar 2024 11:54:59 -0400","nprLastModifiedDate":"Mon, 01 Apr 2024 07:08:53 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955101/snl-tiny-desk-skit-npr-bowen-yang-ramy-youssef","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If imitation is the sincerest form of flattery, count us flattered. \u003ca href=\"https://www.kqed.org/arts/tag/saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> poked fun at \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">NPR’s Tiny Desk\u003c/a> this weekend in a skit about an office concert gone awry after it gets interrupted by a work-obsessed NPR intern.\u003c/p>\n\u003cp>The skit opens up at the Tiny Desk with this weekend’s host, \u003ca href=\"https://video.kqed.org/video/ramy-youssef-discusses-his-hulu-comedy-series-ramy-x9ovpl/\">Ramy Youssef\u003c/a>, playing the part of the lead singer of a band that’s performing to a crowd of NPR staff.\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/e_Ae2uz4IJU'\n title='//www.youtube.com/embed/e_Ae2uz4IJU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Thank you so much NPR. We are the Jonah Hughes Band. I’m Jonah Hughes,” Youssef says. “That last one usually has a lot more synth, but since this is a Tiny Desk concert, we got to be quirking it up.”\u003c/p>\n\u003cp>His bandmate interjects, “Yup, that’s why I play a milk carton shaker.”\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>“She is usually on the cello,” Youssef says.\u003c/p>\n\u003cp>As the band starts up its next song about an ex-girlfriend — titled “Crazy Girl (Amanda)” — a 35-year-old NPR intern played by Bowen Yang walks in asks the band to “keep the ruckus down.”\u003c/p>\n\u003cp>Another employee explains that Yang is working on a podcast about “AI and rural queers,” to which Yang waltzes back in to announce that he landed on a title for the podcast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13919975","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It’s called \u003cem>Beep Boop I’m Gay Now\u003c/em>. It’s a play on \u003ca href=\"https://www.npr.org/programs/wait-wait-dont-tell-me/\">\u003cem>Wait Wait Don’t Tell Me\u003c/em>\u003c/a>, but it’s not funny at all,” Yang says.\u003c/p>\n\u003cp>Youssef attempts to keep performing, but Yang interrupts again to say, “I’m just on an important zoom with Ira and Terry — Glass and Gross.”\u003c/p>\n\u003cp>Facing backlash from the angry crowd, Yang’s character tries to drop a hard truth: “I’m brave enough to say it, that desk is not tiny. Never was. Just feels small because there’s so much crap on it,” he says.\u003c/p>\n\u003cp>As the argument grows, Yang picks up a microphone and breaks into an impromptu taping for his podcast. Youssef agrees to participate — and even comes up with a theme song for the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If you’re gay or a robot in a small rural town, beep beep beep boop,” the band sings.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27SNL%27+sends+up+the+NPR+Tiny+Desk+with+an+intern+who+pleads%2C+%27keep+the+ruckus+down%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955101/snl-tiny-desk-skit-npr-bowen-yang-ramy-youssef","authors":["byline_arts_13955101"],"categories":["arts_1","arts_968","arts_69","arts_75"],"tags":["arts_8480","arts_9247"],"affiliates":["arts_137"],"featImg":"arts_13955104","label":"arts_137"},"arts_13954796":{"type":"posts","id":"arts_13954796","meta":{"index":"posts_1591205157","site":"arts","id":"13954796","score":null,"sort":[1711494809000]},"guestAuthors":[],"slug":"steve-martin-apple-tv-documentary-then-now-stand-up","title":"‘STEVE! (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"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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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/2024/04/Mindshift-Podcast-Tile-703x703-1.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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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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