"I love the desert fathers. They are so neat. Especially because my life is all about maximizing comfort — like, my house is cozy, my dog and I have little spots on the couch that’s just shaped like our butts cause we just love being on the couch. And these guys are like, 'Well, I spend a lot of time not eating, and weaving baskets until my fingers bleed, but could I spend more time not weaving baskets until my fingers bleed?'"
EXTRAORDINARY British actor Mark Rylance has a noble theatrical reputation but has only recently found prominence in movies, most notably in the wonderful Steven Spielberg Cold War film Bridge of Spies, for which he recently won the best supporting actor Oscar. Speaking of Spielberg, Rylance made a beautiful point: “Unlike some of the leaders we’re being presented with these days, he leads with such love that he’s surrounded by masters in every craft.” This gentle wisdom—that good leaders attract good teams—echoes the message of Bridge of Spies, which illuminates the possibility of talking to each other across boundaries of militancy, misunderstanding, and fear. It is an invitation to loving leadership, criticizing a mutually destructive strategy by practicing something better.
Amid the noise of “some of the leaders we’re being presented with these days,” I’ve been indulging in a little comfort-watching, asking Charlie Chaplin to help me discern a way through. Chaplin’s brave, hilarious, and deeply moving film The Great Dictator does to authoritarianism what C.S. Lewis says the devil cannot tolerate: It mocks evil, revealing its pretensions. Chaplin’s courage has rarely been matched. Today his mantle may be held by Sacha Baron Cohen, whose trilogy of pride-puncturing, diversity-affirming films, Borat, Brüno, and especially The Dictator, is brave enough to challenge prejudice when it’s not safe to do so. These three are in the same tradition as Dr. Strangelove, In the Loop, Four Lions, Dave, and the Marx Brothers’ Duck Soup, which make us laugh at the absurdity of political control, taking away some of its power.
If comic portrayals of bad leadership are comforting, serious cinematic explorations of bad leadership might help us learn how to avoid it. Nixon, Downfall, the Godfather trilogy, Citizen Kane, The Apostle, Beasts of No Nation, The Act of Killing, Leviathan, and There Will Be Blood all present warnings of what happens when leaders are self-interested, unaccountable to an emotionally mature community, and not mentored in tending to their inner lives.
This simultaneously funny and touching interaction opened a space for Colbert to ask Jeb Bush, somewhat abruptly, “In what ways do you politically differ from your brother George?”
Bush tried to joke, but this time, Colbert was serious. He insisted on a real response.
And because he was not asking Jeb to criticize his brother, only to point out a political difference, the governor must have felt obliged.
“He didn’t veto things,” Bush said.
“He didn’t bring order, fiscal restraint.”
With a combination of satire and earnestness, Colbert finagled an honest, illuminating answer from Jeb Bush about George’s legacy, something most media figures would have had a much harder time doing.
"Taxation Without Representation." It's the slogan on license plates in Washington, D.C., and a daily fact of life for residents in the nation's capital. With typical wit, comedian John Oliver this week spent a segment of his HBO show Last Week: Tonight on the only democracy in the world with a non-representative capital city, saying, "The Dalai Lama ... called it 'quite strange.' And it is not good when a guy from Tibet says, 'Wow, this system is really undemocratic.'"
WATCH the segment here.
The Comedy Central duo has long been using comedy to challenge injustice. Now they’re tackling education.
The new skit portrays Keegan-Michael Key and Jordan Peele as primetime anchors of “TeachingCenter,” a show meant to mimic ESPN’s flagship athletic program, SportsCenter. The two hosts obsess over new teaching trades, a live draft for teachers, and an in-depth analysis of pedagogical technique. We even get a glimpse at a BMW commercial starring an educator.
“Muslim Funny Fest,” billed as the first-ever American Muslim comedy festival, kicks off July 21 in New York City and runs for three nights.
The fest aims to challenge misperceptions about Muslims and combat hate. It features 15 Muslim comedians — from Dubai native Ali Al Sayed to “America’s Funniest Muslim” Azhar Usman — and there are more than a few familiar names on the marquee.
Co-organizers/comedians Dean Obeidallah and Maysoon Zayid are hoping it will be an annual event, and they may take the show on the road. Their successful annual New York Arab-American Comedy Festival, which features comedians from a range of faiths, enters its 12th year this fall.
Jokes about somebody’s religious beliefs are often duds.
But jokes about your own religious beliefs somehow push the line between funny and offensive, making room for laughter and, occasionally, sharp commentary.
That’s the philosophy behind The Jim Gaffigan Show, a new series premiering on TVLand on July 15 featuring Jim Gaffigan — the popular stand-up comedian known for his Comedy Central special and the books Dad Is Fat and Food: A Love Story — and his wife, Jeannie.
The husband-and-wife team say their Catholicism — with its daily prayer, weekly Mass, and rosary recitation with their five kids — is such a part of their own lives that not including it in their work would be dishonest.
“It’s part of the story,” said Jeannie Gaffigan, an executive producer of the new show and Jim’s frequent collaborator.
Schumer’s strong, emphatic, and well-intended words once again have reduced the feminist cause to the act of sex and a woman’s appearance. She rails against sexual restrictions on women, male sexual dominance, and that weight and beauty define a woman’s worth, all worthwhile topics. But in this extremely powerful and culturally influential speech, I wonder: where is any mention of actual equality?
We tend to feel like we really know them when they share so much through their various media. Marc Maron got choked up and started to cry at the end of his interview with Terry Gross. And it felt real. I’m not saying it wasn’t real, but we know only as much as he wants us to know. He has created an artifice of authenticity in his work that feels real enough to us to suggest real intimacy, and this is what we lack so profoundly in today’s culture.
We’re too busy, too scared, too incapable, or maybe all of the above, simply to sit down and have “real conversations” with friends and loved ones like the ones Marc has on his shows. We find something wildly cathartic about the outrage Jon Stewart expresses about current events, and about the depths of apparent vulnerability Louis C.K. offers in his comedy routine and in his T.V. show, Louie. Amy Schumer takes the teeth out of human sexuality by helping us laugh at it, robbing it of some of its power.
I love Jon Stewart. I mean, like “maybe jump the fence” love him. His presence on The Daily Show has spoken to and with my generation through some of our most formative years.
And yes, he tells fart jokes (which I also love). And yes, he editorializes, (which is nearly ubiquitous in “legitimate news” streams anyway). But he also often names what people are thinking, feeling, or what they can’t even put into words.
And then he helps us laugh about it, and at ourselves.
On a recent episode of The Daily Show, however, he took a more sober tone when talking about the slaughter in the headquarters of the French satire magazine, Charlie Hebdo. One comment in particular that he made stuck with me, not because it was funny or witty. Rather, it pointed to something we all need to consider more seriously, I think.
It might be tempting for some viewers to see Dear White People as over-the-top. To see some of its characters as caricatures, or the offensive party that makes up its climax — with white students dressed in blackface — as unrealistic. But it’s not. For evidence, you only need to look as far as the credits, which show photos from similar events at other schools across the country. And when the president of Winchester claims that “racism is over in America,” it doesn’t sound too different from Bill O’Reilly’s similar claim on The Daily Show just last week.
Dear White People is clever, loving, angry satire. It’s a multi-faceted exploration of race in a time when such portrayals are needed, like peroxide on a deep cut. The film sometimes falters in its process, but delivers the goods when it matters most. The fact that it comes so stingingly close to reality is stunning. It’s funny. It’s sad.
Joan Rivers, 81, the acid-tongued survivor of popular comedy and entertainment, died Sept. 4. Who could possibly find it funny?
Joan would have.
Humor, she said, was how she dealt with all life’s triumphs and defeats.
She once said, “I knew I was funny and I knew it was powerful” as early as 8 years old.
Born Joan Alexandra Molinsky in Brooklyn, the daughter of Russian immigrant Jews, she graduated Phi Beta Kappa from Barnard. (“My mother wanted M.D. to stand for Make Dollars.”)
But she couldn’t get a door opened to the stage until she started making the gatekeepers — the agents’ secretaries — laugh.
She worked her way up through New York comedy clubs, over into TV and finally, after seven auditions, onto a stand-up stint on Johnny Carson’s “Tonight Show.” By 1983, she was Carson’s regular guest host until a bitter feud over her competing TV endeavors brought their friendship to an end.
Rivers’ first marriage ended in divorce; her second ended in tragedy when her husband killed himself. Even so, she said, “I enjoy life when things are happening. I don’t care if it’s good things or bad things. That means you’re alive.”
Muslim stand-up comedy is nothing new. But what makes “The Muslims Are Coming” different is that it portrays what happens when a troupe of comedians performs before red state Americans in such places as Tennessee, Georgia, Alabama, Mississippi, Florida, Arizona, Utah and Idaho.
The documentary by Negin Farsad, an Iranian-American, and Dean Obeidallah, of Palestinian-Italian roots, opened in Chicago yesterday.
“I find hypocrisy all over our lives – especially mine – and certainly in the church. … I think Jesus loves everybody. Everybody. The second we call somebody a ‘nonbeliever,’ we have put a wall up between us and them. They are all children of God.”
With a wink and a crazy-eyed smile, Shadyac was, ostensibly, calling the crowd on its own … uh … baloney.
“Forgive me, I’m personally a little tired – God’s not, but I am – of khaki-wearing, Docker-delivering, Christianity,” he said. “If you’re out there in Dockers or khakis: God loves you, but I’m still a work in progress.”
And, when given the chance, Shadyac gently corrected the tacit implication that Hollywood is Babylon.
“You know what I would say to the church, to you guys, if I had to? ‘Come on. Let’s stop it,’” the director began. “We have become so whitewashed that when I literally say the word ‘ass’ – which is actually in the anatomical dictionary – because we are so born of the Puritan fear [you freak out]. Guess what? God made the ass. He made the ass.
“You’ve just gotta get over that. I don’t believe the world is godless. Because if I believe in omnipresence and omniscience, and I take the Word at its word, that God is in EV-ERY-THING,” he said. “When another person is loving another person, God is all over their lives. I don’t need to judge them and to tell them where God is in or out or what words they need to say. That is not up to me.”
LOS ANGELES — Unshaven and wearing a black hoodie and cap, Omar Elba looked out from the lectern, surrounded by a gold cross and organ pipes. "Moses, you are my nizzle fo' shizzle," said the Egyptian-born Muslim comedian, doing his best to channel Snoop Dogg.
It's a joke he's done before, but never in a church.
The unique setting of their performance inside Westwood Hills Congregational Church wasn't lost on any of the performers at the Sultans of Satire comedy show. Yet the sacred stage didn't keep them from swearing or talking about sex, although it inspired more jokes about growing up Jewish, Muslim, and Christian than one might typically hear during stand-up.
"I don't know whether to tell jokes or tell you my confessions," Elba said, opening up the show.
Duck flash mob takes over a street in China – Pictographic rock band posters –Jack McBrayer learns insults at a hot dog shop – and San Diego's annual dog surfing tournament. See these and more in today's Links of Awesomeness...
Many TV network executives, advertisers and producers would sell their souls to get the kind of audience God has. But giving religion a starring role in prime time? Not so much.
Religion, God and spirituality have made cameos across the dial from "The Sopranos" to "The Simpsons" -- though usually as a prop or walk-on role. But shows where religion is a central part of the premise are rare, and the ratings are generally far from heavenly.
Short of touchy-feely shows like "Touched By an Angel" or "Highway to Heaven," why is religion so radioactive in Hollywood?
This month, cable network TLC canceled "All-American Muslim" after only about 700,000 viewers watched the season finale of the reality show featuring Muslims in Dearborn, Mich.
Meanwhile, ABC's saucy new drama "GCB" -- think "Desperate Housewives" in choir robes -- that's based on Kim Gatlin's novel "Good Christian Bitches" has been panned by critics and called "anti-Christian" by Newt Gingrich. The "GCB" premiere on March 4 lost the coveted 18-49 demographic, but climbed back during its sophomore episode.
Over the weekend, Newt Gingrich decided to wade into a minor cultural skirmish by claiming that the new ABC dramedy GCB is an attack on faith fueled by anti-Christian bias.
As Gingrich is, from my perspective at least, prone to flights of intellectual fancy, I was at first prone to roll my eyes and ignore his latest sojourn into the ridiculous. But upon further reflection, I thought it merited a response because his notion that a satire could be the latest cannon fodder in the alleged war on religion (which usually means “war on Christianity” to those who invoke it) speaks to a larger cultural conundrum: Christians and our sense of humor (or, rather, the lack thereof.)
TV's award winning comedy 30 Rock debuts tonight, create your own remixes with Mono's customer appreciation page, discover hidden features on the iPhone, Hostess nears bankruptcy, GOOD's new social justice efforts, and more. Plus videos of chain reaction mechanics performing mundane tasks and a backstage glimpse into the gospel vibes of Wilco, Mavis Staples, and Nick Lowe.
Senior citizen flash mob performs Glee's "Last Christmas" at Target, Sir David Attenborough narrates "What a Wonderful World" to clips of nature, Christmas decorations seen as tributes to the Pagan Sun-God, Banksy's latest satrical sculpture on the church, Jesus visits the Denver Broncos, a bread nativity scene, year in review lists, and Teddy the talking porcupine wishes you all a very "Merry Christmas."