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      The Gay Comedians Who Showed the Way Even if They Weren’t Exactly Out

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      Paul Lynde, Charles Nelson Reilly and Rip Taylor get a cursory mention in a new documentary about queer stand-up, but they were groundbreaking.In 1987, David Letterman was taping his late-night show in Las Vegas before rowdy audiences of mostly young men in preppy pullovers and muscle shirts — prototypical bros raised on “Porky’s.”On one episode, Letterman introduces a “very funny and strange, peculiar man who first played Las Vegas way back in 1963.” The sea of seemingly straight guys parts, and to a cartoonishly accelerated rendition of “Happy Days Are Here Again,” the comedian Rip Taylor speed-walks through, ferociously hurling heaps of confetti, his signature entrance shtick.I’ve had this clip on repeat since watching “Outstanding: A Comedy Revolution,” a new Netflix documentary about the history of queer stand-up comedy. Not because Taylor plays a big role in the film, but because he and two other groundbreaking gay comics — Paul Lynde and Charles Nelson Reilly — do not.“Outstanding” does briefly single out the three men as renowned comedy elders, even though they weren’t primarily known for stand-up. The documentary also does right by underappreciated comedians like Robin Tyler and Bob Smith and household names like Rosie O’Donnell and Margaret Cho.But why just the cursory mention of Lynde, Reilly and Taylor? It’s as if we couldn’t possibly glean anything meaningful from old-school comedians who were apolitical and effeminate, steppingstones for contemporary comedians, like Hannah Gadsby and Jerrod Carmichael, who are willing to wait for a room to quiet down so they can talk about difficult childhoods.Lynde, Reilly and Taylor didn’t sit in their trauma. They kept it light and never talked about their biography in a serious way, because doing so would have led to questions they weren’t prepared to engage with. Maybe that’s why the documentary made me race to YouTube to see these Stonewall-generation funnymen with dippy but dark-edged sensibilities that were shaped by decades of self-hatred and fear the likes of which a 20-year-old today cannot fathom.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Outstanding: A Comedy Revolution’ Review: Beyond the Punchline

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      A new Netflix documentary showcases comedy as a source of queer liberation, featuring Margaret Cho, Tig Notaro, Joel Kim Booster and more.The director Page Hurwitz examines comedy’s place in the L.G.B.T.Q. movement in the new Netflix documentary “Outstanding: A Comedy Revolution,” creating a rich, century-long timeline full of archival footage, behind-the-scenes glimpses and candid interviews with comedians. A standout subject is the 82-year-old trailblazer Robin Tyler, the first out lesbian on national TV.Throughout the film, Hurwitz showcases comedy as more than just a source of laughter, but of healing, catharsis and as an agent for queer liberation, particularly during the Stonewall riots in 1969 and, later, the AIDS epidemic.L.G.B.T.Q. comedians were already on hand for “Outstanding” — in 2022, many of them, including Lily Tomlin, Wanda Sykes and Billy Eichner, performed on the same stage during “Stand Out: An LGBTQ+ Celebration,” a Netflix standup special hosted by Eichner. The backstage footage from that special captured something that feels revolutionary, echoing Margaret Cho’s assertion that “queer comedy was really a solace” when she achieved fame in the 1990s.Many of the best moments in “Outstanding” occur when it draws connections between idols and admirers. A simple moment between Joel Kim Booster and Cho is made powerful through thoughtful editing: Cho, in a voice-over, describes the joy that queer comedy can evoke as we see Booster experiencing it among his peers.The film also addresses transphobic jokes by comedians like Dave Chappelle and Bill Maher, and ends with an acknowledgment of the anti-transgender bills being passed nationwide.“There’s no such thing as just kidding,” Tyler, the pioneering comedian, says. “So if anybody does homophobic jokes, they mean it.” The fight is still no laughing matter.Outstanding: A Comedy RevolutionNot rated. Running time: 1 hour 40 minutes. Watch on Netflix. More

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      ‘The Interview’: The Darker Side of Julia Louis-Dreyfus

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      At some point in almost every performance she gives, Julia Louis-Dreyfus has this look. If you’ve watched “Seinfeld,” “The New Adventures of Old Christine” or “Veep,” you know it — the perfect mix of irritation and defiance. As if she were saying, Try me.Louis-Dreyfus’s performances in those shows — from the eccentrically self-actualized Elaine Benes in “Seinfeld” to the completely un-self-aware Selina Meyer in “Veep” — were comedic master classes. But in recent years, she has been moving toward more introspective and serious work. Still, that “try me” vibe remains. She hosts a wonderful hit podcast called “Wiser Than Me,” in which she interviews older, famous, often (necessarily) sharp-elbowed women — Billie Jean King, Sally Field, Carol Burnett and Debbie Allen, to name a few — about their lives and careers and the crap they’ve all navigated. Last year she starred as a frustrated novelist and wife in the writer-director Nicole Holofcener’s movie “You Hurt My Feelings,” the second collaboration between the two women about the struggles of middle age. In her newest movie, “Tuesday,” which opens nationwide on June 14, Louis-Dreyfus plays a mother whose teenage daughter has a terminal illness. It’s a surreal, dark fairy tale that she was nervous about taking on. (She’s also got a recurring role in the Marvel Cinematic Universe: She was shooting “Thunderbolts” when we talked.)Listen to the Conversation With Julia Louis-DreyfusThe actress is taking on serious roles, trying to overcome self-doubt and sharing more about her personal life — but she’s not done being funny.At 63, Louis-Dreyfus says she’s still trying to prove herself (“always”), and that “Tuesday” is part of that process. “I’m certain nobody would have considered me for that role 20 years ago, and that’s probably because they just thought of me only as a ‘ha-ha’ funny person.” She’s still interested in TV comedy, she told me, but she’s loving this stage of her career, and getting to do more. “I just want to try it all,” she says. “It’s good for my brain.”You’re in a new Marvel film at the moment. It must be a very different kind of set to be on. What’s it like? It’s very well organized. Very methodical. And I don’t mean that in a negative way. Particularly on this film, they’re very much focused on, frankly, the human story, believe it or not. They’re trying to sort of go back to their roots, as it were. And so there’s a lot of focus on that. They’re trying to stay away from as much C.G.I. or whatever as possible, so that the stunts are, like, everywhere. And in fact, I had to do a couple.What stunts have you done? Well, I’m making this out to sound like I’m flying through the air like Captain America or whatever, but I’m not. It’s just a very, very, very, very brief stunt. More

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      Garfield’s Journey From Comic Strip to Weird Internet Incubator

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      He hates Mondays, he’s No. 1 at the box office and he’s been the subject of a lot of weirdness over the last 40-plus years.You may have noticed that “The Garfield Movie” was the No. 1 movie in America last week, earning $14 million and taking over the top spot from the infinitely more hyped “Furiosa: A Mad Max Saga.” It has grossed $55 million in North America and $156 million globally in two weeks.“The Garfield Movie” found the top of the box office in its second week of release.Dneg Animation/Sony Pictures, via Associated PressAfter more than 45 years of daily strips (that still get made every day), three feature films, 76 books, three animated series, dozens of video games and a literal boatload of merchandise, we may ask, how did we get here?In an attempt to answer that question, we took a trip down the Garfield rabbit hole.So Much MerchandiseThe first thing you come across is the merchandise. There are T-shirts, phones, watches, furniture, clocks, slippers, tents, wallets, trading cards, eye shadow and roller skates with Garfield’s leering image.There was even a Garfield toilet seat cover. “It turned out to be a great product. It was real colorful,” Garfield’s creator, Jim Davis, told The New York Times in 2019. (There are, in fact, numerous Garfield toilet seat covers.)This is no accident. Davis released the three-panel newspaper comic strip in 1978 with an eye toward selling his creation.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Am I OK?’ Review: When It’s Time to Grow Up

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      Dakota Johnson stars in an expansive friendship comedy about coming out in your 30s and finding yourself.The appeal of the late bloomer movie is rooted in its parent genre: the coming-of-age story. Our heroine begins a little naïve and learns some hard but good lessons, maybe falls in love. Sometimes a mentor provides wisdom before leaving her to stand on her own two feet. In a traditional coming-of-age story, the protagonist is usually very young, so that world is full of possibility. Anything could happen next.But with a late bloomer, the world’s possibilities have been shut down a little, and that shifts the tone. Decisions about career, friendships and family have already been made; the stakes of change are higher. That means a late bloomer story could be a comedy, or it could feel more melancholy, even like a tragedy. There’s an inherent realism in a film like “All of Us Strangers” or “Her” or “20th Century Women” that’s bracing and invigorating.Depending on your age, Lucy (Dakota Johnson), who is 32, may not feel old enough to be termed a late bloomer. But she certainly feels like she is. The protagonist of “Am I OK?” has settled into a quiet, unchallenging Los Angeles life. She’s the kind of person who stares at a diner menu full of options and then orders the same meal — veggie burger, sweet potato fries, black iced coffee — every time. She spends most of her free time with Jane (Sonoya Mizuno), her childhood best friend, and keeps her life ripple-free. She’s never been in love. At the end of dinners with Ben (Whitmer Thomas), the guy she’s ostensibly dating, she shakes his hand.By her own admission, Lucy is nervous all the time, “scared of everything.” Worse, she says, she’s not sure if she’s ever been happy, or what even makes her happy. She has built herself a comfortable box to live in, as long as nothing changes.Her box is about to cave in. One day, Jane announces that she’s moving to London for work, and Lucy suddenly feels unmoored. A feeling that’s been growing inside her is now too strong to ignore: Lucy knows she’s attracted to women. And she’s especially attracted to Brittany (Kiersey Clemons), the peppy new masseuse at the spa where she works as a receptionist.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Bad Boys: Ride or Die’ Review: Older, but Never Wiser

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      In their latest buddy cop movie, Will Smith and Martin Lawrence are still speeding through Miami. The franchise has rarely felt so assured, relaxed and knowingly funny.Two years after Will Smith slapped the comedian Chris Rock on the Academy Awards stage, it feels bizarre that he needs a franchise called “Bad Boys” to rekindle his star power. Smith and his co-star, Martin Lawrence, are two producers of “Bad Boys: Ride or Die,” the stylishly chaotic lark by the directors Adil El Arbi and Bilall Fallah, suggesting outsize roles as star-auteurs and the importance for this installment to be a hit. In their hands, “Bad Boys: Ride or Die” throws everything at the wall, and much of it sticks.Though the third “Bad Boys” installment was released in early 2020, a few months before the George Floyd murder spurred Black Lives Matter protests, that film could be seen in some ways as apologizing for its Michael Bay past and its “copaganda” roots. But this is something else — a silly buddy comedy that opens poignantly with the wedding of Mike Lowrey (Smith) and Christine (Melanie Liburd). There, Marcus Burnett (Lawrence) has a heart attack, a near-death experience that soon makes him feel invincible; Lowrey, however, is rendered vulnerable by debilitating panic attacks. It’s clear that these two hypermasculine men, still speeding through Miami in fast, slick cars, are aging.Their friend Captain Howard (Joe Pantoliano) has been framed — after his death — in a cartel’s money laundering scheme, by corrupt government officials and the brooding mercenary James McGrath (Eric Dane). Lowrey and Burnett work to clear Captain Howard’s name, and in the process this film somehow becomes a prison-break movie, involving Lowrey’s incarcerated son, Armando (Jacob Scipio), and a revenge subplot involving Howard’s daughter Judy (Rhea Seehorn). Along the way there are nods to fan favorites, a cameo by Tiffany Haddish, and Miami gangsters hunting a wanted Lowrey and Burnett.The lurid lighting and grandiose filmmaking mirror the extravagant plotting. A frantic shootout in a club is viciously edited. In other major set pieces, the camera, sometimes taking a first-person-shooter perspective, zips, darts and spins past falling bodies toward Smith and Lawrence, who banter playfully. We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      Is This Season of ‘Hacks’ Trolling Jerry Seinfeld?

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      The comedian’s philosophies about the audience and comedy are contradicted in characterizations and plot lines on the Max series.So many movies and television series have shown us the misery of a stand-up comic bombing and the joy of a comedian killing. But skirting cliché, the entertaining third season of “Hacks,” which just concluded, dramatizes a more novel and pointed onstage moment: the crisis of success.Coming off a triumphant special, the comic Deborah Vance (played with charm and compassion by Jean Smart) is trying out new jokes and is rattled to find her audience laughing at everything, no matter how funny.Like most comics, she spent her career developing material by gauging the response of the crowd but must confront a problem familiar to superstar stand-ups. Her new fan base has disrupted that artistic process. Smart plays this realization with nuance, never dropping her performative charisma, but gradually showing surprise, and then panic at the idea that she can no longer trust her audience. This reveals the character’s sensitivity while making a contrarian case against the idea that laughter is a purely honest response.No comic has expressed faith in the crowd as often or with as much conviction as Jerry Seinfeld. He has said that his fame might buy him a few minutes of good will from an audience, but that after that, he must be funny to get a laugh. After seeing him perform many times on Manhattan’s Upper West Side, this always struck me as hard to believe. Maybe if he went onstage and read “The Great Gatsby,” as Andy Kaufman used to do, he might bomb at the Beacon Theater, but I wouldn’t bet on it. Besides being one of the most successful stand-ups alive, Seinfeld is also one of its most prolific talking heads, weighing in on the art in interviews and documentaries. Comedy, to him, is the ultimate meritocracy, perhaps second to (as he has said) the N.F.L.Seinfeld onstage at the Beacon Theater in 2015. No comic has expressed faith in the audience’s honesty as often or with as much conviction as he has.Jamie McCarthy/Getty Images for Baby Buggy“Hacks” (on Max) is as obsessed as Seinfeld is with the craft and politics of comedy, and it was especially obvious this past season when its episodes coincided with his epic and relentlessly news-making promotional tour for the Netflix movie “Unfrosted.” At times, the series and the star’s media appearances felt as if they were in conversation with each other, with Seinfeld philosophizing about comedy and “Hacks” providing dissents.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Tribeca Festival: ‘Mars’ Provides Refuge for its Writers

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      The comedy group The Whitest Kids U’ Know completed the project dealing with the loss of one of its founding members, Trevor Moore, who died in 2021.The animated film “Mars” — about a ragtag group of civilians visiting the red planet on a trip financed by a billionaire with an asteroid-sized ego — will premiere Thursday at the Tribeca Festival. It will mark the end to a bittersweet journey for the film’s writers that began more than a decade ago.“Mars” was written as a live-action film in 2012 by Trevor Moore, Zach Cregger and Sam Brown, the founders of the comedy group The Whitest Kids U’ Know. They met thanks to living in the same dormitory at the School of Visual Arts in New York City, where they performed lots of gigs. From there came tours of the city’s comedy clubs and a television show that ran from 2007 to 2011.During the Covid-19 pandemic, they decided animation was the best way forward for the feature and opted to crowdfund the film. But in August 2021, tragedy struck when Moore died in an accident.“It did seem kind of unfathomable to complete this movie without him,” Cregger said during a recent video interview with Brown and Timmy Williams, who is also in the comedy group. They, Darren Trumeter (the fifth member of the group), and Moore, who completed his recordings before the accident, provide the voices for all the characters in “Mars.”“Trevor’s death changed everything,” Cregger said. Before Moore died, the group was having regular interactions with fans on Twitch and other social media platforms, which helped fuel interest in “Mars.” Continuing that was difficult. “When he died, it kind of became like, this hurts every time,” Cregger said. But they felt a responsibility to their fans, who helped fund the film, to complete the project.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More