Title : "The way C.K.’s flirtations with the offensive and the taboo work, at least historically, is by making himself a temporary stand-in for the bad guy."
link : "The way C.K.’s flirtations with the offensive and the taboo work, at least historically, is by making himself a temporary stand-in for the bad guy."
"The way C.K.’s flirtations with the offensive and the taboo work, at least historically, is by making himself a temporary stand-in for the bad guy."
"He ventriloquizes everything a pedophile might be thinking in exceptional detail, for instance. Or take the bit in Sorry about a Black woman picking out bananas....The success of such a joke depends heavily on the audience trusting that the comic beneath the 'creep' persona isn’t horrible. That by so precisely articulating such a perspective, it’s implicitly a critique. That meta layer is the safety net I’m talking about: For most of C.K.’s career, the 'real' Louis C.K.—a genuinely good guy troubled by demons but with a compassionate and decent core—has functioned as an authorizing alibi of sorts for the special’s boundary-violating experiments.... The Real Louis C.K. was the hapless, kind of dirty, but conscientious guy who bought a Girls Gone Wild DVD after his divorce but couldn’t jack off to it because he kept—as a dad—getting mad at the girls for making stupid choices. The revelations have made it harder to believe in that version of him; to a lot of his former fans, one horrifying thing about the allegations was that he turned out to be the very creep we thought he was lampooning. The joke we thought we were laughing at wasn’t a joke at all."Writes Lili Loofbourow, in "What Louis C.K. Has Really Lost" (Slate), about Louis C.K.'s new special "Sorry" (which you can pay $25 to watch at his website).
This is a very well written essay, and it shows that Louis C.K. has a new foundation for humor. Loofbourow notes that before the scandal, he was having difficulty playing the part of the "loser," which had been his original comedy persona: "by no longer being an underdog, he’d lost something he needed to really make his act work. Well, he has again what he was missing then. Abjection is Louis C.K.’s medium; it suits him, and he thrives in it."
We're seeing how he works from this new position — without the ability to retreat to the safe place of being the loser. He'd already lost loserdom before the scandal, so what has he "really lost"? He's gained! I think the headline writer didn't understand the essay... or the editorial position of Slate is that you've got to perpetually kick Louis C.K. around.
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