Louis C.K. went from comedic genius to social pariah, and he had no one but himself to blame.
The comic’s off-screen behavior, specifically exposing himself to female comedians, earned his professional cancellation. No ugly tweet or blackface shtick, mind you.
These were real-world actions that hurt people.
Except he refused to go away.
The documentary “Sorry/Not Sorry” examines C.K.’s fall from creative grace, from the rumors that dogged him for years to his shocking comeback.
It’s a New York Times production, so the film suggests his cancellation should be permanent. The liberal newspaper is no friend to free speech in the modern era.
Just ask Sen. Tom Cotton.
The subject matter remains undeniably rich, and the crush of opinions and perspectives makes “Sorry/Not Sorry” an essential watch.
The film’s unexpected takeaway? C.K.’s downfall was another Weinstein moment. No, the comedian didn’t sexually prowl on starlets like the disgraced movie producer. The similarities remain stark for one simple reason.
Everyone knew. And no one spoke up.
Some of those who kept quiet appear in the film, like prolific TV producer Michael Schur of “Parks and Recreation” fame. He knew … something … but wouldn’t quit C.K.
Now, he has regrets.
“The Daily Show’s” Jon Stewart, steeped in comedy culture for the past two-plus decades, claims ignorance.
If lower-tier comics heard all the stories, how did they escape Stewart’s inner circle? And he’s hardly alone.
Blind items and backstage chatter pointed to C.K.’s dark side. He had talent, power and the ability to create projects from the ground up. So no one challenged him.
RELATED: LOUIS CK: POLITICAL CELEBRITIES ARE ‘OBNOXIOUS’
There’s something sociopathic about C.K.’s response to his actions. When cornered, he delivered a strong message that stopped short of him saying, “I’m sorry.” Critics pounced on that, but his statement hit all the major points.
Yet he never used his platform to expand on those themes. Instead, he quipped about the matter, refusing to engage with how a progressive comic hurt the women in his orbit.
His critics are right when they say he could have done so much more post-scandal. He’s also under no obligation to do so. He is a comedian. He’s there to make us laugh.
That’s his prerogative, but a comic with his skill set could have weaved something profound from his actions.
Noam Dworman, owner of the Comedy Cellar. allowed C.K. back on stage at the start of his revival tour. The free speech warrior eloquently explains why a private business has every right to book whichever act it pleases.
“Sorry / Not Sorry” could have used a few more sober perspectives like his.
Watching woke comedian Michael Ian Black defend C.K. on artistic grounds only to swiftly backpedal says plenty about the current state of comedy and free speech.
The film downplays how C.K. reconstructed his comedy career, not with appearances on Colbert’s couch but via an email list and today’s podcast realm.
Another unexplored part of the film? One reason for C.K.’s shocking comeback has a Donald Trump connection. It’s ironic since C.K. was one of the first major stars to make the Trump/Hitler comparison. Yet it’s hard to deny he became a Trumpian symbol of Cancel Culture overreach.
Buying a C.K. ticket is a thumb in the eye to scolds who demand we cancel artists for any number of reasons.
“Sorry/Not Sorry” reveals the personalities behind some stand-up comics. They’re shown to be dark, biting and personally troubled. There’s an angst that fuels their humor.
Those tears of a clown are far too real.
Did C.K. have a tortured childhood? Did that fuel his insights and dysfunction? It might have been intriguing to learn more about the comedian’s background. He turned down an opportunity to defend himself in the film, but that’s not the only way a journalist can suss out the back story.
One comic says “white men” are allowed to come back from cancellation, noting how C.K. was able to sell out Madison Square Garden post-scandal. The film hits theaters shortly after Jonathan Majors’ comeback tour kicked off.
Jonathan Majors has been cast in his first movie role since his assault conviction, the independent thriller “Merciless.” https://t.co/ypDmabpLU4
— New York Times Arts (@nytimesarts) June 25, 2024
Meanwhile, Kevin Spacey has yet to restart his formerly red-hot career.
There’s something performative about the outrage on display in “Sorry / Not Sorry.” Why are some stars canceled and others aren’t? Why are some apologies accepted and others aren’t?
How did Howard Stern get away with, well, everything for 30 years but Jimmy Fallon had to do a groveling, on-air apology for a 20-year-old blackface joke
Ezra Miller’s lack of cancellation rushes to mind. So does former President Bill Clinton, who never lost his liberal base even at the height of LewinskyGate (or after).
Here’s betting those who want C.K. to exit the stage permanently would vote for Clinton again if they could. Recall how feminists strained their necks looking the other way when Tara Reade accused Joe Biden of sexual assault.
The documentary doesn’t have enough time to veer in that direction, but it matters.
It’s to “Sorry/Not Sorry’s” credit that the film lingers in one’s mind, raising as many tough questions as it tries to answer about a case that speaks volumes about 21st-century culture.
Now, if more New York Times content could produce similar results…
HiT or Miss: You may not agree with everything shared in “Sorry/Not Sorry,” but it’s a smart, engaging snaphot of a scandal that epitomizes our pop culture moment.
Photo Credit: Louis C.K. photographed at the Toronto International film festival 9/17/17 for The New York Times’ article Asking Questions Louis C.K. Doesn’t Want to Answer by Cara Buckley. Photo Credit: Angela Lewis for The New York Times.
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