Tag: Louie

Manners, Please (Season 3, Episode 2)

Dear Evan, Lili, and Phil,

I’ve been thinking about the phrase “I’m not comfortable with that” this past week—about how it’s both abstract and euphemistic, and how goddamn polite it is, especially when thinking of its deployment in, say, the bedroom. Or even in sexual encounters less “polite” than a bedroom scene. When Laurie asks Louie to return her sexual favour by eating her out, his response might as well be: “I’m not comfortable with that.” The general tone of this sentiment is at least present during the scene, what with Louie trying in his most passive and apologetic Louie-like-way to say no, hoping that his posture at prudishness won’t scan as (and I agree with Evan here) laziness. Laurie doesn’t take no for an answer.

A commenter felt that Evan was being a little too polite himself in describing Laurie’s rather impolite demand-cum-threat as an act of “persuasion.” The conversation that ensued in our comments section turned to look at notions of rape, sexism, and gender double standards–all of which there already are precedents for in Louie. This one comment by Evan, I believe, deserves some mining:

One reading of the scene, then, is that if Laurie’s behavior toward Louie *is* rape, then she’s invalidated her own implicit double-standard argument by allowing herself to engage in behavior that, if the genders were switched, she would think was immoral. (This is assuming that Laurie doesn’t think of her own act as rape, which is probably the case.) The hypocrisy is not Louie’s — for receiving oral sex but refusing to reciprocate — but Laurie’s, for calling him out on immoral behavior while allowing herself to suspend the rules of sexual morality simply because she’s a woman.

By introducing a character like Laurie who refuses “the rules of sexual morality simply because she’s a woman,” C.K. seems to be (again, again!) presenting a radical form of sexual politics where the woman is the impolite one—the one who doesn’t give a fuck without getting one in return. Which is why it has been distressing that C.K.’s public response to Daniel Tosh’s devastating rape threats to a female audience member was not condemnatory, or even brashly rude (as I would hope and do expect from him now, at least based on his show), but actually complementary.

The fact that Tosh would propose (and later try to justify) an aggressive rape scenario under the guise of a “joke” is fucked up enough, but that C.K.’s response would pile on additional jocularity is more than depressing.

As Evan explains in his post, “Louie the show knows that surprise is the only formal structure it can trust.” Louie is adamant on working against classical forms of narrative television, as well as narrative jokes–and more often than not this working against is a way of moving forward. As a stand-up comedian, Louis C.K. is primarily a storyteller—both inside and outside of his show. I understood his not-so-polite on-stage criticism of sexism as something that didn’t really change, regardless of his status as Louie or Louis. As Lili noted, on stage is when Louie the character is both the most confident and has the greatest perspective; it’s when he most resembles Louis.

C.K.’s response to Tosh was a surprise, indeed, though not the one I’d wish for. As a variant on Angus’s final sentence on this subject, so what am I supposed to do with this story now?

Last episode begins and ends with scenes of begrudged acquiescence–of pushing and pulling, sucking and blowing, quite literally and physically–though to vastly different effects. It opens with Lilly’s attempts to force Jane (just noticed the name confluence with Dear TV) in responding to her knock-knock joke. Lilly’s silence rises to a vocalized resistance when Louie tells her to respond: “I doesn’t want to [open the door].” She eventually does, and they laugh at the utter silliness of Jane’s joke (it’s incomprehensible and harmless, though entirely endearing). The tussle with which the show ends, however, begins with taunts that quickly escalate to a broken car window, and then, well, rape. If the first scene spotlights a joke that falls flat, but still garners chuckles, what do we make of the final one?

As the episode ends, Louie seems stunned by the turn of events, but his face also reads as pretty blasé as he agrees to Laurie’s: “ You wanna go out again, right?” C.K., though, should know that what amounts to a public congratulations/joke toward Tosh (“your show makes me laugh every time I watch it/and you have pretty eyes”) isn’t something many fans will take with as much blaséness his Louie might. (Probably because this instance of rape wasn’t about Louie or Laurie, but a girl entirely beyond the limits of his show.) If C.K. wants to join the conversation, it’s important for him to acknowledge her presence. For him to do otherwise, as he did, is not only not at all funny, but indefensibly rude.



Louie vs. Louis CK: Something Is Wrong (Season 3, Episode 1)

Dear Dear TV,

We left Hannah Horvath eating cake out of tinfoil on a beach in the season finale of Girls just in time to catch Louis CK eating, then gobbling pizza off  a paper plate in the opening title sequence of Louie. Season 3: you’re here.

I’m glad we’re talking about these shows back to back because they share so much despite their obvious differences. Both characters are writers, both writers are characters, and both Louis CK and Lena Dunham are interested in exposing their fictional personae at their ugliest and most appetitive.

I want to flag two important differences, however. The first is structural: Louis CK tends to stitch two different and apparently unrelated stories together through bits of stand-up. It’s not quite right to call them A and B stories (although I’m going to anyway); they’re more like separate vignettes. In the pilot, for example, A is Louie’s field trip with his daughters. The field trip, which is set almost entirely on a school bus, goes wrong and culminates in Louie sending each child home in his or her own limousine. The B story is a disastrous date that begins with Louie knocking too frequently on his date’s door while her neighbor angrily flashes him. It ends with his date literally jumping onto a passing helicopter in order to get away.

The pilot opens with expository stand-up: “I’m 41 and I’m single, uh, not really single, just alone? But I have two children, and that’s the only thing I’m comfortable with in life anymore. I know how to take care of a couple of kids.”

In the A story, Louie talks too much. Whether he takes the initiative or it’s thrust upon him is debatable, but the fact is that he gives the bus driver directions, reproaches him for being irresponsible when they get a flat tire, overrides the teacher when she decides they’re going to walk the kids through Harlem to a subway stop, and sends each kid home in a limousine. In the A story, Louie never stops talking. “Do you realize what you’re teaching them?” the teacher says as he greets the long line of limos.

He does. And we know he does thanks to the stand-up that follows this set piece: “I’m white, my kids are white, which means they can’t screw up too badly, because they get a million chances. My life is really evil. There are people starving in the world, and I drive an Infiniti.”

This is Louis CK’s method: showing his character in action, then obliquely commenting on it, like a sort of Greek chorus to and on himself. The A story is a monstrous version of the stand-up: Louis CK drives an Infiniti and is white like his daughters, but “Louie” rebukes a black man, then hires two dozen limousines to individually escort his daughter’s classmates home rather than have them walk together through a poor black neighborhood to the subway.

The B story knocks the stuffing out of poor Louie. All the initiative he showed in A in his capacity as a parent vanishes when it comes to B, his romantic life. Here, in a theme that gets picked up again in the first episode of Season 3, he can’t communicate. Unspeakable misunderstandings pile up—her crazy neighbor, his desperate lie that he’s wearing a suit because it’s the anniversary of his father’s funeral—all of which contribute to his date’s incredulity when he claims it wasn’t him knocking on the bathroom door shouting that he has to take a dump. In the dead intervals, he smiles at her in a sickening kind of way, and admits, when she asks him to, that he can’t stop.

These, roughly speaking, are Louie’s three dimensions on the show: overreaching Louie, defined by spurts of arrogance and self-righteousness,  mute and self-loathing Louie, most often seen in scenes with women (the season premiere shines a withering spotlight on mute Louie, in case we missed him earlier), and charismatic Louie, usually in stand-up mode, whose habit of commenting on his own flaws has the effect of attenuating them.

We’ve talked a lot here about the extent to which people’s reactions to Girls  seemed to depend on their perception of the show’s self-awareness. It became clear by the end of the season that the show is extremely self-aware, and that self-awareness goes a long way towards mitigating the characters’ apparent monstrosity, their blind spots and their privilege. We can accept those things provisionally if we know they’re being judged by the universe’s God.

Seen from this point of view, Dunham takes bigger risks than Louis CK. She’s young enough that she can (and is) mistaken for her callow character, and she doesn’t have a stand-up version of herself to comment on the action from the sidelines. I was telling Aaron Bady about the sexual harassment encounter in  Girls (by which he was horrified), and he made the point, which hadn’t occurred to me, that unlike Hannah, who is frequently a terrible person on Girls, Louie, in Louie, is essentially good. Sure, there’s a sort of sad-sack pathos to the character, sure, he makes some mistakes, but he’s wracked with guilt over everything. He’s also by definition obsessed with being a good father which, in this day and age, is  the fast-track to sainthood. There’s never a trace of irony when it comes to Louie as dad: the show starts by announcing fatherhood as Louie’s defining character trait in terms I’m going to repeat here again, because it’s amazing how absolutely they drip with emotional appeal: “I’m 41 and I’m single, uh, not really single, just alone? But I have two children, and that’s the only thing I’m comfortable with in life anymore.” Hannah Horvath admits that being a good friend to Marnie isn’t high on her list of priorities. Louie will never, ever, ever, be anything but a dedicated dad. Parenting will partially redeem him from the charges of human selfishness.

I would add, parenthetically, that Louis CK as stand-up also redeems the sad-sack Louie we see in the show. It’s easy to buy into Louie’s account of himself as pathetic, cringing, weak, passive, repulsive, and awkward. It’s astonishing, when you stop think about it, that he pulls this off while telling us about it onstage as a stand-up whose onstage presence is unfailingly assertive, self-assured, charismatic and appealing. We’ve asked whether Hannah Horvath is any good as a writer and talked about the pitfalls of showing artistic characters doing their art; Louie sidesteps this by making Louie a successful comedian whose personality onstage differs substantially from his personality off it. The one exception to this I can think of offhand is Episode 6 of Season 1, “Heckler/Cop Movie,” when Louie tells off an attractive heckler.

The other important structural difference between Louie and Girls are Louis CK’s experiments with sporadic continuity. He often has the same apartment, for example, but in some episodes he has a brother, in another two sisters. His mother, a lesbian in one storyline, is played by the same actress who played his date in another. Young Louie is played by a wide range of redheads. Even his daughters are sometimes played by different actresses. It’s a fascinating choice, and it produces a surreal quality that nevertheless feels anchored by the opening credits, which unfailingly show Louie eating pizza and descending into the underworld of the comedy club.  The comedy club is exempt from this constant shuffling of characters: Louie’s stand-up is consistent, his daughters are the only family members ever mentioned in it, and he never stops being exactly what he says he is: the white father of two white girls.

Which brings us to Season 3, which for the first time violates Louie-the-stand-up’s version of things. We see Louie’s ex-wife for the first time, and she gets a name and a race. Janet is black. That means Louie’s children are mixed race. That’s not a trivial change that contributes to the overall surrealism of the show. It’s a big deal, even if his ex-wife is white or Asian in the next episode. It’s the first time I can think of in which the show explicitly contradicts “stand-up Louie,” whose anchoring function as narrator and truth-teller is important. It means the terms he set in the pilot I’ve quoted above, terms to which he frequently returns—the problem of being a white father raising two white daughters in a way that won’t make them assholes, the problem of privilege, in fact—are suddenly inapplicable.

This matters because Louie’s fatherhood, its loneliness and its obstacles, constitutes the show’s backbone. In Season 2 there’s an episode in which Louie  takes his daughters to visit an elderly relative who turns out to be incredibly racist. That scene would scan very differently if his daughters are mixed race. This is less a matter of doing race badly than it is a matter of violating the rules of the show’s universe.  In general, Louis CK is pretty adept at taking on sensitive topics and doing them raunchy justice. Still, I don’t think the show, as it’s existed up to this point, can get away with this. (Nor, strictly speaking, did it try—that his ex-wife is black is a detail, not mentioned in the episode. There is, however, a longish bit of stand-up on replacing or adding on to a used-up dick by getting a transplant, preferably from a brown athlete.)

It’s possible that Louis CK as writer might be trying to create some distance between himself and Louie the stand-up, who has been drifting closer and closer to Louis CK since the show began.  What better way to break up with his narrator than by smashing his stupid car with a bulldozer? (Was it the Infiniti? I hope so, but I couldn’t tell.) Louis CK is big on this kind of spectacle. He’s said in interviews that his biggest expenses, when shooting the pilot, were the limousine scene and the helicopter scene. He talked about the difficulty of even finding that many limousines in New York, and bartering with the helicopter pilot for a rate he could actually afford. Transportation as spectacle—transportation as punchline, transportation as a means of annihilating sympathy—these all date back to the pilot, and it’s interesting to see that theme revived in Episode 1.

I haven’t said anything about the break-up scene and its follow-up scene in Louie’s apartment. Both were astoundingly good. April could have deciphered those cryptic parking signs in a second, that’s how good she is at reading conflicting messages that add up to No. It was so good that I, like Louie, find myself assenting, and with nothing to say.

Before and after midnight,