On July 13th I sat in the comic's green room area of the show I was on, and the headliner asked, "are we addressing the elephant in the room?" Just hours before the show, former president, Donald Trump, was shot at. Now unless new information becomes clear, this was a straight forward assassination attempt. While many can (and have) created conspiracy theory rhetoric, it's an attempt by one man to eliminate the voting power of half the nation. Regardless of where you stand in the MAGA worldview, the attempt was the least democratic way of addressing frustrations with Trump, Biden, etc. I've seen a lot of jokes about the shooter, the Secret Service, and Trump's fist pumping the air. While all subjects have the right to be discussed, dissected, deconstructed, and even just dissed in comedy, keep in mind that "it's just a joke" works much better making fun of President Biden's ramblings than Trump's near death experience. So while you may have already made your Twitter jokes, or chose to move on, here are a few things to think about when the next major event of this magnitude occurs. Because while many have the thought all jokes are okay, that doesn't mean there might not be repercussions for taking jabs at huge moments in history.
It Might Be Funny, But Is It Wise? Many comedians think about the funny first and the wisdom of the joke next. When we look at the ever changing winds of "cancel culture," making truly divisive jokes about death, rape, child abuse, etc. could jolt the crowd to pay attention, but it cold also create a situation with the crowd or the venue. At the highest levels, comics like Bill Maher have faced huge pushback for "jokes," even going back to 2001 with his hot takes on which soldiers are the real brave ones. Louis CK's school shooter jokes got him in hot water just as he was trying to return. And comics like Kathy Griffin lost all their TV deals after holding a fake head of Donald Trump. On a minor level, I remember there was an open mic comic at Flappers who once made a joke about kids that was so offensive, he was asked to not come back to the open mics. Not everyone is paying to have those images pushed into their heads. And if you want to argue, "this is comedy, man! Get over it!" I would love to know if you'd made a dime in comedy these past couple months. I've heard stories about and seen bar shows coming to a World War III climax with fists flying after a few political jokes. I once lost a whole crowd on a Trump joke that was pretty tame. So anytime you have a triggering joke, keep in mind it's a bigger gamble than making a joke about how bad your date was during sex. People might think sex jokes are gross, but they might think joking about high wire topics like the assassination of a president or the death of a kid is in bad taste. Many comics like to say, "Carlin would make the joke!" Yes, but he also would make the joke in front of people who paid to see him. They came for his brand of envelope pushing jokes. He has a built in fan base. Also, Carlin might have done the joke in his HBO special but not while sitting next to Johnny Carson. Even Carlin knew there's a time a place for edgy jokes. Asking strangers to go down dark allies with you might not work. Your 10 minute set might not be the place to piss off a complete crowd. Even if you limit your jokes to social media, you could see a lot of notifications that create a headache, causing an internal debate if you should just take it down all together. Are You Prepared To Lose Gigs or Friends Over It? Recently, Jack Black canceled his Tenacious D concert tour when bandmate and best friend Kyle Gass "joked" on stage "Next time don't miss." Black condemned the joke, saying he doesn't support any violence of any kind and he then hinted he would no longer be associated with his long time friend. Seems excessive to many, but if you joke about something that others can't associate with, they are going to respond as such. Many called Black a coward, but maybe he just thinks jokes in that tone aren't funny. He's clearly anti-Trump, but he's not pro-death. Hot button and politically driven jokes are going to hit people differently. Many people believe that you "actually believe" what you say in your jokes. People aren't sophisticated. They're complicated. They don't get satire, but they might understand complex mathematics. I've told jokes about dating that are clearly exaggerated emotional truths, but people think they're real. So if you joke about how you think Trump should have been shot, even if "its just a joke," keep in mind people might think you're advocating for the murder of public official. You might think Trump is the greatest monster in the history of the world, but if you scream about how you agree with assassinations, you're going to look like Sarah Connor in T2: Judgment Day to many other people. Do These Jokes Work In Your Wheelhouse Brand? Let's say you want to tell a few hot take jokes. Here are a few things to consider. Are these jokes within your wheelhouse? If your act is about dating and dogs, do these jokes even fit? Or will they come out of nowhere, like the bullet shot at Trump? (See what I did there?) How'd you feel about that? Did it feel out of place? Were you waiting for a joke to be made? Some people are probably upset by it. Sorry, mom. Some probably laughed. You're welcome, comics. And a few skimmed over it or didn't understand it. Hello, bots! The point is to think if the jokes make sense to your overall goals as a comic or writer. You don't want a situation where you lose a gig or get docked pay because you cross a line. There are so many things to joke about that can stay in the act. Jokes on passing political or social topics might not be the best way to spend your time when starting out. If you are going to write jokes about this story, maybe address topics from an angle no one thought of. Like, why did the shooter give $15 to the DNC? How would Biden respond in his forgetful state? How could Trump change for the better after a near death Scrooge-like scenario. Don't go for the "easy" joke in hard times for others. Final Thoughts We are in a very high octane time in our country. As the election comes closer and the options feel glim, you have a job to be funny first and run your Ted Talk second. If you want to split the room, I suggest you keep it with dick jokes and swear words. Most people understand their context within a comedy show. But the second you cross into hot take political beliefs territory, you should have a strong handle in how to walk through that material. The "it's just a joke" excuse is fine at an open mic and moving on, but once you are in front of bookers and crowds, you still need to make the choices that are best for your career. I have a few political jokes. But they fit within my brand of silly dating stories and fat jokes. You wouldn't know if I was liberal or conservative. Because I just want the crowd to think I'm funny.
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In 2016 I was in the finals of the Ventura Comedy Festival Competition. I was in my second year of stand up and couldn't believe I beat out 100 other comics to be in this position. In the greenroom one of the headliners from an earlier show was talking about stage presence. He said to another comic, "I can watch a comic and in five minutes I know if they're a headliner, feature, or opener." I was a little taken aback by the statement. Because I was thinking, there are a lot of headliners I'd seen who weren't that polished or confident, but I was unaware of comedy persona and branding at the time. I just assumed the funniest comics became headliners. But then as I continued doing stand up, I realized there is an attitude and a demeanor that lets the crowd know they are the main event. Let talk about a few things that make headliners, which gives them that Big Headliner Energy.
Placement in the Lineup Matters Part of what gives a headliner an edge, besides the experience, is having the opportunity watch the show play out a little. They can evaluate the crowd and see what types of responses they give different jokes from the openers. While headliners have an established act, seeing the way people respond can bring a different level of expectation to the stage. Often, openers are more nervous because they are walking into the unknown. The host is taking the bullet, and then the feature has to assume the response the crowd gave the host will be similar until it isn't. But after 30 minutes or so into a show, a headliner can walk up and acknowledge the crowd's attitude, make the adjustments needed, and have a better game plan entering their set. Try to scan the room early, and read the room. If they're talking and laughing at their tables, they're here for a fun time. If they look bored by their own company, you might need to bring the energy earlier. This is a huge part of Big Headliner Energy. Walk to the Stage Like You Own It Despite not always knowing what kind of set you will have, I highly encourage you to take the stage with the right energy for you. Some comics like to wave (Jerry Seinfeld) and some like to look upset (Lewis Black). Steve Martin would do his false humility "oh stop" act. Regardless, the act of being you as you walk on stage is crucial to adopting Big Headliner Energy. I see too many comics be more concerned with setting up the stage to their specifications first. Moving the stool around. Putting their phone and keys somewhere. Having access to their drink. They completely ignore the audience. Your set begins one second before the host announces your name. You need set a vibe as the attention switches from the host to you. If you are the host, then set that vibe up front. Big Headliner Energy demands some type of respect. If you look lost, scared, confused, nervous, etc. the crowd will feed off that energy too. I'm not talking about high energy either. It might be suave energy, angry energy, smiling energy, single dad energy, fun mom energy, etc. But it's your act's energy starting the set off, and then you can carry that through your show. Don't Care About the Outcome One sign of Big Headliner Energy is having an attitude that doesn't care about the outcome while on stage. You can care before and after the show, but in that moment, you have to accept that sometimes the jokes land hard and sometimes you get to steal a check. Big Headliner Energy means you don't live or die on every joke. You are trying to connect with the crowd. You are working the stage and not flustered by what's going on around you. Everything that happens around you is now game for the show. Too often comics wear their emotions on their sleaves. A look of shock hits their face when a joke doesn't land. A look of relief washes over them when a joke does well. You shouldn't be surprised by any response. You should adjust if needed, but the audience shouldn't know that you are. The goal is to be a pro every time. A few weeks ago I had a group of positive hecklers. One lady yelled out "yes! I know!" after every set up. And then another lady would throw out her own punchline after each set up. Both were annoying. Both threw off any mood or rhythm I was establishing. Both ruined jokes with eventual call backs. But I couldn't demonstrate an anger that said, "this is my show, you idiot!" That would be wrong. Instead, I had to act as if this normal, and I know what to do. Which I do. I politely told the "Yes Lady" that laughter is sufficient for the show, and she then realized she was blurting out loud. I then told "Miss Punchline" that heckling isn't allowed, because I'm getting paid by the punchline, and she's stealing my money. She shut up after that. Acknowledgment is fine. But showing them it really bothers you - not going to fly. By acting as if you have been explaining the rules of audience etiquette since you started, you'll win them back quickly. Final Thoughts Being a headliner isn't just about the years put in, the credits, or the amount of material you have. There are plenty of comics who have material and years and TV credits, but they don't bring that Big Headliner Energy. Like the comic I mentioned earlier, who said he can tell if someone has a headliner, feature, or opener vibe when they walk on stage, there is an energy you must hone in to be the best comic version of yourself. You get there by getting up as much as you can, taking the punches, and getting to the point where you aren't surprised by how the night ends up. Because in some weird way, you expected it the whole time. The ability to roll with the punches and command the room is the Big Headliner Energy we all need to capture to be the comic we were born to be. Finished The Bear Season 3 Friday night. This show has won best comedy series at every major awards ceremony, and yet I think we can all agree it’s not a comedy. It’s not even a dramedy. But what it is - it’s one of the finest most innovative television shows ever put in that little magic box we call a TV. The story of a fine dining cook Carmy who returns to Chicago to take over his family’s failing beef sandwich shop has evolved into one of the best comfort food shows on air.
Season 1 was okay. Almost confusing in its minimalist stylistic approach. An anxiety filled workplace show about a suicide that leads to a family reconciling. Season 2 was a huge step up, in production, scope, and storytelling. The way the characters are forced to change, grow, and trust was awe inspiring - like a great sports drama. Season 3 is a masterpiece in style and character development. Think of the 10 episodes as a 10 course meal with appetizers up front and a delicious course of an episode following the previous one. There are moments of such tenderness and kindness, you’d be a monster not to feel utter joy when characters reach out to each other to be the support family should be. I originally was upset when The Bear stole Ted Lasso’s last season thunder, but this Season 3 was as good as Lasso’s 2 & 3, and if you know me, that’s a real compliment. It’s on Hulu. Bon Appétit. We are 6 months into 2024 and that means the studios and production companies will start releasing their box office giants and strongest Oscar contenders between now and Christmas. Usually, the first half of the year is lucky to have a few great films, but because of last year's strike and the still lingering effects of Covid holdovers, 2024 is on pace to be a great year in cinema. While I wasn't a fan of Dune 2, many are considering it a frontrunner for Best Picture and a lot of tech awards. For a March release, that shows the strength of the film's appeal. I've seen 34 releases specific for 2024 so far. I've watched 80 overall. I'll probably catch over 150 once the streamers pick up films like If and Kong X Godzilla, and other films I can wait to catch at home. But so far I've given 9 films a 4 1/2 or 5 star review on Letterboxd, meaning they are already in contention for top ten of the year come next January.
I'm going to list the ten films I've enjoyed the most this year and put the link to my review under their title. These films range from quirky independent films, to horror, to epic action adventures. I won't rank them today, but I will list what my favorite film so far this year has been. As the rest of the year unveils itself, I have to say films like Heretic, Deadpool V. Wolverine, Joker 2, and Blitz all excite my movie gong sensibilities. So here are the 10 best films I've seen so far this year: BEST FILM (SO FAR) Kinds of Kindness * * * * * Stars Read my Full Review Here Yorgos Lanthimos tells three separate stories with the same actors, including Emma Stone, Jesse Plemons, and the delightful Willem Defoe. The stories are fantastical in nature, based in some sense of the real world, only to shatter those expectations and take us to dark corners of our own soul. This is an ambitious film, full of ideas and images we don't see in movies. By not trying to please anyone, it ironically becomes the most pleasing experience I've had so far. BEST OF THE REST (NO PARTICULAR ORDER) Challengers * * * * 1/2 Stars Read my Full Review Here A sexy sports drama with three dynamic performances. Zendaya puts herself into Oscar contention as the once brilliant tennis player turned coach/wife/mother not completely sold on any of those roles. Kingdom of the Planet of the Apes * * * * * Stars Read my Full Review Here This isn't an action film about monkeys. This is Shakespeare with a sharp political satire bent. When the king yells "What a wonderful day!" I can't help but think how it was the day I saw this explosive masterpiece. Thelma * * * * * Stars Read my Full Review Here June Squibb steals the show after a scammer steals $10,000 from her. Richard Roundtree co-stars in a final performance that is warm and lovely. A very funny and poignant film. Inside Out 2 * * * * 1/2 Stars Read my Full Review Here Pixar goes the full Toy Story 3 on us here with an emotional (get it?!) rollercoaster as young Riley hits puberty and has new emotions like Anxiety and Envy to make Joy's life miserable. Hit Man * * * * * Stars Read my Full Review Here Richard Linklater made the sexiest, funniest, wildest comedy caper of the year so far. Glenn Powell is becoming a movie star playing a fake hit man, and Adria Arjona is memorizing as his potential target and love interest. The Bikeriders * * * * 1/2 Stars Read my Full Review Here Austin Butler, Tom Hardy, and Jodi Comer command every scene as mid-west bikers and the woman Butler loves in Jeff Nichols picture-esque drama filled like a cross between Goodfellas and Easy Rider. In a Violent Nature * * * * 1/2 Stars Read my Full Review Here Easily the most divisive film on this list. A horror film that dares to look at the serial killing of a mythological monster from his point of view, this slasher is a somber yet gruesomely violent experience. If this tells you anything, I can't get it out of my head. Furisosa: A Mad Max Sage * * * * * Stars Read my Full Review Here Everything I wanted Fury Road to be, this is George Miller's finest edition to the Mad Max series. Chris Hemsworth, in a wild turn, gives a great performance as the madman and Anya Taylor-Joy captures all the brooding toughness Charlize Theron did the last time around as the title character. Sasquatch Sunset * * * * Stars Read my Full Review Here Without any dialogue or plot, four sasquatches wonder the forest, eating, pooping, and having sex. It's a wild existential comedy with a lot to say about how our inner natures can both help us survive and drive us insane. To read all of my Reviews on Letterboxd, click HERE The scariest realization I made in childhood was that you couldn't spell the word friend without the word "end." I was in fourth grade. Then when I realized the first part was the word "fri" or aka "fry," this existential epiphany hit me hard. All friendships are bound to end. And potentially fry up in the heat of whatever caused the friendship fire. Clearly, I was a blast at pool parties with my Nietzsche-esque worldview on relationships. Yet, at 43, I can say there is a particular truth to this otherwise pessimistic prism of the world. Most of us have lost more friends than we have now. Some due to circumstance or geography; some due to selfishness or value changes. The same can be said of jobs, where one day we are positioning ourselves up the corporate ladder and the next we are resigning or being escorted out by security. In the great circle of life, as Mufasa taught us, the grass grows, something eats it, and then they die. I know it feels more spiritually comforting when James Earl Jones says it, but that was the basic idea. So when I tell you most comedy or content collaborations are the beginning of the end of a friendship, I'm saying this so you can proceed with caution. As someone who has worked with many people, I can tell you, that its best to work with strangers who become friends instead of friends who will eventually become strangers - and as hard as that is to hear - it comes from a place of observation and personal experience.
Collaborating on Comedy Works Only If Egos Don't Exist Let's say you have a friend, and you want start a show together or create content sketches together, because two are better than one, keep in mind that while generating a lot of ideas can be a positive experience, in the end, you can only choose one idea at a time. And unless there is some form of understood hierarchy in place, personal agendas always come out, leading to eventual antagonism and break ups. Don't believe me? Ask Paul Simon & Art Garfunkel, Adam McKay and Will Ferrell, and Bill Murray and Harold Ramis. Garfunkel chose a movie career over the duo's next album. Murray and Ramis couldn't see eye to eye during or after Groundhog's Day. And McKay choose John C. Reilly over Ferrell to play Dr. Jerry Buss in Winning Time, and their friendship since 1995 ended that day. There is a risk in trying to co-lead a project. Arguments will happen, especially when money or fame are thrown into the mix. There are collaborative situations that would work in other industries. Maybe building a car together or taking turns filming audition tapes is manageable. But when both parties have a strong point of view, a split in vision will occur. Ironically, even if someone is more passive and agreeable, they will get called out for not coming up with enough ideas, but then get damned if they push back on their own pitches. It's a lose-lose scenario, no matter the strength of the friendship. Idealists v. Opportunists With most duos the fighting occurs between the Idealists and Opportunists. Opportunists are the ones who like throwing money around. They're the party animals. They see the upsides first but also the upsides for themselves. They like running comedy shows to get to work with comics they want to build relationships with. They cast actors who they want to build intimate relationships with. They see people as serving the project and them. They want to cast their friends and build their individual brand. While it's not wrong to want to help friends, make or spend money, build a career, and maybe even find the love of your life on set, making that the priority of the project is going to rub other people the wrong way. Idealists are different, and are purists in nature. They put the project over their own needs and brand. They want everyone to think about all the different possibilities, to focus on the budget, and create the best show, even if sacrifices have to be made. If a comic isn't that funny, you don't book them. If the script needs a rewrite, you work hard and maybe even postpone a week. Idealists are perfectionists and see where the problems down the road might be. They even sacrifice their own gains if the show or project benefits. It's not being a Debbie Downer or pessimist. It's an actual realist, who just wants the audience to enjoy themselves. Freud called these the Id and Super Ego. The Id is the more self-centered aspect of the self, whereas the Super Ego is the rule follower and rule maker. Both are needed, but unless both have a clear understanding of their specific agendas, disaster will ensue. Best Practices When Creating a Comedy Show If you do co-produce a comedy show, there are a few best practices to make sure no one takes advantage of the other and that the show lasts as long as possible. First off, establish what you want the show to be. Is this a show for friends to be booked on? Do you want to have a headliner? Do you want to pay anyone, including yourselves? How many comics and how long do you want each person to do? While you might think these things "will work themselves out" - they don't unless you work them out. Some people work well in chaos, others don't. But everyone can follow a basic agenda. One rule should always be in booking comics that both of you have veto power. So if one of you doesn't like a comic and can explain that reason clearly, the other should respect your wishes. If they are always knocking down your comedy choices, then this might be a red flag. Keep in mind that each of you have a different background. One of you might owe a show to someone and they have to accept that. If you book multiple shows, booking out a few months in advance can help spread out the favors and favorites early. If you don't want to rotate hosting responsibilities, then I suggest you find one consistent host you both like. Other protocols might be one person books and deals with comics and the other makes flyers and organizes with the venues. You don't want to split up the same tasks, as that creates a lot of unneeded "I'll get back to you" conversations. In business we call that the Waterfall Method. Where a series of tasks have to get done first, and then people point fingers claiming responsibilities weren't done. You want people to be able to work as a team, but also alone. When Creating Online Content Be a Team This can get really tricky. I know a lot of comics who got together, made a series of sketches, and ended the relationships faster than their last collab. Here's why: Too many cooks in the kitchen. When creating online content, you really need a singular voice. In television it's the show runner. In cinema it's the director. In reality TV, it's the executive producer. In most projects I've collaborated in, I was the writer. Sure, people can add ideas, but they understand if I don't like them, it's best to keep the script or sketch as is, and then you can shoot a few alt takes if needed. Try to have one person be the focal person in posting and running the social media accounts. If you want to have one person run TikTok and the other run Instagram, that's fine, but allow them the freedom to run it as they want. Being a micromanager to an "equal," won't work. The group can have access to all the socials, but it's best to have one person run them. When it comes to monetizing the content, it is best to create a separate account. This could include money you earn from IG or TikTok but also from potential investors, sponsors, and crowdfunding. If all the money goes into a mutual account, it will be far easier to track spending and allows access to both parties. Trust me, you don't want one person taking all the money, especially if taxes are factored in down the road. Maintaining the Friendship Over Producing the Shows While many people can work in a group, I've found most stories end badly. When I took the job at Flappers in 2019, I knew that it was really just the beginning of the end. Because every job ends with people quitting or getting fired. Rarely are there opportune times to split ways. My story ended with a bad faith financial arrangement from management, leading to a now burnt bridge. But, I knew that would be a possibility when I started. I saw how it ended for others. But I assumed I'd learn a lot, and I did. If anything, I took the job knowing we'd burn the bridge, which gave me a freedom to not have to deal with the nonsense I wasn't a fan of to begin with. I've ran shows with people, only to have them get burned out and no longer want to run them. Most of them don't do comedy anymore at all. I've also had great relationships where roles were defined and we kept it professional. I discourage "friends" from running shows together because "friends" will just assume they can behave less professionally. It's like a roommate situation. You really don't know a person until you share space with them. And I've had roommates not pay rent, change the rent price, and bring in other people without my consent. The headaches aren't worth it anymore. If you move in with your best friend, and they're a bad roommate, you've lost a roommate and a friend. Same goes with co-producing comedy content and shows. What you want to do is be supportive more than you are reliant. When I worked at Nickelodeon I met a writer who submitted their spec script as a duo but the network only liked him. So he dumped the buddy and wrote on the next three hit shows, whereas the partner moved back to the East Coast. Loyalty in this industry is rare. And money and fame and status only complicates it. Final Thoughts If you are thinking of teaming up with someone, I encourage you to overthink everything in the beginning from length of the shows or content to the payment percentages to how you'll spend money up front. This will do two things: 1. You'll see how organizing makes them act and react. 2. It will catch creative red flags early on. Complimenting each other should be the main goal. Maybe there is a writer and director. Maybe there is a booker and a venue producer. One person might have the money and the other has the people skills. And it's okay if one or both of you see value in building your brands, but be honest up front. If the comic wants to use the show to book their friends as opposed to swapping shows with stranger, then adjust the bookings accordingly or just back out immediately. Never make last minute changes without running it by them, even if it means it'll take an extra minute. Don't be offended if they call it "my show" to others just to simplify communication. It is their show too. And always allow an open door to ask questions. If there is a huge benefit in co-creating or co-producing, it's the potential to learn better business skills and patience. Even MORE Final Thoughts In the end, keep in mind that comedy is not a team sport. That's improv. And if you don't play well with others, then team sports aren't for you. On the content side, keep in mind there are reasons for unions in Hollywood. Writers write parts so actors can act. Actors act because directors direct. And directors direct because producers produce. If it was all committee based, then it would become an alliance like reality show with certain members getting voted off. If you set your objectives and expectations up front, you'll be way less bitter and upset in the end. I mean, you'll always be bitter and upset, you're a comic, but it will at least be less. |
Paul Douglas Moomjean Blog's About What's on His MindBlogging allows for me to rant when there is no stage in the moment to talk about what's important and/or funny to me. Archives
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