The discussion at the poker game is based on real conversations between Louis C.K. and Rick Crom. Some of the dialogue was ad-libbed. See more »
When Louie is on Facebook looking for Tammy, the profile he is logged on to belongs to an Amy Silver, possibly the show's production designer. See more »
You know, I know it's a free country, Rick, and I don't care what you guys do, but...
Thanks, Nick. The next time I'm about to go down on a big, juicy cock, I'll remember it's all right with you.
You should have that stamped at the head of the cock.
[He smiles and gives the "okay sign."]
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Written by Errol Brown and Anthony Wilson
Performed by Ian Lloyd
Courtesy of Machine Dream Records
(theme song) See more »
CK has a sitcom that every stand up comedian doesn't dream of. So many of them came close to their version of authenticity but in here, Louis CK, the creator, floods out every such famous show in one wash. Among many, many other reasons to go through this philosophical journey with CK, is to inspire from the way he films this New York City. As in the world he creates here increases the quality of television that lops off commercial branches and deepens the root through pure essence of the character, fooling you into believing that this is not a TV show. It is no crowd pleaser. And this shouldn't come as a surprise considering CK's image as an edgy comedian.
He pushes the line after every joke. You try and heal yourself and he keeps scratching the wounds harder. Another reason why I am drawn towards his comic style is that the frustration that he embodies- any stand up artist would complain and show his or her anger towards the mundane activities to connect with the audience and mock over the situation- for the laughs doesn't just wing by for the crowd and instead it is weaved out as a philosophical or ethical questions raised and discussed.
The series takes the bar a little low, optimistically, and maybe that is why people find it more sad that it actually is. But if we think about the world CK paints, the characters aren't particularly sad in contrast to the world. It is just that we are set in a dark and comical yet fair world. What's CK doing here is staging a part of life we haven't seen. It is those same streets and familiar character, it's just that we haven't seen them like this, saying things like this, expressing with a notorious behaviour like such. Where the only issue should be is how effortful it sometimes feel to warp into this world, this tedious part of the narration consumes a lot of energy from us, the viewers and Louie, a comedian; nay, a father.
As I mentioned before too, the subjects, the topics, the silence as those things shift from one state to another isn't as smooth as it should be. Take the first act, the poker table scene, now it gets you hooked in, for sure, when the conversation drifts back to a monologue but before it does, the damage done isn't irreplaceable. The second act on the other hand shows us some of the best still, paused, comic timing of all; it's all in the editing.
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