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Do you remember, there was a rumor going around for awhile that men like strong women? On the one hand: Cummings’s set is comedy that is directly in the tradition of George Carlin and Joan Rivers and Richard Pryor.
People would say that, they’d be like, “Men like strong women. And also, more recently, of Jon Stewart and Key & Peele and Tina Fey and Stephen Colbert and Amy Schumer and John Oliver and pretty much every other performer who’s currently enjoying a successful career in the field.
She used her HBO special—the performance of which was a “lifelong dream,” she confessed to her audience—for purposes of, essentially, punditry. Cummings’s observation that there’s no “CEO” category for women in porn, followed up by her declaration that “guys aren’t watching porn like, ‘Yeah, girl, get that promotion, yeahhhhh,’” is pretty much comedy gold. Her set has higher aspirations than simply to make its audience laugh. All of that makes a fitting embodiment of the general assumptions comedy (stand-up, and beyond) is making right now about its role, and its power, and its responsibilities.
If traditional observational comedy takes as its key premise the highlighting of the hard data of everyday life—the Seinfeldian “what’s up with airplane bathrooms? At points during the set, a casual channel-flipper could be forgiven for confusing HBO with PBS. They’re assumptions that are influenced by You Tube and social media and Marc Maron and Cummings’s theories of feminism and relationships and the power dynamics therein are airing, after all, during a time that finds Lena Dunham campaigning for Hillary Clinton, and Elizabeth Banks lobbying for Planned Parenthood, and Shonda Rhimes moonlighting as an author, and Gwyneth Paltrow moonlighting as a life coach, and Sean Penn being Sean Penn.
It’s comedy, however, that is more than comedy alone.
It’s comedy that is intent on making a political point. To the extent that speaks to a much larger trend in comedy: one that has elevated celebrities to the status of Tastemakers and Moral Guides, and that treats comedians, in particular, as a species of public intellectual.
In that context, it makes some sense that comedians in particular—comedians, who have always brought a highly subjective and politics-inflected point of view to their work—would become, in their way, commentators.
Tina Fey’s And comedians’ capacities as pundits are becoming, increasingly, institutionalized.
It’s an age that, in conflating “celebrities” and “brands,” insists that actors and other entertainers are also, more broadly, “influencers.” That celebrities have something meaningful to say about how we normals should live our lives.
During a time of intense political partisanship, in particular, it can be difficult, and awkward, to talk about the things that need talking about.
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These aren’t jokes-with-an-underlying message, buried subtly under layers, as per stand-up’s tradition, of self-loathing and/or braggadocio; the jokes, here, the message.
Cummings found a way to turn her jokes into theories, rather than vice versa.
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