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Life and Beth (Hulu): TV Review

LIFE AND BETH

10 EPISODE SERIES ON HULU STARRING AMY SCHUMER

My Rating: 1.5 out of 5 stars

My Recommendation: SKIP IT.

I like Amy Schumer…or at least I liked her 2013-2016 Comedy Central sketch comedy show Inside Amy Schumer, which was a clever knock-off version of Dave Chappelle’s Comedy Central show Chappelle’s Show, which ran from 2003-2006.

Unfortunately, since the initial success of Inside Amy Schumer, Schumer’s comedy has gone precipitously downhill and she has devolved into being little more than a parody of herself.

For example, in 2015 she wrote and starred in Trainwreck, which was directed by Judd Apatow, who was the big comedy director/producer of the time, which was meant to catapult her into the upper echelons of Hollywood and the public consciousness.

But a funny thing happened on the way to comedy stardom, or not-so-funny as the case may be…Trainwreck, ironically enough, was a trainwreck. Trainwreck was a distillation of all the worst things about Schumer but its most grievous sin was that it wasn’t even a little bit funny. To give an indication of how ill-suited Amy Schumer was for the big screen, former pro-wrestler John Cena comedically outshone her and was easily the funniest thing in the whole movie.

The climax of that film, where Amy dances seductively with cheerleaders in order to impress her boyfriend, is the cringiest of cringe for all the wrong reasons. What made Schumer interesting as a comedian was her bravado embrace of this heretofore somewhat anathema archetype of the party girl/disinterested slut. But Trainwreck reduced her to groveling to get the good guy, which obliterated the comedy archetype she had so masterfully embodied up to that point.

Since the failure of Trainwreck, Schumer has kicked around and done nothing of note except for some annoying tampon commercials.

But now in 2022…she’s back with her high-profile co-hosting job at the Oscars and Life and Beth, a series on Hulu.

To Schumer’s credit, of the three Oscar’s hosts this year she was the funniest, but that’s like being the tallest midget in the Lollipop Guild. This year’s Oscars will, of course, forever be remembered for Will Smith’s egregious slap, but I must admit that as I watched Life and Beth, I felt more and more empathetic with Will Smith as the urge to slap someone became overwhelming. I guess Amy Schumer just brings that out in people.

Life and Beth is one of those shows that you watch and don’t care about anyone in it, don’t care what happens and don’t want to keep watching but for some reason, usually mental/emotional/entertainment fatigue, you just keep watching it. It is a mind-numbingly narcissistic celebration of victimhood sad-sackery with nary a laugh to be found in the manure pile of endless ennui.

The show is ten episodes long, and each episode runs between 25 and 30 minutes, but they are the longest 25-30 minutes of your life. I pride myself on not checking to see how much time is left in movies or shows when I watch, but in a 25-minute Life and Beth episode I found myself checking three of four times how much was left to bear, and being shocked and dismayed at how much more I had to endure.

The story of the show is that Beth, played with a rote, dead-eyed indecisiveness by Amy Schumer, is a wine saleswoman in NYC in a dull and dour relationship with an absurd co-worker. Her relationships with her family are strained as she’s estranged from her father, her mother is a domineering nag and her sister avoids her.

Beth’s true narrative journey begins when her mother dies in a car accident and Beth is thrown into a storm of existential angst that leads her back to her Long Island childhood home (where she is haunted by poorly executed and casted flashbacks to her teen years) and falls for a local farmer, John (Michael Cena), who is somewhere on the autism spectrum…apparently the annoying part of it.

John is so repellent and Beth so repugnant, and Beth’s attraction to John is so lifeless, that their courtship is akin to watching two convicts assigned to the same prison cell try and figure out who gets the top bunk.

Beth’s character arc makes no sense and carries no dramatic weight because she doesn’t seem like a real person and none of her relationships, be it with her mother, sister, best friends, father or boyfriend, seem remotely authentic or genuine.

Comedians, like all damaged people, have a tendency to conflate and confuse pity with love. Schumer is no different, as she wants us to pity Beth thinking that means we love her. The problem is that Beth is so dull that she generates neither pity nor love. The only pity I felt was for myself for thinking I had to keep watching this banal drivel.  

Life and Beth is one of those shows that seems to be more interested in being diverse and inclusive than it is in being funny or interesting. The show boasts a plethora of minority characters, including Murray Hill as Murray, Beth’s transgender boss, but the diversity feels painfully forced. But to be fair, the manufactured feel of the inclusivity could be a function and extension of the show being comedically anemic and devoid of humor.

The one thing I did find amusing throughout the show was a piece of purely unintentional comedy hiding in plain sight, namely, whoever dressed Amy Schumer had a wonderful sense of humor, but I’m afraid Amy wasn’t in on the joke. Nearly every outfit Beth wears, is a God-awful embarrassment, unflattering to the extreme, that accentuates the very worst of her features.

Schumer’s wardrobe is so atrocious that it reminded of an acting coaching client I once had, a very accomplished actress and truly beautiful woman, who scored a prominent guest spot on a highly popular tv show. On the show, they dressed her in what may be the ugliest sweater in the history of clothing. This puffy, fuzzy sweater with a giant triangle attached on one shoulder, was a crime against humanity, an absolute abomination, so much so that my client’s manager refused to use her terrific performance on her reel because the aggressive ugliness of the sweater overpowered her acting and would repulse casting directors. Nearly everything Amy Schumer wears in Life and Beth is the equivalent of that sweater.

Amy Schumer’s wardrobe aside, Life and Beth is not funny…at all. If you wanted to check it out just to see if there’s a laugh or two, don’t waste your time because, trust me, there isn’t.

If you’re looking for laughs go into the vault and watch Inside Amy Schumer, and remember a time when she was bawdy, ballsy and brash and best of all…funny. It seems like such a long, long time ago.

©2022

New HBO Max Teen Comedy UNpregnant Seems to Suggest Abortion is Nothing but a Barrel of Laughs

Estimated Reading Time: 3 minutes 24 seconds

UNpregnant appears to ignore the moral complexity of abortion in favor of promoting an insidious amorality on the issue. 

UNpregnant is the controversial new abortion buddy comedy movie set to premiere on HBO Max on September 10th.

The film, based on the novel of the same name, tells the story of Veronica, a pregnant 17 year-old girl, and her friend Bailey, as they go on a wild and whacky road trip from Missouri to New Mexico so that Veronica can get an abortion.

In its trailer, UNpregnant sells itself as a zany road picture where hilarity ensues when a goofy odd couple of teenage girls steal a car and try to hop a train on their epic odyssey down the yellow brick road to abortionland.

The road picture narrative is a long time Hollywood staple, think Bing Crosby and Bob Hope with their numerous “road to” musical comedies of the ‘40’s and ‘50’s…except in UNpregnant, Crosby and Hope are teenage girls crossing state lines to get an abortion. Hilarious!

It is easy to see why pro-life advocates are up in arms over UNpregnant as the trailer makes the film appear to be a piece of pro-abortion agitprop specifically designed to antagonize them by making light of abortion and demonizing Veronica’s Catholic parents as “Jesus freaks”.

2020 has been a banner year for decidedly pro-abortion films with UNpregnant, the critically acclaimed drama Sometimes, Always, Never, Rarely, and the indie dramedy Saint Frances, which all have an amoral attitude toward abortion, all being released.

Notice I described these films as pro-abortion and not pro-choice, that is because pro-choice implies a grappling with the moral gravity of the abortion decision, whereas pro-abortion removes any moral dimensions at all, and reduces abortion to being akin to getting a nose piercing.

This amoral approach to abortion is perfectly summed up by Kelly O’Sullivan, writer and star of Saint Frances, who told Time magazine, “I wanted to write a story where it’s a non-traumatic depiction of abortion. It’s ordinary and light and sometimes funny…”

Yes, because if abortion is anything it is ordinary, light and sometimes funny.

Hollywood has not always been so devoid of nuance in its depiction of the extraordinarily complex issue of abortion.

In 2007, Juno, Knocked Up and Waitress all portrayed their female protagonists wrestling with an unwanted pregnancy and highlighting the choice part of the pro-choice position, with each ultimately choosing to not have an abortion.

These films were wildly successful, with Juno and Knocked Up raking in $231 million and $219 million respectively, and Waitress pulling in a respectable $22 million with just a $1.5 budget.

Juno also garnered four Oscar nominations for Best Picture, Best Director and Best Actress, while winning for Best Original Screenplay.

The commercial and critical success of these films was a result of their mirroring American’s extremely conflicted feelings on the subject of abortion.

Polling shows that a majority of Americans are pro-choice in some form, but as Barbara Carvalho of Marist Poll told NPR, “People do see the issue as very complicated, very complex. Their positions don't fall along one side or the other. ... The debate is about the extremes, and that's not where the public is."

In the thirteen years since Juno, Knocked Up and Waitress hit big screens Hollywood has abandoned the nuance and dramatic complexity of American’s view of abortion in favor of the extremist pro-abortion message of UNpregnant.

Tinsel Town is no longer interested in connecting with as wide an audience as possible but rather prefers to signal their self-professed virtue with cultural propaganda that directly targets underage girls while preaching to the minority of pro-abortion zealots in their midst.

Most troubling for movie lovers is that internal moral conflicts are what make for the most interesting drama and comedy, and to ignore them in favor of self-aggrandizing political posturing is self-defeating for both artists and the movie industry.

An example of a mainstream filmmaker successfully embracing morally complex issues, including abortion, is Knocked Up director Judd Apatow, who has made a career of wrapping moral debates in his signature raunchy humor.

Apatow’s films, which include 40 Year Old Virgin, This is 40, Funny People and Trainwreck, are “conservative” comedies where adult protagonists face moral dilemmas and though tempted to make the libertine choice, eventually make the difficult but responsible one instead.

As Hollywood’s cultural politics become ever more strident, Apatow’s formula, which has made him a gazillionaire, will become anathema in the movie industry and “get woke, go broke” will most assuredly be made manifest in La La Land.

The UNpregnant trailer, which boasts such cringe-worthy dialogue as “it’s my life, my choice” and the insipid tag line “when life gets off track, forge your own path”, makes clear the popular 2007 approach of entertaining adults with moral complexity is now abandoned in favor of indoctrinating kids with extremist agitprop.

Maybe when UNpregnant comes out we’ll discover that it’s a terrific film and more morally complex than its trailer suggests…or maybe it is the canary in the cultural coalmine reflective of how the new, grotesquely woke Hollywood is desperate for its cancer of vapid amorality and decadent depravity to metastasize to the next generation of girls and young women. My bet is on the latter.

 A version of this article was originally published at RT.

©2020