Corporate CEOs hate political noise. Comedians thrive on it. Did Netflix’s co-CEOs sense that they would be stirring both noise and protest rallies when they signed onto Dave Chappelle? Or when the…
Some colleagues wondered what words of humanity would have appeased activists like Australian comic Hannah Gadsby, who declared: “You don’t pay me enough to deal with the hate speech dog whistling you refuse to acknowledge.” Whatever Netflix paid Gadsby, it forked over $24.1 million for the Chappelle special versus $21.
Some point to the headlines accorded to the 10 University of Michigan music students who last week demanded their professor’s expulsion after he showed them a 1965 version of Laurence Olivier’s. The intent of their Chinese-born professor was to demonstrate how Shakespeare’s works could be adopted to opera, as Verdi had done. The problem: Olivier was in blackface.
The professor was forced to step down amid a flurry of apologies. In departing, he observed that surviving the Chinese cultural revolution as a young men was relatively easy compared to its U.S. counterpart. While professors are not accustomed to showbusiness firestorms, stand-up comics have courted them for generations. Mae West was grateful for her 10-day sentence to a prison workhouse in 1927 for “suggestive” dialogue . Richard Pryor was arrested in Richmond, VA, at the same moment his co-writing credit appeared on Mel Brooks’in a sense replicated the moods of his stand-up predecessors, critiquing gender issues propounded by the LGBTQ+ movement — “the Alphabet people,” he called them.
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