Editor’s Word: The next story incorporates materials associated to sexual harassment and assault. To achieve the Nationwide Sexual Assault Hotline, name 1-800-656-HOPE (4673) or go to on-line.rainn.org.
“#MeToo is a solidarity motion for survivors, not a rehabilitation program for rapists and sexual assaulters.” The assertion was YouTuber Kat Blaque’s response on Twitter (now X) to comic Michael Ian Black’s August 2018 tweet supporting the “comeback” of lately disgraced comic Louis C.Ok. The alternate got here lower than a 12 months after the New York Occasions reported on allegations by 5 girls of sexual misconduct by C.Ok. Following the November 2017 story, C.Ok. revealed a press release confirming that he had made inappropriate feedback to and masturbated in entrance of feminine colleagues, and vowing to “step again and take a very long time to hear.” 9 months later, he returned to the stage with an unannounced efficiency on the Comedy Cellar in New York and new materials that addressed his profession repercussions (he claimed to have misplaced $35 million in at some point) and reframed the misconduct as an embarrassing kink slightly than the reported coercion and intimidation, the place asking permission is consent sufficient.
Sorry/Not Sorry, a documentary directed by Cara Mones and Caroline Suh and produced by the New York Occasions, and launched on streaming platforms this previous July, takes on the comic’s misconduct and its aftermath, through which C.Ok. (who declined requests to look within the movie) returned to the comedy circuit and rapidly regained an viewers. As he was promoting out reveals at Madison Sq. Backyard and profitable a Grammy, the ladies who spoke out confronted ridicule, threats, shaming, and blacklisting.
Earlier than the scandal, C.Ok. was extensively regarded in the USA as a “ethical conscience” in confessional comedy and a artistic genius. (Full disclosure: I’ve by no means adopted his comedy and knew little about him earlier than the scandal.) A joke about males “being the largest menace to girls in historical past” helped earn him feminist credit score with some followers and critics within the early 2010s, and his acclaimed FX sitcom concerning the trials of a single dad/standup comic in New York Metropolis skyrocketed him to cultural icon standing.
Sorry/Not Sorry focuses on three of the individuals who spoke out about their experiences: comedy performers and writers Jen Kirkman, Megan Koester, and Abby Schachner. The reporters who broke the story, plus just a few critics and business figures, additionally supply their reflections, vital and self-critical ones from comic Andy Kindler and TV producer and author Michael Schur, and extra forgiving feedback from Comedy Cellar proprietor Noam Dworman. In a questionable determination by the filmmakers, Black additionally will get the chance to ambivalently rationalize his 2018 tweet.
The movie’s best energy is its consideration to those three girls’s lives after talking out. Koester left comedy. Schachner was mocked in a Netflix particular by Dave Chappelle, who mentioned she has a “brittle-ass spirit.” As Kirkman notes, and Schachner and Koester reiterate, “Whenever you say something as a girl, it’s the scarlet letter, it simply turns into who I’m.” Much more eye-opening than a system that reduces survivors to their abuse whereas permitting C.Ok. the multidimensionality of a flawed artist is the revelation that his misconduct was an open secret within the comedy neighborhood. Gawker revealed a “blind merchandise” about it in 2012 and, in 2015, a report from an nameless supply. Koester, who heard rumors about C.Ok. early in her profession, places the gossip in perspective, saying, “If I learn about this shit, everyone is aware of about this shit.”
Implicit all through the movie is the query of what it means for somebody — particularly a White, cis-het man — to be “canceled,” and the way claiming cancellation is usually a path to reclaiming energy. As a number of interviewees level out, nobody is de facto “canceled”; many media figures who declare to have been canceled obtain kinder judgment and boast bigger audiences (and incomes) than the survivors of their abuse. Coming within the wake of revelations about Harvey Weinstein and Invoice Cosby, C.Ok.’s scandal appeared to strengthen #MeToo on the time, however it’s since turn into an train in justification: In Dworman’s phrases, the comic acquired “swept into” the motion’s wake-up name about “how terrible males in energy could be.”
Nobody within the movie claims that C.Ok.’s violations are on par with rape, however arguing for levels of violence is a slippery slope towards enabling and exonerating abuse. Likewise, Black’s tweet, whereas stunningly ignorant, echoed a broader impulse to reinstate the business’s energy steadiness. Not solely is #MeToo not a rehab program for sexual predators, it’s not about putting in an “enlightened” patriarchal system, which is a method of contemplating C.Ok.’s pre-scandal comedy that framed jokes about masturbation and base sexual urges as sympathetic to exploited girls, and deflected consideration from the perversity of tasks like his unreleased, Woody Allen-inspired movie I Love You Daddy. (It’s additionally value noting that C.Ok.’s celebrated takes on male shortcomings assume a gender- and heteronormative perspective that always pivots on a cliched “sexy man”/“beleaguered lady” dynamic.)
Comedy, greater than most different tradition industries, is a bastion of semi-sanctioned misogyny and sexual impropriety. As such, the filmmakers may have interrogated the comedy neighborhood’s post-scandal silence somewhat extra. On the identical time, the naked minimal of condemning C.Ok.’s habits turns into a feat on this surroundings as a result of its requirements are so low. As Kirkman says, “You don’t know one thing’s bizarre since you’ve been socialized on this world the place males get to deal with girls nonetheless they need.”
The obvious stakes of safeguarding comedy’s boys’ membership established order are evident within the defiantly “anti-woke” course of a few of C.Ok.’s post-scandal materials and the backlash of verbal assaults and threats towards the accusers; an article Koester wrote concerning the rumors earlier than the Occasions piece led to a “tidal wave of hate,” whereas Julia Wolov, whom C.Ok. masturbated in entrance of with out consent throughout the 2002 Aspen Comedy Pageant, revealed an essay within the Canadian Jewish Information that mirrored on “getting hate mail from Louis C.Ok. supporters who inform [accusers] to kill themselves.”
Comedy will stay rife with sexual impropriety and different types of oppression so long as its superstars defend punching down as “only a joke” and consolidate their affect by vilifying survivors and casting themselves as victims. Sorry/Not Sorry is incisive and disturbing as a result of it magnifies the machinations that normalize misogyny and abuse. If there’s a takeaway, perhaps it’s that there isn’t a “highway again” for C.Ok. and different highly effective abusers that doesn’t restore an abuse of energy; the one possibility is at hand energy over to the survivors.
Sorry/Not Sorry (2023), directed by Cara Mones and Caroline Suh, is obtainable for streaming on varied platforms.