Is there still a place in the market for a choral TV series centered on the lives of stand-up comedians? Since Seinfeldthe small screen has certainly not been stingy with series of or on stand-up, of Louie at Hacks Passing by I’m Dying Up Here up to Mrs. Maisel, fabulous woman.
However, Funny, exit [le 18 mars] on Netflix, seems to be blowing a wind of change in the genre: her characters are endearing, and if the picture she paints of the stand-up world is sometimes simplistic, it faithfully reflects a prosaic reality which, in the collective imagination , looks heroic.
The reflection of a young and diverse scene
Small detail – which perhaps explains this freshness –, Funny is a production made in Francea country where the stand-up scene is younger and welcomes actors of much more diverse origins than its British and American counterparts.
Last year, I quoted in an article [publié dans The Guardian et consacré à la scène française du stand-up] this retort from the Franco-Ivorian humorist Shirley Souagnon: “Do you know the difference between stand-up and theatre? It is the color.”
A cocktail of joys and sorrows
Funnycreated by Fanny Herrero, the screenwriter of the phenomenon series Ten percent, recounts the joys and sorrows of four stand-up artists who perform in a small Parisian comedy club, Le Funny. We thus meet the Franco-Algerian Nézir [Younès Boucif] who lives in the suburbs with her invalid father and drags the devil by the tail, and Aïssatou [Mariama Gueye]a young black woman on the threshold of fame since one of her videos went viral, but who puts her couple in danger by the allusions to her private life that she delivers in her number.
Add Bling to this cocktail [Jean Siuen]son of im
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Source of the article
The Guardian (London)Independence and quality characterize this title born in 1821, which counts among its ranks some of the most respected columnists in the country. The Guardian is the reference newspaper for the intelligentsia, teachers and trade unionists. Oriented to the center left, he is very critical of the Conservative government.
Unlike other British reference dailies, the newspaper has chosen a site with free access, which it shares with its Sunday edition, The Observer. The two press titles switched to tabloid format in 2018. This decision was part of a logic of cost reduction, while The Guardian had been losing money continuously for twenty years. A successful strategy: in May 2019, the editorial director, Katharine Viner, announced that the newspaper was profitable, a first since 1998.
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