The pilot features added star power in the form of guest stars Sebastian Stan Captain America: the Winter Soldier and Alfred Molina Spider-Man 2. Cassie's battle to hone her voice also results in the one truly memorable stand-up performance in this first episode, as her happy-go-lucky facade briefly cracks as she works through a profound personal tragedy in the middle of her act. It never gives you enough time to become fully invested with a certain character or theme before whiplashing you to another series of events. Many of the series' incidents and observations and issues are pulled from the pages of Knoedelseder's book and compressed into a relatively short period in 1973, in the wake of the Carson move. Scenes like that are a strong showcase for what the series could be after it works through its early hurdles.
Second, and more simply, is Ari Graynor as Cassie, who gives a strong, unintentionally meta performance as a female comic buried by an unfunny patriarchy. For what it is, it's good, or better than it might be. Image via Showtime All is not lost, however, in terms of the overall series. It feels like a show being reconceived on the fly. There's a lot of observational humor and riffs on topics of the day - Roe v.
The second season premiered on May 6, 2018. The Verdict I'm Dying Up Here shows plenty of promise in its first episode. Most of the costumes feel more like exaggerated parodies of '70s attire, with plenty of polyester suits, bell bottoms and long, unkempt hair to go around. And yet you are expected to buy into the feeling in the room — that special moment when a comic connects with an audience; with his or her material; with the moment provided to them by a stage, spotlight and microphone. Canter's Deli, it should be said, plays itself, frequently and well.
MacDonald Cindy Caponera July 16, 2017 2017-07-16 0. After hours, the comedians flee to a local diner, commiserating, confessing, insulting and laughing. Felbottle and Levine seem intent on reminding viewers in every single frame that the show is taking place in 1973. Clay in fact is dead when he says this — as an embodied bit of conscience — to ex-girlfriend Cassie, who is about to get her first shot on the club's main stage. Introduced checking into a hotel with a six-pack of Budweiser and no luggage, we watch Clay catch his Carson appearance, all alone, sitting in his bed. Trim a few faces from this crowd and you have a better show.
There's a fair amount of new age schamaltz, but toned down for the millennials who are, you know, cooler than their older brothers and dads. Image via Showtime So what about the comedy? The general tone feels a little out-of-whack, making occasional plunges into dark territory that doesn't quite mesh with the rest of the episode. Stan plays Clay Apuzzo, a rising star whose newfound success is a source of delight and jealousy for his friends. The cast is strong, even if the stand-up humor is pretty formulaic. But while there's always an appeal in watching a series that aims to explore the tortured soul that exists the 99% of the week they aren't on-stage, I'm Dying Up Here's heavy ensemble focus proves to be its undoing. It can feel a little predictable at times, even a little phony, including the odd meaningful speech made about purpose and authenticity.
It's merely a question of space. Goldie attempts to join into a partnership with him as she expands her business pursuits. In more ways than one, I'm Dying Up Here tries harder than necessary. The only good part of their lives is the 15 minutes they get to be on stage, maybe once a week, sometimes once a month. That volume's focus was Mitzi Shore, her Comedy Store and the comics who played there in the 1970s, including Richard Lewis, David Letterman, Robin Williams, Elayne Boosler, Jay Leno, Tim Reid and Tom Dreesen, along with many lost to time; his narrative arc put them on a collision course, culminating in a 1979 strike against the club that sundered some relationships forever more.
The pilot doesn't focus on any real-life comedians of the era apart from a small appearance by Johnny Carson, played by Dylan Baker , but rather a group of composite characters loosely based on the real thing. As someone who lived through a decade of standup comedy, I can tell you that I absolutely get what this series is going for. The show focuses on the daily struggles and successes of both Goldie and the comics. But Clay doesn't stick around — this is not a ghost story. Melissa Leo Homicide: Life on the Street stars as Goldie, a hard-edged comedy club owner who either nurtures a community of struggling comedians or exploits them, depending on your point of view. The episode takes a sudden, bizarre detour into Boogie Nights territory that really doesn't feel earned this early into proceedings.
It is a truth universally acknowledged that a single stand-up comedian in possession of a strong sense of humor must be in want of a stable personal life. And Ari Graynor, the series' warm heart and intentionally or not its center of attention, is Cassie, the woman. Although the series tempers nostalgia with sobriety, it doesn't seek to scrape the shine from a golden age. With a more streamlined approach and a more balanced tone, this series might just succeed in exploring the tortured private lives of these aspiring comedians. Basically, there are a lot of names and faces to keep track of in this first episode, and even with the run-time clocking in at almost exactly one hour, this episode doesn't do a great job of establishing the main cast. But then you come crashing back to Earth when something heart-wrenching or just plain unbelievable takes place. The show captures the peculiar tense camaraderie and striving oneupmanship of young comedians.
Both actors are easily and rapidly able to rise above the crowded surroundings and establish their respective characters as compelling players in the unglamorous world of stand-up comedy. Only after proving themselves with potentially years of service on the side stage do comics manage to be given the brass ring of main stage minutes. She feels like the matriarchal figure of this tiny slice of Americana, and the comedians are her children. The series is also executive produced by Jim Carrey, who brings to the table his own experiences on the improv and stand-up scene. There are a lot of other comedians, and their friends and family.
Instead though, we are just bogged down by character after character that are too numerous to even namecheck. But on the evidence of the pilot, this could be promising. Well, so far this has had one review and two down votes, so let me even the balance a little. . Some of the lessons she learns about the challenges facing female comics prove blunt and prophetic to the point of implausibility.