Peter Bert: Jude Apato and Paul Fig are in favor of comedy on the combination of two newcomers

Chris Rock was supposed to give a big smile, not a big slap, but to comedy practitioners the Oscar defeat seemed like a fitting metaphor for their state of the art.

“It would have been easier to survive with a track of laughter in the 1960s,” Lenny Bruce once explained, and her sarcastic observations would apply today.

Two shows this week by prominent producers Paul Fig and Jude Appato underscore the issues of the moment. Minx About a feminist trying to justify starting a new sex magazine from Feig; In the bubbleApatow’s focus is on a band of actors trying to exploit their quarantine in a hit movie.

Feig and Apatow, productive as producers, admit their craft is “in a strange place” in Feig’s words. A study in contrast to their styles: in personal conversations Apato wears the cautious look of an experienced standup who is always thinking, “Why am I wasting this good stuff on you?”

In contrast, Fagg shows generosity, and boldly interviews reporters who analyze the technique of expressing laughter. His credentials are undeniable, responsible for that Bridesmaids, Spy2016 edition of Ghostbusters And Freaks and geeksLegendary shows that have made careers but not ratings.

The opening scenes of her new HBO Max show are dense with pitch and debate about the magazine’s content, but skeptical viewers will be quickly distracted by the twenty male cameos displayed by younger models who look alternatively proud and weird.

He was skeptical about finding a buyer for the Fagg show until he said, “Suddenly an amazing ‘yes’ came out of Falick’s ashes.” Although the studios generally support shows based on established IP, not the real idea, his stunts apparently helped to overcome these dilemmas.

Always ready with a varied inventory, Feig has created Welcome to Flatch On Fox, which he described as a joke about a small town. He will unveil on Netflix School for good and evilReveals how young heroes and villains navigate “an enchanted landscape”.

Apatow’s strong credits reflect a more predictable focus, from A virgin of forty years Per Knock upFrom the quiet King of Staten Island Starring Pete Davidson.

Bubbles Apato represents a voyage in a different kind of enchanted landscape – it’s a joke about the virus. Critical response Bubbles Reflecting the confusion: Critics have stylistically dismissed it as “scatter shot” and “dated”, apparently not realizing that it was done that way (including Leslie Mann, David Duchavni, Iris Apato, and Fred Armisen).

The writer-director seems to be keen to make a bad movie with a bad one, while Huini is drowning in barbs about actors, craven studio executives, climate enthusiasts and animal workers. Crazy one-liners even include the remaining jokes about the Golden Globe.

Faced with a cast revolt against the generality of their line, the frustrated director reminds them: “I’m a painter and you paint.” To be sure, among the players Bubbles Literally drawn into a corner since the epidemic has alienated them from humanity.

The same problem can confuse moviegoers. BubblesLike many streamer comedies, it should ideally be seen by viewers who share a communal smile on the inside jokes – for example, the future of Benedict Cumberbatch as the next Western star.

Of the captive cast Bubbles Captured by a studio interested in creating the sixth sequel to an action-adventure blockbuster about flying dinosaurs – the 23rd largest franchise film in Hollywood history. There’s a subplot: the so-called star, who is both Israeli and Palestinian, being pushed out of the series by a tick-tock sensation with a supposedly larger appeal to a younger audience. Strictly new protocols are inherited when a crew member tests positive (it is a sex virus, as it turns out).

To the critics, Bubbles Sometimes it feels like a series of inspired improvisations. Lack of that coordination. Apatow will probably argue that comedy does not make coherence mandatory. For that matter, there is no annual Oscar circus.

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