Feb 22, 2010 My friend wasn't planning to wake up! A little drunk maybe??? Red Dead Redemption 2 - Getting Drunk With Lenny In Bar (RDR2 2018) PS4 Pro - Duration: 10:03. Zanar Aesthetics Recommended for you. 25 Best Stand-Up Comedies on Netflix Spring 2020 Posted By Kathy Burns on March 2, 2020. Print Email To 0. Half of a comedy special, half of a deconstruction of the nature of comedy itself, Gadsby starts the show out by first claiming she’s giving up comedy, largely in part to her experience as a lesbian and a gender non-conforming.
Has picked up a 16-episode seventh season of Emmy-winning series. The renewal is part of a first-look, all-media deal the network has signed with series’ co-creator.In partnership with Comedy Central Productions, the network’s new studio-production arm, Waters will develop premium comedy content for TV and digital platforms via his Be Nice or Leave production company.“Derek Waters has repeatedly proven his comedic genius as a creator, actor, and director across multiple platforms through our hit, Drunk History.
That series merely scratches the surface of his creative output, and we’re so excited to develop even more projects with him through Comedy Central Productions,” said Sarah Babineau and Jonas Larsen, Co-Heads of Original Content, Comedy Central. Related StoryBoundary-pushing Drunk History is nominated for three Emmy Awards this year – Outstanding Variety Sketch Series, Derek Waters for Outstanding Directing for a Variety Series, and Outstanding Picture Editing for Variety Programming. Throughout its first six seasons, the series has averaged over 1 million total viewers for each episode in Live+7.Created for television by Waters and Jeremy Konner, Drunk History is produced by Central Productions and executive produced by Waters and Konner, Greg Tuculescu along with Gary Sanchez Productions’ Will Ferrell, Adam McKay and Owen Burke.Waters and his production company Be Nice or Leave joins a growing roster of talent with first-look deals with CCP, including Paulilu, the production company from Lucia Aniello and Paul W. Downs; Anthony King; Irony Point, the production company from Daniel Powell and Alex Bach; and Stuart Miller.“I couldn’t be more excited about this new relationship with Comedy Central.
They took a chance on me and have been fantastic in supporting Drunk History over the past six seasons. I look forward to creating thoughtful, entertaining and hilarious programming,” said Waters.Subscribe to and keep your inbox happy.
Featuring rare and never before seen footage, this is the mind boggling story of The National Lampoon from its subversive and electrifying beginnings, to rebirth as an unlikely Hollywood heavyweight, and beyond. A humour empire like no other, the impact of the magazines irreverent, often shocking, sensibility was nothing short of seismic: this is an institution whose (drunk stoned brilliant) alumni left their fingerprints all over popular culture. Both insanely great and breathtakingly innovative, The National Lampoon created the foundation of modern comic sensibility by setting the bar in comedy impossibly high. I've given National Lampoon: Drunk Stoned Brilliant Dead a 5 out of 10. It's entertaining to watch: I was happy to find it on the Sky Arts channel here in the UK. But while the film traces the history of the magazine and its creators, and richly describes how the success of the magazine led to its expansion into radio comedy, comedy albums, stage shows, and movies, its images and interviews fly past quickly without the film explaining what factors led to the creation of the magazine and how it was related to other magazines, newspapers, comics, and cultural products of its time. As the documentary pointed out, the magazine grew from the Harvard Lampoon, a Harvard humour magazine that didn't reach a national audience.
In the 1920s there were nationally published magazines that collected articles and cartoons from universities around the US: 'College Humor' was probably the largest, and was published from 1920 to the 1940s. These college humor magazines were aimed at a young but mainstream audience. It surprised me that Drunk Stone Brilliant Dead didn't mention Mad magazine. First published in 1952, that brought radical and subversive humour that poked fun at authority figures to a country wide audience. Without Mad, there probably wouldn't have been a National Lampoon.
It also surprised me that the documentary made no mention of the Underground press and Underground comics of the 1960s. The art style of the first issues of the Lampoon looked very reminiscent of the style of Robert Crumb and other artists from Zap. I didn't like National Lampoon very much in the 1970s. I read my older brother's issues.
Even back then, I thought they were indulging in printing pictures of naked girls and making jokes about drugs and sex simply for the sake of it. They didn't have the force of the Underground comics, which were breaking ground in discussing subjects that before then couldn't be mentioned, and were using the archaic spirit of Mad to take apart the establishment and cultural heritage of the era.
I remember the issue of National Lampoon that printed a spoof of Mad, taunting that Mad was stuffy, middle aged, and had long forgotten the meaning of satire. I thought that while Mad didn't print cartoons of naked women and guys smoking pot and snorting coke, it still featured strips that aptly commented on society: strips that have been reprinted and discussed in many studies about US history and the growth of graphic novels. I thought while I was watching the documentary that National Lampoon branched out very quickly into other media and became a brand: while Saturday Night Live wasn't officially associated with National Lampoon the show clearly stole their talent and their style of satire. I think the magazine pulled its punches keeping an eye on their advertising revenue and growing empire.
I'm not saying it wasn't funny- I thought the record albums and movies were funny- but I think the humour of the magazine was aimed at pleasing its creators and audience of liked minded readers, rather than exposing the darker aspects of its targets. The publisher of Mad, William M Gaines, didn't allow advertising in the magazine because he said a satire magazine couldn't make fun of an advertising campaign and then print an ad a few pages later for the same product or a similar product. He also saw it as a practical issue, saying that the magazine would then try to attract more advertisers, and if it started losing some of its advertisers and the advertising income, the readers would still expect the same fancy package, but without the advertising income to pay for the higher production costs, the magazine was sunk. Which it seems, along with loss of readership, was what ultimately happened to National Lampoon.