![]() ![]() Laughs can be had in this drama.Īs much as this show has going for it, viewers in comedy will really find something to relate to here. Quips like Erik Griffin’s “We’re cousins through rape” along with other jokes are nice additions. They’re equally miserable when Goldie drops truth bombs on them. The characters cheer when Sebastian Stan’s Clay gets invited to Johnny Carson’s couch. It’s not sad in the sense that Atlanta or Louie can be. While the show is a drama, it’s a comedy based drama. It’s all a little jarring at first but you can get over it. A brownish orange tint will stick out more than you’d like. The screen is awash with the fuzziness of watching the show on a tube television. To that end, the episode (and probably the series) is fitted with a sepia tone soft filter. There are a lot of unique shots that help show the well dressed aesthetic of the 70’s setting. It’s not flashy but it gets the job done. That’s thanks in part to Jonathan Levine’s direction. But Flebotte makes an overstuffed episode move along, slow pace or not. As much as Jon Daly and Alfred Molina are a treat, they’re given comparable screen time to the younger castmates. On top of main characters, viewers spent an unhealthy amount of time with supporting characters too. The season is young and this is a pilot but this episode introduced too many people to care about in too little of time. Their motivations are clear, perhaps painted on to well, as they wonder in and out of scenes.ĭavid Flebotte, who wrote the premiere, did somewhat of an admirable job introducing the characters. RJ Cyler just wants to get on stage at Goldies. Clarke Duke and Michael Angarano want to make it big in Los Angeles. Ari Graynor wants to be taken seriously as a female comic. Each person goes through their own struggles while working through the death. The pilot then follows comedians of a local bar (NOT to be confused with the Comedy Store for legal purposes) run by Melissa Leo’s Goldie reeling with his death. After a short introduction into who should probably be the main character, creator David Flebotte pulls a fast one. The show is a slow burn, perfect for an hour long dramedy. That would solidify you as having made it. A lot of it went down at the Comedy Store in Los Angeles. Everyone was fighting for a chance to sit on the couch next to Johnny. The 70’s were a boon for comedy it’s a time period that spawned many greats like Richard Pryor and Steve Martin. With Showtime’s I’m Dying Up Here, younger viewers can be introduced to a world previously unknown to those who didn’t work in it. But the jokes are the main reason for the audience’s attendance. Yes, it’s as much about the crowd as it is about your writing. The work is daunting as you look into a crowd for the first time, not knowing if they’ll laugh at your jokes. It's all about the climb.Īsk anyone who’s had a chance to perform stand up and they’ll tell you it’s hard stuff. ![]() This is a First Look Review of Showtime’s I’m Dying Up Here starring Melissa Leo, Ari Graynor, Clarke Duke, Michael Angarano, RJ Cyler, Al Madrigal, Erik Griffin and Stephen Guarino.
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