Fuck These Assholes

Moi Say Moi, back in 2023:

I don't know exactly when funny people decided there's some honor in not being funny, so I'd like to respectfully suggest they go fuck themselves.

I've been bitching for years about tv shows that call themselves comedies but aren’t funny at all; The Bear is the biggest offender, but I'd put Bill Hader’s Barry in there too (other than the hilarious Hank of course). Louis CK's Louie seemed to go out of its way to NOT be funny; I tried watching Widow's Bay for 20 minutes and not only did it fail to deliver anything even remotely funny at all, but it also didn’t even seem to be trying to.

To be clear, I’m not talking about shows that just aren’t funny, I’m talking about shows that seem to go out of their way to not be funny & yet clog up the Best Comedy Series category at the Emmys every year; it’s like when a politician realizes they have a better chance of winning an election if they just switch parties, without actually changing anything about themselves or what they stand for. So it brings me a bit of hope to see that of course after about 15 year of my bitching the Universe is finally starting to catch up to me on this non-funny “comedy” bullshit:

Future academics may pinpoint 2023, the year “The Bear” won the Emmy for outstanding comedy series, as the year the sitcom entered hospice care.

On the outstanding comedy series Emmy nominee “Margo’s Got Money Troubles,” money troubles are the least of it. Margo has to deal with an unexpected pregnancy, her violence-prone mother, her father’s drug addiction and the challenges of fighting for custody of her child when her occupation as a sex worker is revealed by the vengeful father of her child. Are you laughing yet? (That the creator of this “comedy” is David E. Kelley, the mind behind such hilarity as “Boston Legal” and “Big Little Lies,” tells you more than this piece can.)

Another nominee, “Nobody Wants This,” repeatedly detaches its star-crossed lovers, a rabbi and a sex-and-dating-podcasting shiksa, with the precision of a mohel’s izmel, while “Hacks” has tortured the two women at its center by setting them against each other, turning the show into a bitter, toxic take-no-prisoners fight for most of Season 4. Oscar and Felix fought on “The Odd Couple,” it’s true, but their fights never carried over beyond one or sometimes two commercial breaks.

The industry has always turned its nose up at comedy, but then why pathetically latch onto it just to win some shirty awards nobody really cares about? If making comedy that actually gets some laughs is so beneath you, why do you need its warm embrace during awards season so badly?