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The objectives of this article are two-fold: to provide a review of the major figures and trends in Muslim American comedy and discuss certain techniques and approaches that have been used by stand-up comedians to counter predominant and discriminatory perceptions of the “Other”. To reiterate film critic Jack Shaheen’s argument in Reel Bad Arabs: How Hollywood Vilifies a People, the Western public is fed constructions of Islam as a “problem”; the terms “Arab” and “Muslim” are interchangeably used; Muslim men are depicted as “terrorists”; and Muslim women are depicted as “veiled and oppressed”. Much has been written on the generation and effect of stereotypes promoted by popular culture. However, stereotyped groups also use popular culture to speak for themselves. Popular culture also functions to resist, counter, push back against, and subvert stereotypes. In other words, the “Other” can speak for him or herself through popular culture as a means of contesting stereotypes that define Muslims and Arabs in terms of cultural and religious understandings that narrowly categorize individuals through attributes such as religiosity and femininity. This potential is being realized by second-generation Muslims familiar with the platforms created and provided by other marginalized groups in Anglo-American popular culture, and their work has come into its own especially in the aftermath of 9/11, a time that saw both the intensification of stereotypes and heightening of Muslim American consciousness. I concentrate on these specific stand-up comedians in the US and the UK, despite the fact that there are others in the diaspora who discuss Islamophobia, because these American and British comedians address all of the three most common stereotypes of Muslims: “Arab = Muslim”, the “terrorist”, and the “veiled and oppressed woman”.

[...]it can help us to survive. For me, Jack Lemmon's over-the-top performances as Professor Fate and Crown Prince Frederick Hoepnick (and featuring the \"world's greatest pie fight\") in Blake Edwards's commercial and critical bomb, The Great Race, is a family favorite that holds little attraction for many (most) folks. See PDF ] Feeling incredulous about how scientific findings, data-based conclusions, and other assertions previously recognized as facts have become controversial topics or \"fake news\" in an alarming number of spaces engaging in political discourse, you need Commiseration Comedy. [...]being able to laugh is both good and necessary.

This essay argues that Jean Carroll, America’s first Jewish female stand-up comedian, constitutes a key figure in the history of Jewish performance because she embodied a new model of Jewish femininity in comedy, transforming the emerging genre of “stand-up comedy” from one that reinscribed and circulated negative stereotypes of Jewish women to one that revised and humanized these stereotypes. As pioneers of modern stand-up comedy like Henny Youngman marked the genre with misogynistic accounts of Jewish women as backward and unsympathetically demanding, Carroll provided an alternate representation that captured a more assimilated, sophisticated, and sympathetic Jewess. Her performances on mainstream stages were coded, drawing on stereotypes of Jewish women circulated by her Jewish male colleagues, but humanizing them using a new style of “confidant comedy” that leveraged the intimacy of her informal, conversational delivery.

The setting gives Mabley an emotional upper hand over Midge - even Midge can predict how the audience will react to the famed Black comedian opening for a young white woman - but also speaks to how a beloved veteran isn't immune to society's norms. Tm a star in my house, but look how easy it is for a white person to come in and shoot right past me.' \" £c verne Сох ORANGE IS THE NEW BLACK * Netflix In her first appearance on the women's prison-set Orange Is the New Black, Laverne Cox's Sophia Burset tells new inmate Piper (Taylor Schilling) to stop by her makeshift salon for a haircut. The ensemble-driven series didn't just launch the careers of many accomplished actors (two series alumnae, Samira Wiley and Uzo Aduba, are both nominated for Emmys this year, for The Handmaid's Tale and Mrs. America, respectively), it also helped start conversations about trans visibility and representation on television. [...]I'm proud of that - and it's important to note that even though the landscape has changed, we still have a ways to go.\" cfindrew Scott BLACK MIRROR * Netflix In \"Smithereens,\" the second episode of Black Mirror's fifth season, Andrew Scott stars as Chris, a London rideshare driver who kidnaps Jaden (Damson Idris), whom he believes to be a VIP at a social media company. (The first of many twists in the episode, which spans 70 minutes, is that Jaden is simply an intern, sporting a suit during his first week on the job.) A police chase ensues, and when Chris' car stalls in the middle of a field, the pursuit becomes a tense hostage standoff - culminating in an emotional, cathartic monologue from Chris, who links his dependence on social media to a recent tragedy in his life.