One step forward and one step back

As befits his latest special show, Aziz Ansari is interested in the present of Aziz Ansari right now, how he navigates the world following a charge of sexual misconduct committed in January 2018 and how the world as a whole is navigating the changing social mores. The sumptuous monologues of gratitude and the passing of fame surrounding the scenery suggest that the new special will feature the same kind of reflection and thematic correspondence as Ansari's previous specials such as Buried alive and Live at Madison Square Garden so nice and convincing. But cultural norms are not the only things that have changed since Ansari fired his last special –Now is lighter on introspection than any of his best works, which means a step back in his evolution as a comedian.

Ansari opens the show at the Brooklyn Academy Of Music (where it happened in May) with a joke that acknowledges the allegations reported for the first time in the now-extinct online publication, Babe.net, from last year. The configuration, which involves being confused with compatriot Hasan Minhaj, compatriot of Netflix, will already be familiar to all those who read the first dispatches of his Road To Nowhere tour. But this recognition clearly surprises his delighted audience, who greets Ansari and director Spike Jonze with a standing ovation during their first stint on stage. Ansari describes the tumult of emotions he experienced last year: "At times, I was afraid, I was humiliated, I was embarrassed," in a low voice in a theater even quieter. "In the end," says Ansari about Grace, the pseudonym subject of this baby article: "I really felt bad about this person." Jonze's camera stays on Ansari as he breathes and shares that after a year, I hope it's a step forward.

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Written and interpreted by

Aziz Ansari

Availability

First on July 9 on Netflix

It's a crowd work that does not look like any crowd work done by Ansari before, but it's still a crowd work; there is always a back and forth. All about the production of Now is incredibly well-regarded, from the more intimate setting of the special (at least compared to MSG) to Ansari's relaxed wardrobe to Jonze's choice to stay on stage with the comedian, where he personally captures even the shortest breaks . His energy fluctuates from top to bottom, but his actions – which range from imitating performers of "awakening" to that of succinct racists up to his 25-year-old personality – remain a reliable source of inspiration. humor. Ansari's behavior here is neither regrettable nor reprimanded, but it is in contradiction with his usual boastfulness, to better demonstrate the contemplation he has ostensibly made over the last 18 months. It is a reminder that the officer's thoughtful construction is not simply the result of Ansari taking a step back to reflect on his amorous behavior. it is the culmination of a stand-up act that has been fine-tuned in dozens of previous shows.

In fact, it is difficult to look Now and do not think how much Ansari's choices are smart, strategic. Referring to his isolation of several months (which was followed by an even longer international tour), Ansari strengthens its links with the BAM audience, which he soon questions with his signature. But first, he makes the rather original finding that the country is divided, adopting a small theory of the horseshoe that reassures the public: they do not look like all reflex posters fighting online (again ,). Ansari then switches to inquiry mode, but where the previous topics were romance and relationships, participants are asked to write off R. Kelly, who faces many new charges, or Michael Jackson afterwards. that new documentaries have shed more light on allegations against these two artists. Now, the laughter of the audience becomes uncomfortable, sometimes even completely disappears.

The self-reflection of the actor stops (and it does not really restart until the end); He now asks his fans in the theater to think about who they believe and who they support. Ansari does his job of showing a mirror to society, and he does it well. Just when the public thinks that it is settled on the deplorable character or justice of a subject, it adds another level of information or research. As we see in one of the promotional clips that make the tour before the start of the special, Ansari interviews a member of the public on 2018 rom-com Crazy Rich Asians. He's awesome in his investigation, but the woman quickly questions his earlier assessment of the film, which Ansari argues in saying that much has changed in society in just two generations – he observes that when this member of the public is worried about offending an Asian. American in a movie directed by Americans of Asian descent, his grandmother would have called the movie "one who has too many Easterners" and called it a day. This caution, for Ansari, is a sign of progress, but not one that will escape unharmed around him.

This is fundamental work in the heart of Ansari's latest collection of observations and reflections – that whatever our current values ​​are, they can not be applied to the past. He is comforted by evolution to a certain extent, but he also warns the public to look at the past, whether it's praxis or classic pop culture, with "2019 eyes". You could ruin inadvertently. Office for yourself, the way Ansari challenges some of his Parks and Recreation the stories. "Look, we're all crappy people" with flaws, Ansari says thoughtful applause and bursts of laughter. But, he suggests, as imperfect as we can be, we all learn from our shortcomings. Everyone embarks on a journey that, hopefully, will end with self improvement.

This is a rather encouraging observation, especially when compared to the insightful humor that is the bulk of Ansari's previous work. The fact that Ansari arrived at such a dull point raises the question of how much he is willing to turn his analysis inward; Although he is clearly grateful to continue his career, Ansari seems content to present a mirror to all, except himself.