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Dave Chappelle hosts ‘SNL’ tonight. Here’s a timeline of controversies surrounding his jokes about transgender people | CNN

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Dave Chappelle hosts ‘SNL’ tonight. Here’s a timeline of controversies surrounding his jokes about transgender people | CNN



CNN
 — 

Tonight Dave Chappelle will host “Saturday Evening Stay” for the third time – an look that’s courting controversy earlier than he even takes the stage.

The comic has drawn growing ire lately for making jokes aimed toward transgender folks, and the outcry grew louder final fall when Netflix launched a Chappelle particular, “The Nearer,” by which he doubled down on his feedback.

Netflix stood by Chappelle, who went on a nationwide tour after the particular and largely ignored the controversy after addressing it in his act.

However his feedback had been criticized by fellow comics, followers, trans advocates and a few Netflix workers, and a Minnesota venue canceled a Chappelle present this 12 months over the controversy.

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Provided that context, it was surprising to some “SNL” viewers to see him invited again to Studio 8H. Right here’s a take a look at Chappelle’s latest historical past of jokes about trans folks – and the ensuing backlash.

August: In a collection of stand-up reveals at New York Metropolis’s Radio Metropolis Music Corridor, Chappelle made jokes aimed toward trans folks for a minimum of 20 minutes, Vulture reported. He made express jokes about trans folks’s our bodies and referred to trans folks as “transgenders,” amongst different feedback, Vulture stated.

These weren’t the primary jokes Chappelle had made at trans folks’s expense. However he delivered them in New York after drawing some backlash for earlier feedback.

“That joke and others on this part undergo from the identical issues as these from his specials – they’re rooted in disgust and generalization,” Vulture wrote of a Chappelle joke about ISIS fighters being horrified by transgender troopers. “They’re simply not good.”

August 26: Netflix launched a stand-up particular, “Sticks and Stones,” by which Chappelle carried out extra materials about trans folks, together with some content material from his Radio Metropolis reveals. In an epilogue to the particular, he introduced up his good friend Daphne Dorman, a trans comic, whom he stated laughed hardest at his jokes about trans folks.

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October 5: Netflix launched Chappelle’s particular “The Nearer.” In it, he goes on an prolonged tangent about transgender folks and makes a number of jokes at their expense. He misgenders a trans comic, as soon as once more makes express jokes about trans girls’s our bodies and defends TERFs, or trans-exclusionary radical feminists.

He additionally referred to trans folks as “transgenders,” states that “gender is a truth” and later says that Dorman died by suicide shortly after she was criticized by different trans folks for defending Chappelle after “Sticks and Stones.”

On the time Chappelle’s particular was launched, a minimum of 33 states had launched anti-transgender laws, a lot of it aimed toward younger trans folks.

October 13: Amid calls from LGBTQ advocates, fellow comedians, Netflix workers and social justice organizations to tug the particular, Netflix stood by Chappelle.

In a letter obtained by the Verge and Selection, Netflix CEO Ted Sarandos informed workers that the particular will stay obtainable to stream.

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“We don’t permit titles on Netflix which can be designed to incite hate or violence, and we don’t consider ‘The Nearer’ crosses that line … Some folks discover the artwork of stand-up to be imply spirited however our members get pleasure from it, and it’s an vital a part of our content material providing,” Sarandos wrote.

Netflix suspended three workers for attending a digital assembly of administrators to debate the particular with out notifying the assembly organizer upfront. Amongst them was Terra Subject, a trans senior software program engineer who had publicly criticized the particular and Netflix. Her suspension was later reversed.

October 19: Sarandos informed Selection he “screwed up” his communications with Netflix workers however reaffirmed he didn’t consider the particular qualifies as “hate speech.”

October 20: Round 65 demonstrators, together with Netflix workers and trans advocates, participated in a walkout in protest of Netflix’s help of “The Nearer.” The demonstrators referred to as on Netflix to rent extra trans and non-binary executives and fund extra trans and non-binary expertise.

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October 24: Three trans stand-up comics informed CNN they had been upset by Chappelle’s jokes, though all three stated they as soon as thought of the celebrated performer as a comedy inspiration. Whereas all of them agreed that jokes about trans folks aren’t inherently offensive, they stated Chappelle’s set was infused with the identical hateful rhetoric and language utilized by anti-transgender critics.

“When he talks concerning the trans group, he’s not speaking about them, he’s talking out in opposition to them,” comic Nat Puff informed CNN. “And that’s the distinction between saying one thing humorous concerning the trans group and saying one thing offensive concerning the trans group.”

A fourth comedian, Flame Monroe, one of many solely trans comics whose materials is streaming on Netflix, informed CNN she believes Chappelle ought to be allowed to joke about trans folks, though she initially was bowled over by a few of his feedback.

October 25: Chappelle addressed critics at a present in Nashville, showing alongside Joe Rogan, the podcast host who’s been criticized for dismissing the effectiveness of vaccines and utilizing racial slurs, amongst different controversies.

Chappelle launched movies on his official Instagram account from the set, by which he seemingly addressed the trans workers at Netflix who participated within the walkout over “The Nearer.”

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“It looks like I’m the one one who can’t go to the workplace anymore,” he stated.

“I would like everybody on this viewers to know that though the media frames it as if it’s me versus that group, that’s not what it’s,” Chappelle went on. “Don’t blame the LBGTQ (sic) group for any of this s—. This has nothing to do with them. It’s about company curiosity and what I can say and what I can’t say.”

“For the document – and I want you to know this – everybody I do know from that group has been nothing however loving and supportive. So I don’t know what all this nonsense is about.”

July 12: “The Nearer” was nominated for 2 Emmys, together with “excellent selection particular (pre-recorded).” Adele later received the class.

July 21: A Minneapolis venue canceled Chappelle’s sold-out present hours earlier than its doorways had been set to open, apologizing to “employees, artists and our group” after receiving criticism for internet hosting Chappelle.

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“We consider in various voices and the liberty of inventive expression, however in honoring that, we overpassed the impression this might have,” wrote First Avenue, the venue well-known for being featured in Prince’s “Purple Rain” movie.

November 5: “Saturday Evening Stay” announced Chappelle could be its post-midterms host. The backlash was swift.

Subject joked on Twitter: “Wait I assumed I cancelled (sic) him. Is it doable cancel tradition isn’t an actual factor??”

November 10: After the New York Submit reported that a number of “SNL” writers are boycotting Saturday’s episode, Chappelle’s representatives informed CNN there aren’t any points with writers or solid members. “SNL’s” present employees consists of nonbinary solid member Molly Kearney and nonbinary author Celeste Yim.

Chappelle will take the stage stay Saturday at 11:30 p.m. ET.

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The Fall Guy review: The Ryanaissance continues, while Emily Blunt shines in this screwball comedy

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The Fall Guy review: The Ryanaissance continues, while Emily Blunt shines in this screwball comedy

In cinemas; Cert 12A

Ryan Gosling and Emily Blunt in ‘The Fall Guy’

Colt Seavers (Ryan Gosling) was the best stuntman in the business before a nasty accident derailed his career. There is always a way back and, after a tetchy film producer reaches out, Colt agrees to dust off his jumpsuit for a big-budget sci-fi epic directed by his ex-girlfriend, Jody Moreno (Emily Blunt).

An awkward situation, and it gets weirder: the film’s leading man, Tom Ryder (Aaron ­Taylor-Johnson) is missing, and its producer Gail (Hannah Waddingham) thinks he may have fallen in with the wrong crowd. It’s up to Colt, then, to track him down, save the movie and win back the girl of his dreams.

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Loosely inspired by the Lee ­Majors TV series, The Fall Guy makes a lot of noise, some of it not entirely unpleasant. Come for the fist-fights, the explosions, and the self-aware punchlines; stay for a classy screwball comedy about a broken-hearted filmmaker and her bumbling stunt performer.

The Ryanaissance continues, and Gosling is having the time of his life here. Blunt, meanwhile, is the beating heart of this daft presentation. David Leitch’s film is far too pleased with itself, but our handsome leads make it work.

Three stars

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Review: In 'Wildcat,' director Ethan Hawke — and daughter Maya — bring a literary life to screen

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Review: In 'Wildcat,' director Ethan Hawke — and daughter Maya — bring a literary life to screen

Flannery O’Connor’s thrillingly hard-edged tales about the unreconstructed South and its redemption-deficient malcontents will never lose their power to scratch us awake with their violence, humor and ugly truth.

Such great, complicated artists don’t deserve the shallow cradle-to-grave treatment common to so many biopics, and thankfully, Ethan Hawke’s new film “Wildcat” isn’t that. Rather, it’s a soulful, pointed and unconventional grappling with the mysteries of the deeply Catholic, norm-shattering Georgia native’s life and work. Concentrated on a pivotal time of promise and disappointment during O’Connor’s 20s, when her writing was getting noticed (as was the lupus that would eventually consume her), it’s anchored with aching intelligence by Hawke’s daughter Maya (“Stranger Things”), unrecognizably severe in cat’s-eye glasses and a frail countenance.

The Hawkes deliver a portrait of O’Connor in all her fiercely self-aware outsiderdom, whether standing firm against a patronizing New York editor (Alessandro Nivola) who believes she wants to “pick a fight” with her readers, or sternly defending her faith against glib comments at an Iowa Writers’ Workshop party. But we also see this O’Connor in weaker moments, shrinking in the presence of her protective mother, Regina (Laura Linney), when forced back home because of her illness, and almost crumbling in the presence of a priest (a wonderful Liam Neeson). Ethan Hawke’s screenplay, co-written with Shelby Gaines, was inspired by the letters to God that O’Connor wrote at the time, published posthumously as “A Prayer Journal” in 2013.

This stretch of ambition and setback from an all-too-short life is not all that’s served up in “Wildcat.” Maya Hawke’s acting duties also involve playing an assortment of O’Connor’s characters in abridged dramatizations of short stories — “The Life You Save May Be Your Own,” “Parker’s Back,” and a few other classic pieces. In the ones where bold, brash men bring thunder and change to unsuspecting young women (all Maya), scene partners Steve Zahn, Rafael Casal and Cooper Hoffman do memorable work.

These segments diverge in tone, color and movement from the muted palette and fixed compositions with which cinematographer Steve Cosens girds the biographical narrative. But they’re expertly threaded in, suggesting how a creative loner can experience flare-ups of imagination when the world reveals itself. Movies often struggle with conveying writerly inspiration, but these swatches earnestly make good on a potent quote of O’Connor’s that Hawke opens with: “I’m always irritated by people who imply that writing fiction is an escape from reality. It is a plunge into reality and it’s very shocking to the system.”

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Linney, meanwhile, at the top of her game, is another constant in multiple roles, vividly rendering a handful of O’Connor’s fictional mothers (including the self-righteous women from “Revelation” and “Everything That Rises Must Converge”). Before she even shows up as poised, old-fashioned Regina, picking up her suffering daughter at the train station, we’ve seen her in a couple of these adaptation bursts (including a clever rendering of “The Comforts of Home” as a trailer for a lurid ’60s B movie).

And yet, surprisingly, Linney’s and Hawke’s doubling duty never comes off as cheap psychologizing of the writer’s relationship with a parent who didn’t get her. It feels broader than that. (At the same time, O’Connor’s own views on race, the source of much reputational reassessment, aren’t exactly laid bare here, but neither are they ignored.) The symbolic payoff in Ethan Hawke’s brilliant use of his daughter and Linney is that we grasp both the intense narrowness of O’Connor’s subject matter as well as the rich versatility within her gothic archetypes.

Coming on the heels of director Ethan Hawke’s excellent docuseries “The Last Movie Stars,” about Paul Newman and Joanne Woodward, “Wildcat” shows that his gifts in front of the camera are being complemented behind it, too, especially when the subject is a life woven through with art, passion and pain.

‘Wildcat’

Not rated

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Running time: 1 hour, 48 minutes

Playing: AMC Century City

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Movie Reviews: ‘Challengers’

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Movie Reviews: ‘Challengers’

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