What happens when the political satire of “South Park” collides with a Muslim kid’s coming-of-age story in post-9/11 New Jersey? You get the animated sitcom “#1 Happy Family USA.”
Cocreated and coshowrun by Ramy Youssef and Pam Brady, the A24 production, which premieres Thursday on Prime Video, follows Rumi Hussein (voiced by Youssef) and his family as they navigate the “see something, say something” paranoia of the early 2000s.
The semi-autobiographical story of Egyptian American comedian, actor and director Youssef is at the center of this period comedy where Michael Jordan, music piracy and Britney Spears still dominate the news. Everything is normal in 12-year-old Rumi’s world on Sept. 10. He’s crushing on his teacher Mrs. Malcolm (voiced by Mandy Moore — who happened to rise to fame in the 2000s). He’s tolerating the cluelessness of his Egyptian immigrant parents, father Hussein (also voiced by Youssef) and mother Sharia (Salma Hindy). He’s fighting with his oh-so-perfect/closeted sister, Mona (Alia Shawkat). His devout grandparents also live at home, always on hand to make whatever Rumi’s doing feel haram.
But within 24 hours, the Al Qaeda attacks turn the Husseins from an average dysfunctional family with unfortunate names into a suspected terror cell.
“#1 Happy Family USA” follows a Muslim boy’s coming-of-age story.
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(Prime Video)
Rumi’s father, a doctor turned halal cart owner, goes into assimilation overdrive to prove his family is 110% American and absolutely not associated with anyone named Osama. Old Glory, Christmas decor and Easter trimmings suddenly pop up in their front yard. He shaves his beard off. He insists that his wife stop wearing her hijab, which makes Sharia, who is a receptionist for an eccentric dentist (Kieran Culkin), all the more determined to don her headscarf.
Meanwhile, Rumi’s classmates now eye him suspiciously despite his attempts to fit in with the other boys by wearing his new basketball jersey. But the bootleg “Bulls” shirt reads “Balls” instead. It’s also three sizes too big and looks like a dress. Clearly he’s not like the others.
Elements of the storyline mirror Youssef’s childhood montages in his Hulu series “Ramy,” but the medium of adult animation allowed him to “go wild” with the story and characters. He also got to work with Brady, an authority on pushing animated satire to hilarious extremes.
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“Animation became the vehicle for how this idea should live. I wanted to look at a wholly unexplored period outside of the lens of a cop drama or the news … and go to the wildest extremes with premises,” said Youssef. “I definitely had the desire to make something stupid in a really great, sophisticated and almost Commedia dell’arte way. Just dumb and loud [laughs]. You can put ‘Ramy’ in a dramedy category and you could, to an extent, put ‘Mo’ there, but here it’s really bursting open in a medium with no limits. Then Pam’s name came up and it was a no-brainer.”
Brady collaborated with Trey Parker and Matt Stone on “South Park” from the show’s start, going on to cowrite with them the film “Team America: World Police” and cocreating the Netflix comedy series “Lady Dynamite.” “As soon as I saw ‘Ramy’ and I saw his stand-up, I was a fan,” said Brady. “I kept begging my manager: ‘Please, can I meet Ramy?’ So I came at it honestly as a fan, knowing that this guy’s doing some next-level stuff. I keep joking with my friends that Ramy’s a real writer. He explores characters. That’s why this experience has been so amazing because it’s pushed me. It’s like, ‘Oh, this is how you do it.’”
Mona Chalabi, Ramy Youssef and Pam Brady are the creative forces behind “#1 Happy Family USA.”
(Christina House / Los Angeles Times)
Illustrator and executive producer Mona Chalabi designed the characters, each harkening back to animation styles of the late ’90s and early 2000s shows like “Futurama” or “Daria.”
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“I wanted it to feel like a found tape,” said Youssef. “You pop it in and it looks like it could have been on Comedy Central or MTV [back then]. It’s hand-drawn animation and we made it with an animation studio in Malaysia [called Animasia]. It’s an all-Muslim animation house, which is so crazy. They were so happy to draw hijabs and all these characters. They were like, ‘We relate to it!’ But we even downgraded our computers here in order to make it like it would have been made. Whatever we did took a while and it was like the opposite of AI.”
Adds Brady, “We wanted to make sure, especially with the visuals and the direction and the pacing, that the show felt familiar. That you’d seen a show like this before. We didn’t want to reinvent the form, but we also didn’t want to make it look like ‘Family Guy.’ So it’s like, ‘Oh, this show existed in 1998. You remember it, right?’”
Though the show takes place some 25 years ago, it’s not hard to see the plot’s resonance today in the wake of the deportations and roundups of immigrants and students. The Husseins are up against a wave of Islamophobia, triggered by the 9/11 attacks. They embody the very real fear of being profiled by the outside world, including FBI agent Dan Daniels (voiced by Timothy Olyphant), who happens to live across the street. A dark period, to be sure, but also one rich in comedic value if you’re willing to go there as “#1 Happy Family USA” does. Its characters break out into song while on the verge of being swept up by Homeland Security, or inadvertently cause a widespread panic by dropping on the carpet at the airport to pray when they learn of the terror attacks.
“We were trying to kind of create this time capsule, like around the old DHS of this moment,” said Youssef. “But right now is a time when an immigrant family, and surely a Muslim family, would feel the need to shout, ‘We’re No. 1! Happy Family USA!’ Pam and Mona and I have all been looking at each other with like, ‘Whoa.’ Of all the times this thing could have dropped, it’s dropping right now, when [it’s hard] to joke about this stuff in any other medium.”
At a time when everything feels like a cruel joke, “#1 Happy Family USA” bites back with the satire we need.
You can call me one-track-minded or say that I focus on the wrong things, but do not include an element that I am then expected to forget. Especially if that “element” is an animal – and a dog, even.
In No More Time, we meet a couple, and it takes quite some time before we suddenly see that they have a dog with them. It appears in a scene suddenly, because their sweet little dog has a purpose: A “meet-cute” with a girl who wants to pet their dog.
After that, the dog is rarely in the movie or mentioned. Sure, we see it in the background once or twice, but when something strange (or noisy) happens, it’s never around. This completely ruins the illusion for me. Part of the brilliance of having an animal with you during an apocalyptic event is that it can help you.
And yet, in No More Time, this is never truly utilized. It feels like a strange afterthought for that one scene with the girl to work, but as a dog lover, I am now invested in the dog. Not unlike in I Am Legend or Darryl’s dog in The Walking Dead. As such, this completely ruined the overall experience for me.
If it were just me, I could (sort of) live with it. But there’s a reason why an entire website is named after people demanding to know whether the dog dies, before they’ll decide if they’ll watch a movie.
Scarlett Johansson wasn’t on the hunt for a feature film to direct when she was sent “Eleanor the Great,” about a 90-something woman who reminded Johansson of her own sparky grandmother. But Tory Kamen’s script arrived with a cover letter from Oscar nominee June Squibb.
“I was really interested in what, at this stage, June wanted to star in,” she says. “I was compelled to read it because of that.”
What Johansson also learned is that Squibb, star of last year’s acclaimed caper “Thelma” and the voice of Nostalgia in “Inside Out 2,” adds extra gloss to a project and is genre-adaptable. Since “Eleanor,” she’s wrapped shooting on an indie mockumentary called “The Making of Jesus Diabetes,” starring and produced by Bob Odenkirk. (“Bob and I know each other from ‘Nebraska,’” she says. “He asked and I did one scene.”) Currently, she’s in the play “Marjorie Prime,” her first appearance on Broadway since “Waitress” in 2018, when she stepped into the role of Old Joe, previously occupied by Al Roker. (“They made [the character] into a lady for me.”)
Recently, Johansson and Squibb got together via Zoom to discuss lurching process trailers, how Squibb bonded with co-star Erin Kellyman (who plays Nina, Eleanor’s college-age friend), and the trick to playing a character who tells a whopper at a Holocaust survivors’ support group based on her dead best friend’s experience.
Squibb, left, Erin Kellyman and Chiwetel Ejiofor in “Eleanor the Great.”
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(Jojo Whilden / Sony Pictures Cla)
What does a first-time director plan for Day One of a wintertime shoot in New York?
Johansson: The first thing we shot was [Eleanor and Nina] arriving at Coney Island. It wasn’t easy. We were outside. It was cold. It was a little hectic, but we figured it out. Then we had to do this thing in a car, and it was just miserable. Nobody wants to shoot a scene being towed in a car. There are all these stops and starts. You get nauseous. I felt terrible about that. But it was good for June and Erin.
Squibb: We had a lot of time that day together and we liked who each other was. It was just easy.
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June, you believe in showing up fully prepped, on script. Did you and Scarlett talk a lot about Eleanor?
Squibb: I’m sure we talked over that first two weeks, but I think we started delving when we started shooting. I can’t say this enough, but her being the actress she is? It just helped me tremendously. I felt so relaxed, like she knew what I was doing.
A less charismatic actor might have trouble pulling off this character. Eleanor can be so impertinent, yet the audience still has to like her.
Johansson: The tightrope June walks is that she’s able to be salty, inconsiderate and rude as the Eleanor character, then balance it out with quiet moments where you see the guard slip. You see the vulnerability of [Eleanor]. June plays that so beautifully.
June, in 1953, you converted to Judaism. Scarlett, how important was it to have Eleanor played by a Jewish actress?
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Johansson: It was definitely important to me, and it became important to the production too. We had tremendous support from the Jewish community. We brought the script to the Shoah Foundation and they helped us craft [Eleanor’s best friend] Bessie’s survivor story.
(The Tyler Times / For The Times)
Did they also help you find real-life Holocaust survivors — like Sami Steigmann —that you cast as support group members?
Johansson: It was a real group effort. Every time someone joined, it was a huge celebration. We got another one! At the time there were, like, 225,000 [survivors] worldwide. It gets less every year. I think only two of [the survivors in the group] knew each other previously. None of them had ever been on a film set before, and they were so patient with us.
Squibb: We just sort of passed the time of day. Sami, who was sitting next to me, and I chatted. It was all very relaxed. They were having a good time. They were interested in lunch. I remember that.
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Johansson: I talked to everyone individually. Quite a lot of them are public speakers and share their stories. It’s amazing. You’re talking to people in their 90s about an experience they had when they were 7. Their stories are so vivid in their minds. Sami told June that sharing the story is part of the healing.
June, for a bat mitzvah scene you memorized a complicated Torah portion. How did it go?
Squibb: It wasn’t easy to learn. I didn’t do it overnight. But we were in a beautiful synagogue, and it was great to stand there and do it. I enjoyed it.
Talk about finding out that it didn’t make the final cut.
Squibb: I think the first thing I asked [Scarlett was], [sounding peeved] “Where did my Torah portion go?” [laughs]
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Johannson: It was, like, “What the hell happened?” [laughs, then winces] I really struggled. But every way I cut it, it didn’t work so it just had to go. I was pretty nervous to show it [to June]. I said to Harry, my editor, “She worked so hard on it.”
How about that five-minute standing ovation when “Eleanor” has its world premiere at Cannes?
Squibb: It was just terribly exciting. We hugged each other a lot. And Erin was there, and she was in our hug too. I kept thinking, “We’re not even at a lovely theater in America. My God, this is an international audience here and they’re loving it.” And they did.
The Timothée Chalamet movie that’s arriving on Christmas Day is “a 150-minute-long heart attack of a film,” said Nick Schager in The Daily Beast. In “a career-best turn” that’s “a feverish go-for-broke tour de force,” Chalamet plays Marty Mauser, an aspiring table tennis champ in 1950s New York City who’s ready to lie, cheat, and steal for the chance to become the best in the world. This first film from director Josh Safdie since 2019’s Uncut Gems turns out to be a character study that “doubles as a cracked American success story,” said David Fear in Rolling Stone. Marty is a scrawny kid with a pathetic mustache, but he’s also a fast-talking grifter with supreme self-confidence, and his game earns him a trip to London and the world championship tournament before a humbling stokes his hunger for a comeback.
Surrounding Chalamet is “a supporting cast you’d swear was assembled via Mad Libs,” because it features Fran Drescher, Penn Jillette, Tyler the Creator, Shark Tank’s Kevin O’Leary, and—as a faded movie star Marty sweet-talks into an affair—Gwyneth Paltrow, “reminding you how good she was before Goop became her full-time gig.” To me, it’s the story beneath the story that makes Safdie’s “nerve-jangling, utterly exhilarating” movie one of the best of the year, said Alissa Wilkinson in The New York Times. “It’s about a Jewish kid who knows just what kind of antisemitism and finely stratified racial dynamics he’s up against in postwar America, and who is using every means at his disposal to smack back.”
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‘Is This Thing On?’
Directed by Bradley Cooper (R)
★★★
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“There are far worse things that a gifted filmmaker could offer an audience these days than a feel-good divorce comedy,” said Owen Gleiberman in Variety. But it’s still slightly disappointing that screen star Bradley Cooper has followed up A Star Is Born and Maestro with this minor work, due Dec. 19, about a father of two who starts doing stand-up in New York City to cope with the likely end of his marriage. With Will Arnett and Laura Dern as its co-stars, Is This Thing On? is “an observant, bittersweet, and highly watchable movie,” but it’s also so eager to hide the agonies of divorce that it “can feel like it’s cutting corners.”
The 124-minute film “doesn’t really get going until hour two,” said Ryan Lattanzio in IndieWire. Until then, it’s “lethargic and listless,” slowed by long takes “that drag on and on.” Fortunately, Arnett and Dern have real chemistry that kicks in when Dern’s Tess accidentally catches Arnett’s Alex performing his bit about their sidelined marriage and sees him with new eyes. Good as Arnett is, “it’s Dern who’s the revelation as a woman who truly doesn’t know what she wants and is figuring it out in real time,” said Alison Willmore in NYMag.com. Cooper, playing a reprobate friend of Alex’s, gives himself the script’s biggest laughs. More importantly, he proves again to be a director with “a real flair for domestic drama.”
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