ATLANTA and LOUIE Observing the Surreal Deep Dive

I think this is an idea that we're all familiar with. The idea that something is humorous because it's a different angle on a true fact of life. And while lots of comedy has a foot in this concept, there's an entire branch devoted to it. Observational comedy. In the past five years, I can't think of two shows that have expanded that genre more On the surface, they probably couldn't be more different. One follows a poor, young, black rap manager in Atlanta and delves into race and social issues. While the other follows a middle-aged, established white comedian in New York City as a vehicle to talk about emotion. But what makes them similar isn't just that they're both observational comedies, it's that they do it with the same tool, surrealism. So today I want to break down how Atlanta and Louis use that tool and why it's so effective. Heads up, I'm going to spoil episodes in both of these shows, but here's a list of them in case you want to catch up. Neither of these shows largely require you to watch them in order, so you should be okay. I'm Jackson, and this is Ideas at Play. Before we get into it, it's important to define surrealist comedy. The simplest, most accepted definition is that it's humor based on detours of logic. Absurd events become humorous when they divert from our expectations in unpredictable ways. Excuse me, I happen to be passing, and I thought you might like some coffee. Oh, that's very nice of you, thank you. Love, won't you stand? Thank you. Cream? No thank you, I take it back. Like my man. Here, total randomness is the name of the game. And to this end, both Louis and Atlanta put in their viewers the same surrealist question. Is this really happening? Holy ----! Run! Move! The difference is that these jokes aren't only funny because they're absurd, but because that absurdity leads to something true. They have a point to make about us, about humans and society, and they can take these observations further through surrealism. In Louis, it's employed as a narrative force. In the episode, Bummer Blueberries, Louis sets up a date that has no meaning. The woman is uninterested in him beyond his quasi-fame, and he knows that at some level. But on his way to the date, a homeless man attacks him. Louis still meets up with the woman, and, understandably distracted, calls out the triviality of their non-date. It's meaningless. I mean, I started this day obsessed with how this would go, this non-date with you. You don't want to date me, I know that. But I was, ooh, please God, could this woman want to go out with me? For some reason, that makes him more attractive. But after they kiss, it all falls apart. You saw that and then you came out with me? Yeah, that's why... Oh, God! Despite knowing that this date means nothing, a fact that's hammered home when he sees death up close and personal, he still can't help but feel that he's lost something in the end. He still wants her, even though he knows that it's not only existentially pointless, but it's not even realistic. It's a story that uses absurdity to heighten conflicts that we can all relate to. In Atlanta, the formula is similar, but pointed instead at bigger social ideas. In one of its most iconic episodes, Nobody Beats the Biebs, each of the show's three main characters are involved in different surreal storylines. In one, Paperboy plays in a charity basketball game against Justin Bieber... Oh, ----, it's Justin Bieber. ...who's portrayed as black. I'm surprised he even showed up. What is the deal with this nigga, man? Meanwhile, Earn is snuck into a meeting by someone who mistakes him for another black agent. Finally, Darius takes a trip to the gun range, where he hangs up a questionable poster that causes controversy. Each of these absurd situations are used to shed light on bigger ideas. When ---- hits the fan with Earn, he ultimately is fine because nobody knows who he is. His blackness gives him anonymity. We wonder if Justin Bieber would actually get away with half of his antics if he wasn't white. Nick, give me the ball. Nigger! Thanks! And we're concerned with both the people who attack and defend Darius. Well, why would I shoot at a human target? I mean, that's weird, right? I mean, look at that one. That's just way too specific, man. He can shoot whatever he wants. You shoot at your racist targets with no problem. A revolution will rise from within. Blood will spill. Well, I didn't say all that. Ultimately, Atlanta and Louis make us think critically about ourselves through these ridiculous situations. But they're getting at a larger point than commentary. They're interested in the very role of observation itself. In the episode Model, Louis has sex with a supermodel, but ultimately breaks her nose and gets sued for $10 million. People are under the misconception that the rich can't sue the poor. They can. They want you to pay. By the end of the episode, he's battered and beaten, and another girl at a bar laughs in his face. But at the end of the scene, Louis' demeanor changes. He's no longer resigned to his situation. He's accepting of it. None of the facts have changed, only his perspective. What we're observing here is real. A human emotional journey through the scope of the surreal. It's not something you can really define in words, because the difference between these emotions is so subtle. It requires exploration through sometimes insane anecdotes. We understand the nuance of the emotions at work precisely because the situation is surreal. Likewise, in Atlanta's episode B.A.N., Paperboy has a heated discussion about tolerance and political correctness on public access television. Earlier we showed a clip about a young man dealing with transracial identity. Hello Montague, thank you for having me on your show. So now Antoine... It's Harrison. I'm sorry. I'm sorry, I'm sorry, I'm sorry. Yo, this is dumb. Like, this is dumb. But in the end, they've come to the same conclusion. But Harrison, don't you think that the rap community and its treatment of trans people and homosexuals is indicative of a larger problem in the black community? That is gross. Why would I ever tolerate something like that? That marriage is meant for a man and a woman. That's an abomination. This is f***ing crazy. Nuance and gray areas are really hard to define. We can get caught up in the red tape of trying to categorize life when really the minutiae is just that, minutiae. It's only by creating an absurd situation that we can see how these different emotions, groups, and experiences are real. But they still don't fit into a box. We can only begin to understand them through observation. There's an old saying that defines comedy as tragedy plus time. The further we get away from something, the more we're able to laugh at it. And I think this extends to any kind of distance, whether it's physical or more abstract. And that's something surrealism can provide. Whether we're talking about racism and poverty or depression and anxiety, giving us distance on real-world observations allows the opportunity to laugh and think about them at the same time. But more importantly, that distance allows us to realize how hard these things are. They're complicated and abstract ideas, and we can't label them. We have to see them, feel them. I think Donald Glover actually said it perfectly when he was describing his show. The thesis with the show was kind of to show people how it felt to be black. And you can't really write that down. You kind of have to feel it. Thank you so much for watching. As always, please like, comment, and share this video. If you want to support me even more, like my page on Facebook here and share my posts there. I also want to thank you for being patient. I know it took me a while to get this video out. But my original idea for this essay just wasn't working, and I had to start over, and that took time. If there are any shows or ideas you're really interested in on TV, let me know in the comments. I'm usually pretty good at responding, and I'm more than happy to talk to anyone about TV at any time. Thanks again.