Bill Barr will talk a lot about the men in his special “Drop Dead Years,” a new comedy that debuted on Hulu on Friday. Why is it that “men are not allowed to grieve” while only men “stop” and rocking “in the bathroom upstairs while listening to AC/DC” usually between the ages of 49 and 61, sometimes “in the bathroom upstairs while listening to AC/DC”? “We are allowed,” he continues. that’s it. “If you want to see you doing sad things in their natural sad habitats, the bar visits your local guitar centre.
Barr also thinks about men in more personal terms. “Dop Dead Years” opens up behind the scenes with comedians and reflects frankly.
It’s strange to be over 50 and understand how you have a f—d. For example, I thought I got up because I loved comedy. And what I really understood is, no, that’s not the reason I did it. I’ve stood up. Because it was the easiest way to get into a room where many people who made people like me, who I didn’t know about. All the ways I moved around the world are: “Where is the least likely I’m going to get hurt?”
Bill Barr is an ongoing treatment work. He bravely considers himself… in public. However, this process is not inconsistent. Also, it’s not going very smoothly.
Like in the previous special, in “Dop Dead Years,” he chuckles women, feminists, gays, liberals, trans people, overweight people, and more.
His reaction to his controversial Saturday Night Live monologue in 2020 is a great example of this, as he illuminates the “cancellation culture.” His post-election appearance of the 2024 “SNL” also when he advised women not to wear pantsuits like Kamala Harris. Instead, women seeking elected offices say, “Whore a little.”
What really separates Burr from the Manosphere Bros is that he appears to be serious about introspection.
It’s fascinating to position a bar-like comedian in the current comedy, Manosphere. It becomes a Dunkman cave where Joe Rogan, Tony Hinchcliffe, Theo Fon and other liberal Pitees gather a huge crowd and gain success and influence in the process. Like them, the bar has stage rage. He affects the confrontational “I’m so angry, so my heart is about to explode!” He is also (rhetorically) happy with the cold cocking minority.
But burr is different. He is not only older than these boys, but he is more intelligent than infinite. The nasty gag from “Drop Dead Years” about KKK members riding in HOV lanes reminds me that Burr is a George Carlin style of thinking man cartoon. He is also a very skilled and physical actor. He is barely a rival, using his body’s paste-like white face and a bald dome (striking like a diamond under the stage lights). I am particularly grateful for the imitation of a dead man from a golf cart.
And there’s what we might call the balance of the bar. He doesn’t hate punching up. In an interview with NPR’s Terry Gross last week, the comic established his sights on Elon Musk. “I just refuse to believe,” Barr declared, reflecting on the billionaire’s inauguration day salute, “It was two coincidental ‘Sieg Heil’s’.”
But what really separates Burr from the Manosphere Bros is that he appears to be serious about introspection. Like the opening comment on this latest special suggestion, Barr is working to keep the pain down and become a better husband and dad. He marches boldly into the aforementioned room – the “room” I might add, it flows to millions – and bleeding.
Bar questions. Why can’t men dressed in Afghanistan, sitting in the corner, become as bad as women? Why can’t men grieve? The problem is that, like Dave Chappelle, he requires him to know why he can no longer use the homophobic slur.
His official therapeutic turn with all the contradictions is equally evident in an NPR interview with Gross. One second talks about why he destroys Musk’s “laminating face” and the next (as literally a second later) he hates liberals. One second is when he stands up to his flawed masculinity. After a while, he subjugates Gross to the type of ready-made manosphere rebuttal that is guaranteed to drive liberal women to be distracted. (Usually a mild total gloss, for her, at some point, the modest key loses her patience with avoiding and interrupting the bar.)
Barr is working, trying to keep the pain down and become a better husband and dad.
Bill Bar is very interesting. But politically, the man can’t completely understand.
From a mental self-aware perspective, I don’t think he’s “there” yet (wherever he is). Wonderful, he realized he would play his comedy to avoid getting hurt. Therefore, he stirs the mind that his jokes will be broadcast to a large number of people and whether they are gay men or lamenting Harris’s election loss (and their personal freedom), whether his jokes hurt others, and how they seem to have no effort to interrogate them.
The “Drop Dead Years” closure sequence provides clues as to how Burr will now resolve all this mental uproar. A while ago he had stated that he was inappropriately moved as a child (“I was moved as a child”). Now the credits are rolling, we are in the alley behind the theatre. Get away from the crowd. Everything is quiet. The bar sits leaning against the door of the stage. His partner is eating sandwiches and drinking beer. The bar smokes cigars. It’s a good cigar. Perhaps the moment suggests that men achieve mental resolution by being alone with other men.
