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Fringe 2025 – Lily Blumkin: Nice Try! ⭐⭐⭐⭐

Fringe 2025 – Lily Blumkin: Nice Try! ⭐⭐⭐⭐

Could we be seeing the birth of a new comic star? That's the conceit behind Lily Blumkin's Edinburgh debut character comedy show in which, as the narrator, she has a heightened sense of her comedic potential but comes to terms with her insecurities as she sets out on the path to being discovered.
Blumkin, 28, starts the show in her New Jersey childhood bedroom, which she recalls smelled 'like beef stew' as she never washed the sheets. An unpeopled photo of it, with its ample well-made double bed, is relayed on an overhead screen, suggesting a lack of action.
In an engagingly zany hour, Blumkin – a writer and sketch performer on 'The Daily Show' on the US cable channel Comedy Central – plays nine original characters with zest and sharp comic timing. First up is Jeffrey, her first boyfriend and best friend of the partying barmitzvah boy Josh, on whom he secretly had a crush, and for whom she dons a camp curly-haired wig.
Her first love, though, was Stephanie and she next appears as her dad, Steve, with an eye-liner moustache and red shirt, throwing around a supportive rainbow-coloured tablecloth which he got from gaydaddy.com, dutifully getting himself acquainted with the they/them nomenclature as he seeks, with mixed success, to prove he's not anti-gay.
Other characters include Trish, her mum's best friend, getting sozzled and flinging wine over herself at a book club as she attempts to escape from her two aggressive boys; and a wildly inventive 'sentient clump of hair', wearing a cowboy-style brown string jacket, which had got stuck to a grimy, ceramic tile in the shower. There's also a with-it tallit-wearing rabbi working the crowd at Lily's batmitzvah, a photo of which is relayed on the backstage screen. 'If you like what you heard you can check out my podcast, 'Rabbi riffs' … on myPhone,' he says.
It's all deliciously silly and fondly sent up in a confident and quirky show, which was directed in its New York premiere by Ariel Gitlin and in Edinburgh by Lanee' Sanders.
Lily Blumkin: Nice Try!
Gilded Balloon Patter Hoose, Blether (Until Aug 25, not Aug 14)
Gilded Balloon Patter Hoose, Blether (Until Aug 25, not Aug 14) https://www.edfringe.com/tickets/whats-on/lily-blumkin-nice-try
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The five banned South Park that are too offensive for streaming
The five banned South Park that are too offensive for streaming

Metro

timea minute ago

  • Metro

The five banned South Park that are too offensive for streaming

South Park is no stranger to controversy and lampooning the rich and famous, having 'ruined' Ed Sheeran's life and 'annoyed and overwhelmed' Meghan Markle. The cartoon's 299th episode, named Band in China, featured storylines so critical of China that the country's government even reportedly deleted virtually all content relating to the show from local internet servers. But on the show's 28th year anniversary, which also has a freakish knack for predicting events in the future, envisaging everything from Donald Trump's tweets to Brokeback Mountain, gone too far elsewhere? The answer is….yes, with the UK and US among countries that have either censored or pulled various South Park episodes. Let's take a look at the five banned South Park episodes and why they were controversial. Season 3 episode 5 follows Stan, Kyle, Cartman and Kenny as they enlist the Super Best Friends, a parody of 70s cartoon Super Friends, to defeat, er, David Blaine's cult. However, the Super Best Friends comprised several religious figures, among them Jesus, Buddha and Moses, but it was the inclusion of Mohammed that sparked controversy. Due to a later death threat, outlined below, the episode was pulled from the South Park website some years later. When South Park moved homes to HBO Max and Paramount Plus in 2020, both streamers opted against making Cartoon Wars Part 1 and Part 2 available. Referring to the earlier controversy surrounding Super Best Friends, Part 1 sees the whole of the United States fearing for their lives after it is announced that Family Guy will air an episode with Muhammad as a character. Part 2, meanwhile, continues the story arc and follows Cartman, who believes that the episode is offensive to Muslims, travelling to Hollywood to try to get the episode pulled. The episodes were inspired by the Jyllands-Posten Muhammad cartoons controversy, which began in response to a Danish newspaper's printing of cartoons depicting Muhammed in September 2005, leading to worldwide protests and occasionally violent demonstrations and riots in early 2006. 200 and 201 also stirred up controversy for the depiction of Mohammed, leading Comedy Central to censor his image when the episodes aired on linear TV in 2010. In 200, Tom Cruise and other celebrities mocked by South Park residents threaten a class action suit over their jibes, which they promise will be pulled only on the condition they can get Mohammed to meet them. 201 also harked back to past storylines and saw the return of the Super Best Friends, who team up to save South Park from the celebrities and their monster Mecha-Streisand, while Eric Cartman learns the true identity of his father. Fundamentalist organisation Revolution Muslim warned the creators risked murder for their depiction of Muhammed in the episodes; as a result, Comedy Central heavily censored portions of them by removing references to Muhammad and its closing speech. An Elephant Makes Love To A Pig is one of South Park's earliest episodes -and is the first season of the beloved cartoon. More Trending In it, the boys of South Park try to force Kyle's pet elephant to crossbreed with Eric's pet pig for a class project on genetic engineering, while Stan deals with issues with his violent sister Shelley. It was the latter storyline, which also saw Shelley set Stan on fire at one point, that led to censorship over fears children would copy her behaviour, particularly as it came soon after a house fire was blamed on a child recreating an episode Beavis and Butt-Head. This article was originally published on January 17, 2024. View More » South Park is available to stream on Paramount Plus. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: Star of Amazon Prime's most violent series shares emotional post ahead of final season MORE: TV fans call new sci-fi series a 'masterpiece' after just two episodes MORE: Vince McMahon claims Hulk Hogan 'wasn't racist' but 'said some racist things'

Edinburgh Fringe theatre reviews: AI: The Waiting Room – An Audiovisual Journey  Couac... Physical Comedy  Stampin' in the Graveyard  A.I. Campfire
Edinburgh Fringe theatre reviews: AI: The Waiting Room – An Audiovisual Journey  Couac... Physical Comedy  Stampin' in the Graveyard  A.I. Campfire

Scotsman

timean hour ago

  • Scotsman

Edinburgh Fringe theatre reviews: AI: The Waiting Room – An Audiovisual Journey Couac... Physical Comedy Stampin' in the Graveyard A.I. Campfire

Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... THEATRE AI: The Waiting Room – An Audiovisual Journey ★★ C ARTS | C venues | C alto (Venue 40) until 16 August DANCE, PHYSICAL THEATRE AND CIRCUS Couac... Physical Comedy ★★★ Gilded Balloon Patter House (Venue 24) until 17 August THEATRE Dead Air ★★★★ Pleasance Courtyard (Venue 60) until 24 August THEATRE Stampin' in the Graveyard ★★★ Summerhall (Venue 26) until 25 August THEATRE A.I. Campfire ★★★ Venue 13 (Venue 13) until 23 August Have I written this with AI?— Ask better questions, these shows about the topic seem to reply; ideally ones that aren't part of a narrative driven by AI companies which, as commercial entities, clearly have an incentive to (yes!) replace your job, sell your data and monopolise a marketplace called your life. Couac... Physical Comedy | Mara De Sario AI: The Waiting Room – An Audiovisual Journey begins with entering a lot of personal information into a smart phone app in a piece that seems to be trying to find out what I'd do in a societal meltdown. Not typing all of my plans into a screen, obviously. But if the apocalypse takes as long to arrive as my individually tailored 'script' does to upload, I'll have time to emigrate to Mars – and also escape the chatbot trying to persuade me it's a real person. Advertisement Hide Ad Advertisement Hide Ad Once in the theatre, I, along with the rest of the audience roam around the space in headphones in a piece that has me lugging a virtual version of the 'one item I'd save' (Brompton bicycle) across a swirlingly standard on-screen metaverse refusing to give it up for the collective good, because why would I do that? Eventually, I liaise with my mother at the pre-arranged meeting place, where greets me with 'Sally, my dear heart', something that she would never, ever say. The attempt to fuse AI with live theatre is an interesting idea, but the reality highlights the inaccurate naming of a technology as 'artificial intelligence' when it's clearly the former rather than the latter. 'Dance party?' the show's captions suggest at the end to the largely apathetic audience. This leads to one of the producers swaying in front of a tower of boxes that we built earlier that captures a lonely, haunting emptiness in a way that is insightful but probably not deliberate. The transformation of daily life into a series of technology-enabled tasks is more critically explored in Couac... Physical Comedy, a clown show in which an increasingly worn-down man named Jo, dressed in the rich, dusty colour palette of a more classy era, tries and fails to navigate a city of interconnected apps, surveillance cameras and other AI-based 'assistance' under the flashing lights of state control. It's a precisely performed silent satire, led by experienced circus performer Sébastien Domogalla where – through the ingenious use of a large translucent tulle sheet as a stage-covering screen – animations encase our protagonist in the interface of the digital world. Advertisement Hide Ad Advertisement Hide Ad From supermarket to home, Joe stumbles, with his shopping, through a city that's constantly out-smarting him, in a rewards-based system of never-ending clicks and empty affirmations ('You're magnificent') for every mundane task completed. With online banking connected to a social credits system, 'friends' reduced to anonymous 'likes' and every interaction accompanied by and advert, it imagines a totally banal dystopia well within reach, should we want it. It feels like some kind of reckoning or resistance must surely be coming. But it doesn't. 'To be continued…' says a caption, and mysteriously ends. The technology seems to have become (a bit) more personalised in comedy-drama-horror Dead Air, a near-futuristic Frankenstein-esque story about an angry young woman called Alfie who, haunted by the 'ghosts' of multiple miscarriages, attempts to resurrect her recently deceased father with the help of an AI enhanced-chatbot company. Writer/performer Alfrun Rose's monologue beautifully blends her protagonist's grief-induced cynicism, a comic cast of family members and the sadness of losing a loved one with the cool, corporate world of AiR, with its subscription 'packages' and endless 'upgrades'. It's cleverly written to capture the ways AI attaches itself to notions that we might relate to, affirms that we are always right, and intersects with real life in a way that can both enhance and destroy it with elaborations that technology companies might describe as 'hallucinations' but in any other industry would be deemed factually incorrect and trigger an Ofcom investigation. Advertisement Hide Ad Advertisement Hide Ad As the AI generating Alfie's 'father' is 'turned up' or 'turned down', the piece takes on a psychedelic quality that fuses snapshots of the past with wishful thinking, challenging behaviour and QR codes. It's a strange but not unappealing kind of magic – one that, unless Alfie can find thousands of pounds to keep it going, is eventually going to be switched off. Finally, she finds the courage to let go, but it's a testament to Rose's moving writing and performance that's it's such a wrench, for Alfie as well as us. Stampin' In The Graveyard | Valeriia Poholsha In Stampin' in the Graveyard, Elisabeth Gunawan plays Rose, another AI chatbot in human form that, this time, provides 'wisdom and comfort' for those at the end of the world – the place where all of the previous shows feel like they're heading – programmed to make everything feel OK when clearly, it's not. Like Dead Air, it explores an unfulfilled desire to have children, with Rose the digital 'daughter' of a woman ('Mother') and her partner ('Father') whose lives are full of mini metaphorical 'deaths' – of times, connections and events – that form a half-recalled tapestry of a past that, with the audience deciding the 'prompts' (through hand signals), includes a mix of part-truths and fantasies in a jumbled up order that sees every ending lead to another beginning. 'If it doesn't make sense, feel it,' says Rose at the start of this melancholic kaleidoscope of a show, one that, despite being about AI, is firmly embedded in the physical world of a live, interactive performance, with an intriguing miniature model mechanical set, that requires being in a room, together, to experience. Really, it's about human storytelling, albeit a kind that sometimes gets lost in its own dream-like state. A powerful speech from Gunawan breaks the façade at the end and asks what we're looking for in AI that we don't have already, and what we're prepared to protect that it could destroy. Advertisement Hide Ad Advertisement Hide Ad A.I Campfire goes back further in time, using modern technology to conjure up the mythical legends of traditional Scottish folklore. It's immersive show in which the ancient world is evoked using a combination of (recorded) human storytelling and multiple AI softwares to create magical-realist imagery, which is projected onto a large screen to envelop the audience. Interestingly, the virtual nature of the digital fire that we all sit around doesn't make the mood any less warm – even though we might be waiting some time for it to toast the marshmallows on sticks that we're holding. The on-screen imagery is at times reminiscent of James Cameron's Avatar, while the stories are based on shapeshifting Selkie tales: one familiar one involving a woman ripped from the sea and held prisoner by a fisherman and another about a murderous male kite surfer stalking the streets of Portobello. Both contain messages being free, caring for the natural world and being vigilant to nefarious forces with ulterior motives who might wish to do us harm. Created by Vanesa Kelly and Ian Garrett, it's a transportive experience to a lovely space that they have collaboratively made – one that feels like part of a bigger ongoing project. We all have a chat about it at the end, like people have been doing for thousands of years, sitting on the floor and talking in a circle.

‘It felt like a scene from The Handmaid's Tale': US comics on the dangers of political satire
‘It felt like a scene from The Handmaid's Tale': US comics on the dangers of political satire

The Guardian

time20 hours ago

  • The Guardian

‘It felt like a scene from The Handmaid's Tale': US comics on the dangers of political satire

In April, comedian Jena Friedman had a strange encounter in Vancouver airport. She had just performed a Ted talk about the future of comedy and was heading home to the US, when someone she thought worked for airport security quizzed her about her visit. Thinking he was probing for visa infringements, 'I just said I was doing comedy. Then he asked: 'What do you joke about?' Stupidly, I lightly flirted with him, and was like: 'Everything other than airport security!' He didn't react at all. Then I realised he was US border control. He asked again: 'What do you joke about?'' Friedman is a veteran of The Daily Show and The Late Show, and her standup comedy often features excoriating routines at the expense of the political establishment. 'I just froze because I am a political comedian and I didn't know what to say. Then he said: 'Do you joke about politicians?'' She made it home, but the incident stuck with her. Friedman lives in LA, and the recent actions of the US Immigration and Customs Enforcement 'detaining anyone and everyone who looks a certain way' put her on high alert. 'It was such a quick, on its face benign, interaction,' she says. 'But it did feel like a scene out of The Handmaid's Tale. I'm a blonde, white woman who looks like a Republican's wife and I have an American passport. But what if I had said 'Yes?' Don't we want to live in a country where we can joke about politicians, where we can joke about anything?' Friedman incorporated that moment into her new standup show, Motherf*cker, which she's performing at the Edinburgh fringe. The show is a change of pace. She's generally resisted getting personal on stage, resenting the idea that women have to be relatable to succeed in comedy, but this time it felt unavoidable, as she explores the life-changing experience of becoming a parent while her own mother was dying. 'It's about grief, but it's also political,' she says. 'The vibe in certain circles does feel like we're grieving. So there's something about my show that's connecting to the larger moment.' Friedman is among a crop of US comedians with roots in topical comedy appearing at this year's fringe. Another stalwart of US political comedy, Michelle Wolf, is back, too, while standup and former Saturday Night Live writer Sam Jay is making her festival debut. Wolf earned her stripes on The Daily Show and Late Night with Seth Myers, and gained notoriety with her 2018 set at the White House Correspondents' Dinner, in which she roasted Trump and his collaborators. These days, she lives in Barcelona, although returns to the US regularly for comedy work. She's yet to encounter border trouble but, with reports of people with green cards and citizens being detained, she says: 'I'm keeping an eye on it.' Comedians Rosie O'Donnell and Ellen DeGeneres have both said that the state of US politics has forced them out of the country – O'Donnell to Ireland and DeGeneres to England. O'Donnell has written a show on just that, which she performed for the first week of the fringe. Wolf is happy with her move to Barcelona, and feels her comedy has benefited from other cultural perspectives, but returns to the US because 'the audiences are great' and there's plenty of work. While other US comedians have also discussed the idea of moving to Europe, she thinks it won't happen until there's 'an impetus to go, something I don't think is far off, like: you can't talk about this any more, you can't talk about that any more'. Last month, satirist Stephen Colbert announced that network CBS had cancelled The Late Show after 33 years. Many thought the timing, three days on from Colbert criticising CBS parent company Paramount for settling a lawsuit with Donald Trump, was suspect. Fellow late-night talkshow host Jon Stewart criticised the move on his podcast and pointed to wider fear across the industry.: 'There are a lot of things that will never be made, that you will never know about, that will be killed in the bed before they ever had a chance because of this chilling effect.' Friedman's glad to see Colbert and Stewart speaking out against Trump and his administration – and agrees there's a 'chill'. 'The industry has already been less supportive of political comedy than they were under Biden and Obama. However, 'seeing the most prominent comedians taking [Trump] to task, like Matt [Stone] and Trey [Parker] from South Park, Colbert and Stewart, that gives me hope'. Meanwhile, Michelle Wolf's standup merges the personal and political and her podcast, Wolf's Thought Box, tackles current affairs. Her new show, which she's performing while eight months pregnant at the fringe, explores life and society 'through the lens of being a mom now'. There are punchlines on societal pressures for working mothers, home birth, momfluencers, gender inequalities and more. 'We're in an era now where people are talking about motherhood realistically and that's very refreshing,' she says. Still, political comedy isn't absent. 'I feel like I have to address the whole America and Trump thing … people expect me to say something about it.' She plans to tailor topical jokes to the day's news but, 'I don't like making it a large part of my set, because it bores me. There's always something crazy happening, but it's hard to come up with creative angles other than: can you believe this?' It's been nine years since she first started writing jokes about Trump and, in that time, her life has transformed – she met her partner, moved abroad, and is about to have her second child. Her main feeling now is: 'How are we still talking about him? How are we still in the same spot?' Jay reflects that slow build in her show, We the People, in which she explores the state of America – looking back to the 'unconfident whites' who founded the nation. She describes the show as 'a fun, risky little ride' as she tries to get to the root of why the US feels so divided, and what we can do to better understand one another. 'It's this broader conversation I've been having about America and race,' Jay says. The whole world feels unsettled right now and there's an inability to consider other perspectives, Jay says. 'How did we get here as Americans? Of course, I think race plays a large part in it. And how did these race relations get to the way they are? Not just blaming white people, but exploring the type of white people we're dealing with, why they might be the way they are, their roots in England.' Trump came up plenty during Jay's time on SNL and appears in her fringe show as a 'braggadocious' fool, unable to keep state secrets, yet smartly appealing to the frustrations of America's poor white communities. But the conditions that created and elevated Trump are more interesting to Jay: 'He's the symptom of this, not the cause. This is a result of years and years of us doing it wrong … it's been building for a long time and for a lot of different reasons.' Friedman agrees: 'I started working at the Daily Show in 2012, I was at Letterman before that, so I started looking at politics on a daily basis since 2010, and this is a long time coming.' This also means that, among US audiences, not everyone wants political comedy. 'They're always looking for escapism. In the first term, there was definite Trump fatigue,' Friedman says. 'As a political comic, I've always done better in the UK than the US. It's the UK audiences who are like: what the hell's going on over there?' says Friedman. The mood in US comedy is, Jay says, 'the mood in America … chaos. There's no way to keep up. People are also very desensitised. Shit just keeps happening in more extreme ways that people are losing a metric for it.' All three agree that comedy can help share differing worldviews. 'Even if it's people we disagree with, the sign of a healthy democracy is when people can safely be on stage saying whatever we want, ideally in good faith,' Friedman says. 'I support all comedians, I support freedom of expression and I want to see more of it. I want to see people more open to people they disagree with. Whenever I do political comedy, the goal is not to preach to the choir, it's to get people to see things slightly differently.' Jay has said that comedy can be a tool for empathy. 'I look at it as a conversation. It can serve a purpose of actual understanding, understanding that we're all humans trying to figure out a thing that doesn't make a lot of sense – existing. Everybody is grappling with these things in their own way.' What does the future hold for US comedians? 'It's too soon to tell,' says Friedman. 'But I think everybody exercising the US first amendment in a way that's funny and disarming is really important right now.' Jay says: 'Once I'm on stage, I'm gonna say what I'm gonna say. If I can't come back as a result, I'll just have to have my girlfriend come meet me in Scotland.' Jena Friedman: Motherf*cker is at Hive 1 at Monkey Barrel Comedy until 24 August. Michelle Wolf is at various venues until 17 August. Sam Jay: We the People is at Pleasance Courtyard until 24 August

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