No, really. Profane comic Louis C.K.’s unique experiment in television making.
The battle over what it is to be a man.
Everything goes sideways for Louie.
It’s Louie versus the Youth this season, and the kids are winning.
This episode takes you in and out of reality in a way that’s just as tense and infuriating as the real-life desire to wake up from a bad dream.
This episode is about the reluctance that shapes Louie’s life and decision-making process at every turn.
Louie will shake a scene around until you’re 180 degrees away from where you started.
The one with the masterfully done poop joke.
Louie's weirdness is back this season, but in its more sitcom-y form.
Louie appears to have met his match in Pamela.
Louie wedged an actual movie into the season with last night’s expanded episode.
Well, this episode was wildly uncomfortable, taking a rebound situation and turning it into an attempted rape.
Amia’s sad ending isn’t that sad after all.
There are so many chicken jokes this season.
None of these "Elevator" episodes are funny, but that's not always the point of this show.
Pamela, the heartbreaker who left Louie in the season-two finale, is back.
Louie doesn’t understand any of the women around him, and it’s not for lack of trying.
Last night, Louie kept bringing us to wildly uncomfortable and deeply scary places.
Only Louis C.K. can turn a story about punching a woman into a parable about class.
That premiere was so good, it felt like it had been a decade since the last season ended.
Death, daughters, and China in the season finale.
Louie as a late-night host. It's not as bad an idea as you may think.
So that happened.
The first entry of a three-part arc begins with something we usually see in other, more predictable shows: the setup episode.
Louie can't shake the memory of Parker Posey.
Dude jumped into a speedboat! Last night's episode was gloriously ludicrous.
In which he tries to make amends with Marc Maron.
Louie has settled into its third season comfortably enough to lob us a double feature of short-form silliness.
Louie can often feel like a whole film in the span of 22 minutes. Last night's episode was one of those instances.
It's clear Louie can't accept his fate as a single dad.
Louie and his friend Ramon hang out in Miami and do lots of fun things. But, you know, it's cool.
Melissa Leo wants what she wants.
A motorcycle, an ex-wife, and an awkward breakup. Welcome to season three.
The brilliant second season comes to an end, and Chris Rock says hi.
There's a new kid in town.
Louie and a duck go to Afghanistan.
"Stop being scary. It's not nice.'
Louie meets up with an old, troubled friend.
On the theme of masturbation.
Dane Cook and Louis have a showdown.
Remake all profession-of-love montages: We have a new Hall of Fame entry.
An old racist lady drops the N-word repeatedly.
Joan Rivers imparts some wisdom.
Louie looks for an apartment.
Into the street.
And a fart joke.
With Nanette, Atlanta, Eighth Grade, Drew Michael, and other similar serious comedies, are we entering the era of post-comedy?
Louis C.K. produced four shows with FX: Better Things, Baskets, One Mississippi, and The Cops.
Two of the networks associated with Louis C.K. have responded to the allegations published by The New York Times yesterday. According to […]
These stories change our perception of C.K.’s work. It’s not only unavoidable, it’s a necessary part of processing art and coming to terms with it.
Even before the allegations against Louis C.K. went public, “Pamela Part 1” raised eyebrows.
“This show even gets to people who don’t cry. It’s coming for you any way you slice it.”
The network executives behind Atlanta, Transparent, and more discuss how they find new talent, the best way to pitch a show, and why Louie’s spiritual successors don’t feel exciting anymore.
Talking feminism and optimism with the comedian who upended the conventions of TV comedy.