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When he turns the lens away from the queer community and onto himself-as he did in a riff about filing an order of protection against a racist intruder on his property-he’s still intelligent, irreverent, groundbreaking. Ultimately, the depressing thing about Chappelle is how talented he is-how he maintains the ability to craft a funny, relevant joke. While phones and recording devices were strictly prohibited from capturing the set, it would be impossible to forget his rant about the Netflix walkout-how he felt the entire LGBTQ+ community was trying to rob him of his livelihood by protesting his jokes. In his Hollywood Bowl show, which I attended, Chappelle seemed goaded by the criticism he’s received to double down on that worldview. “In our country, you can shoot and kill a n-gga, but you better not hurt a gay person’s feelings,” he says. (Never mind, of course, that it’s possible to be both at once.) In The Closer, Chappelle makes clear that he believes society values Black men less than it values the queer community. Unlike Gervais, Chappelle appears to feel that he-like Gervais, a successful, multimillionaire comedian-is the real victim in the ongoing culture wars between himself and his critics, a war that places trans people and Black people in opposition to one another.
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In some ways, the opposite is true of Chappelle. He tells these jokes in an attempt to stay relevant to a comedy community that has outgrown him seeing him go through the motions is like watching a silent-movie star give her all in a talkie, to no avail. His only novel material, the only relevant topic he can muster any willpower to comment on, targets trans people. It’s abundantly clear from SuperNature that Gervais has nothing new to add to the cultural conversation. (By the way, Gervais has been telling some version of this joke for at least four years now.) His best joke, if you can call it that, pertains to the age-old concept of whether it’s ethically responsible to go back in time and kill baby Hitler-an idea that has been played out since about 2003. Gervais spends no less than 20 minutes stumping away about the absurdity of religion, something he’s been talking about for well over a decade now. The coronavirus is brought up only as a thinly veiled segue to get into jokes about AIDS and Africa, the sort that you can find in any rerun of South Park. Gervais eschews socially relevant topics and current events to focus on ideas that were taboo in the late ’90s. But objectively, the vast majority of it-basically everything that doesn’t have to do with the trans community-is old hat. Whether you find his material funny is, I guess, subjective. (For the record, he literally tells a dead-baby joke in SuperNature.) He has, in effect, become the physical manifestation of a “dead-baby joke,” à la his fellow British comedian Jimmy Carr-dealing in humor that could only be considered shocking or edgy to anyone who hasn’t yet finished middle school. Gervais’s big problem, however, is that none of his jokes are funny. Whatever makes the joke funnier, without prejudice.” “I’ll take on any view to make the joke funniest,” he says. “I support all human rights, and trans rights are human rights.” But Gervais will also try on any hat in order to get a laugh.
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