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The life of Louis C.K., a divorced comedian living in New York with two kids.

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2015   2014   2012   2011   2010  
Top Rated TV #124 | Nominated for 2 Golden Globes. Another 20 wins & 83 nominations. See more awards »

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Louis C.K. Oh My God (TV Special 2013)
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In February, 2013, Louis brings his impish nihilism to Phoenix, Arizona. He talks about an old lady and her pet, living in Manhattan, experiencing his body's aging (he's 45), men's ... See full summary »

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Louis C.K.: Chewed Up (TV Special 2008)
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Louis C.K.'s second one-hour special filmed at the Berklee Performance Center in Boston, MA.

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Louis C.K.: Hilarious (TV Special 2010)
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In this unique and dynamic live concert experience, Louis C.K.'s exploration of life after 40 destroys politically correct images of modern life with thoughts we have all had...but would rarely admit to.

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The absurd antics of an Indiana town's public officials as they pursue sundry projects to make their city a better place.

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Louis C.K. muses on religion, eternal love, giving dogs drugs, email fights, teachers, and more in a live performance from Washington D.C.

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Storyline

Louie is a stand-up comedian and divorced father of two girls. This series follows him through his everyday life, as he meets various characters, struggles with his love life and pursues humor. Written by Anonymous

Plot Summary | Plot Synopsis

Taglines:

Misery loves comedy. (season 3)

Genres:

Comedy | Drama

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TV-MA | See all certifications »

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Release Date:

29 June 2010 (USA)  »

Also Known As:

Lui  »

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1.78 : 1
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Did You Know?

Trivia

Every flashback to Louie's childhood seems to exclude any proof of his three sisters and brother. See more »

Connections

Referenced in TruInside: Comedy Cellar (2016) See more »

Soundtracks

Brother Louie
Written by Errol Brown and Tony Wilson
Performed by Ian Lloyd
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User Reviews

 
An Everyman's Misanthrope
4 April 2011 | by (Cincinnati, OH, United States) – See all my reviews

Seinfeld revolved around a stand-up comedian constantly sabotaged by the catastrophic social faux pas of himself and the people inextricably involved in his life, intercut with performance sets by the actual comic. So is Louie. But where Seinfeld was purportedly "a show about nothing," Louie is a show in which from moment to moment, you can safely expect nothing. Not only does Louis C.K. straddle the gaps in social protocol and everyday confrontations we all understand, but also the extremes of comedy and tragedy. It's a gallows comedy, in which we can find ourselves laughing in elation at the both wry and surreal absurdity of one moment, then clenching our chair arms in both tension and incredulity at moments of agonizing pain and even at times a true sense of impending brutality.

There is no continuity from one episode to the next, or even from one vignette to the next. Each episode is comprised of usually two scenarios book-ended by stand-up sets by Louie, which may or may not turn out to be part of one of the scenes. It's the direct inversion by an observant everyman's misanthrope of the TV sitcom. Whereas every sitcom we've ever seen has one essential soundstage, an ongoing play-like farce that runs before two cameras, all the same characters show up and everything not only works out but is just the same as before by the end, each week Louie will give a stream of consciousness an unsystematic narrative silhouette almost invariably a sequence of encounters with characters who enter and exit, yet very few ever return. Some actors and actresses return in different roles. Louie's mother is at one point played by an old woman as an appalling malignant narcissist and in another episode a humble, warm-hearted young working-class woman.

The show is written, directed and edited by its star, and he creates a visually realistic look and atmosphere for his small stories, captured quite cinematically. In the God episode, arguably the boldest, most powerful episode, he injects solemn amber tones, almost I dare say comparable to Gordon Willis' work on the Godfather films. There is a considerable proliferation of long takes in which two characters will share dialogue that sounds and feels no less real than that which we'll share with someone tomorrow. Sometimes, he's bold enough to prolong a single, stationary take in which nothing is being said on-camera, but all the action that affects the character in the shot is occurring off-camera, and in that very single take, we're carried seamlessly and steadily from deadpan absurdity to genuine terror. Then comes the cut: Life goes on; nothing's really that big of a deal. Simply put, each week, C.K. delivers one or two of the most powerful and memorable short films you may ever see.


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