Everything starts with a seemingly simple question, but nobody knows how to respond accurately: why do we care care so much what people think about us?
Ricky Gervais gets bored.
He is on tour with his monologue Humanity (2017) and, as the impingence that sphyorra bugs with the tail, passes the wait before the show with increasingly convoluted entellechies.
Why do you oppress both the instinct of liking our neighbor?
Would we stop worrying if the love of our life was over to die?
And, in that case, is there any valid reason not to commit suicide beyond taking the dog for a walk?
These questions that was formulated in his dressing room summary all the biography of Ricky Gervais (Reading, 1961).
He is a wild buffoon with a surprisingly fine skin before the criticism.
A megaestrella of the show that remains very long for the love of adolescence of him.
And a hater of human nature that makes fun of autistic, transsexuals and victims of Nazism, but who loves animals even more than the legion of fans who have become a millionaire.
But those questions are also the axis of their last hit, afterlife, that this Friday premiered its third and last season in Netflix.
Recall: It is Tony’s story, a recent widow that looks unable to commit suicide because he does not have to leave his brandy dog.
And that he only finds sense to the new existence of him thanks to a superpower: to say what he thinks about everyone without fear of consequences.
It is – and that is much to say – of the most successful series of his career, with more than 85 million spectators around the world.
It also supposes the jump to the tragicomedy of a humorist who, beyond the topicazo, forged him widening the limits of humor until dressing it with XXXL sizes.
And that, in successive reincarnations, he has managed to be the indisputable head of the grass comedy for just two decades.
If before, he was criticized by progress, now the movement ‘woke’ locates a sparse millimeter of the ultraractor
Failure after failure.
The success of the last 20 years is only understood from the failure of the previous 20.
First Montó Seona Dancing, a Synth Pop duo that stamped miserably (a quick search on YouTube will save us more explanations).
Then he became a manager of the suede group and left him just a minute before they became global stars.
So he stressed in a London radio, XFM, where he killed the tedio – yes, this man is bored so much – taking notes on the ridiculous behavior of the human being when he enclosed eight hours with dozens of strangers on a carpeted surface and with a machine
Coffee as a single narcotic (officially) tolerated.
The anthropologist of the office.
Those notes were the germ of his success, as late as stratospheric, with The Office.
Under the format of a mockumentary on a branch of paper sale hides the most chunga comedy of all time: in some way, the portraying work averno seems more authentic than any documentary of the BBC.
Only one advice for the foolish who have not yet seen: there will be a character who, for some reason, will make him more grace than the rest.
We regret to inform you that this character is exactly you.
The rack of the stars.
The success of The Office, with versions in 11 countries, opened the agendas of the World Showbusiness.
Gervais took the opportunity to shoot extras, in which he plays a failure-like a shelter.
But here the meritorious is not the role of him, but he managed to superstars Hollywood, who do not stand out for his sense of humor, appeared in a chamber laughing at his own miseries.
Nothing equals Kate Winslet complaining that there is only one way to win the Oscar: shoot a movie on the “fucking holocaust.”
As life imitates Ricky Gervais, and not upside down, four years later Winslet received Oscar by The Reader.
The killer buffoon
In an improper temarity of the sector, gold balloons have commissioned him to present the ceremony five times.
A brief selection of the best jokes would fill all this newspaper, so we stayed with his mockery of the postureus of the ultravirete actors: “If Isis opened a streaming service, the first thing you would all do is call your agent.”
I just want to live until now that young people today are not offended enough for the next generation
The leader ‘antiwoke’.
Gervais’ mood only has two commandments: there is no subject alien to comedy and, if a joke you do not like it, you have all the right to offend you, but not to prevent others from laughing.
His iron defense of freedom of expression has faced the Woke movement: if before he was criticized by progress, he is now located at a scarce millimeter of the ultrarage.
The response of him: “I just want to live until the moment the young people of today are not offended enough for the next generation.
They do not realize that they will be the next! ”
The enraged animalist.
An alert to conservatives who are loving before the new idol of him: Gervais is a furious atheist, says more tacos of reasonable and does not admit nuances in him.
Every time they kill a bullfighter, he celebrates it before the 15 million followers of Twitter as if England had just winning the World Cup.
He then opens a Yonkilata and sees the burning world.
The unexpected good man.
With all this background, what paints Gervais in a melodrama that flirts dangerously with saccharin as after life?
An important nuance is that the series includes many macabre jokes and even more unnecessary swells.
But perhaps the key is that, at 60, with more 100 million euros in the bank and followers who consent to everything, until a confesidial associate as Gervais is finally dare to show the world what really is: a
Clown bastard who, under infinite layers of bitter mood and styling rather than questionable -oses not, Ricky peak shirts, carefully hides a heart that has never stopped beat.
