Sports and jokes have a lot in common, at least according to comedian Desus Nice. In basketball, some shots are more difficult, while others are all but guaranteed to succeed, even if worth…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Sports and jokes have a lot in common, at least according to comedian Desus Nice.
In basketball, some shots are more difficult, while others are all but guaranteed to succeed, even if worth fewer points. Those easier shots are comedy’s “dad jokes.”
“Dad jokes are like layups,” Nice said. “You don’t got the hops no more, you’re not shooting the three. You’ve got to do the easy baskets. Even if you don’t have kids, you’re going to start doing dad jokes.”
In a Variety video for the 2020 Comedy Impact Report, various comedians gave their opinions on the controversial joke form, discussing whether its merits.
Hannibal Buress, of “The Eric Andre Show” and “Broad City” fame, said dad jokes are a form of comedy that he enjoys using, despite not having a single child. But even a dad joke’s success is rooted in how it’s told.
“It’s all about the delivery too,” he said. “If you just believe sometimes … and tell the joke and hold on for dear life, strong eye contact. Boom, that’s it.”
A slew of other comedians added their input, too. The Kid Mero, Lauren Lapkus, Stefani Robinson, James Murray, Aidy Bryant, Sam Jay, Bowen Yang, Brian Quinn, Joe Gatto and Ronny Chieng shared quick thoughts in the short clip.
Many expressed support for dad jokes, but some like Chieng expressed disdain toward their use by professional comedians. Yang suggested the joke style should be modified to serve as the opposite of “yo momma” jokes.
The general consensus, however, seems to be a neutral acceptance.
“They’re fine,” Jay said. “You know what, sometimes they make me laugh when told by the right dad.”
Watch the video clip above.