Now that we're several days into a new year, I feel comfortable sharing my favorite work of art from the previous year.
It opens with soft, steady snow falling on the streets of New York City. Easy Living by the jazz pianist Bill Evans plays. For a moment, this feels like it could be the beginning of a Nora Ephron romantic comedy, except this camera's subjects are Black people.
In split scenes, we see a man walking through the snow, slightly hunched over from the cold, and seated groups of people lit by blue light socializing at a club. He's on his way to meet them. Our main character enters the club, removes his winter wear, and takes his seat on stage. He tells the people sitting in blue light that he "needs" them and that what they're about to embark on requires that they "feel like family." He has some secrets to tell.
In his comedy special Rothaniel, Jerrod Carmichael comes out as gay. Knowing this before watching doesn't take away from the viewing experience because the special is ~actually~ about consequences. It's about what happens after you do something, not the action itself. Carmichael tells us what's happened since he's chosen to exist as his authentic self.
Over 55 minutes, Rothaniel covers a lot of emotional ground: generational trauma, homophobia, religious beliefs, fears, isolation, love. Each time a moment feels swollen with emotion incongruent with a comedy special, Carmichael tells a joke to set the train back on track.
Throughout the special, Carmichael contorts his body like a subject in an El Greco or Ernie Barnes painting. His body language seems to reflect an internal conflict: a desire to share openly, coming up against a learned instinct to withhold. Bo Burnham, the director of 2019's rightful best picture Eighth Grade, also directs Rothaniel. Burnham lets the camera linger on Carmichael as he hangs his head close to his knees, deciding what to say next. He shows the audience, not in fits of laughter but leaning forward in silence as their entertainer gathers his thoughts. These choices counter the visual traditions of comedy specials in wondrous ways.
What I appreciated the most about Rothaniel is how it turns the stage, a space to present a final, polished product, into a studio. Even though Carmichael had done a few shows practicing this material before filming the special, it still plays like a work in progress. Towards the end of the special, Carmichael discusses his relationship with his religious mother. He holds his head and twists his body as he processes the possibility that their relationship may never be the same. He chuckles. It feels like he's preparing to tell a joke but then says, "sorry, that was a fake laugh." Like Basquiat crossing out a word in one of his paintings, it's still there, but he doesn't mean it anymore. The swelling isn't going down this time.
Rothaniel ends with Carmichael putting his coat back on and walking out of the Blue Note Jazz Club back into the snow. I hope he ends up in a real-life romantic comedy.
If you haven't seen it yet, I implore you to log into somebody's HBOMax account and get eyes on Jerrod Carmicahel's magnum opus.
QUESTION FOR THE GROUP:
I would LOVE to hear from you. What was your favorite work of art in 2022?
Not sure why but I’ve been dragging my feet watching this special but this description alone has convinced me that the time is right and the time is now to watch. Will dive in this week.
I’m always so squirmish and indecisive when it comes to reflecting on my faves for the past year. But if I had to pick for music, it would be a tie between a Virgo and a Gemini; I really enjoyed Beyoncé and Steve Lacy’s 2022 albums this past year and still very much have them on repeat.
For Movie/TV, I would probably pick The Bear. I’m a sucker for a 30 min show but the fast paced plot lines and dark comedy kept me engaged. Shout out to Ayo Edebiri.
You certainly sold me on seeing Rothaniel. However, LEH's opening of the John Scott Center here in New Orleans features one artist's works (John T. Scott). Seeing so much of his work in one setting was delicious; you saw his kinetic sculptures, which are like songs playing high and low notes. His wood-cutting works which cut deep into my soul as I envision the souls of his subjects. Scott worked in so many media with the underline thread of an African aesthetics and perspective from my point of view. It's the collection that has been playing in my mind's eye ever since I saw it in the Fall. I encourage all to visit The Helis Foundation John Scott Center.