Amy Schumer Pulls Zero Punches In Defending Accusations Of “Racial Blind Spot”

Success and scrutiny go hand-in-hand about as well as anything ever will – particularly so if your profession of choice happens to be making the funnies.

And there’s arguably no one in the world of comedy strapped to the back of a faster rocket than Amy Schumer right now.
The comedian/actor/writer/Queen has a wildly acclaimed sketch show – Inside Amy Schumer – under her belt, a burgeoning film career with the impending release of the self-penned and Judd Apatow-produced Trainwreck, and a swathe of hosting gigs and growing stand-up audience making the past twelve months or so the Year of Amy.
But with greater visibility comes greater analysis, and much like all successful female comics – particularly those who identify and act as staunch feminist entertainers – she’s expected to be the model standard of all morality, with any misstep in any area – no matter how tiny – to be adjudged the achilles heel to which her pedestal placement by the masses is rendered void and underserved.
To wit, Guardian journo Monica Heisey levelled accusations at Schumer in an otherwise sceptically glowing/glowingly sceptical piece, stating the comic has a “shockingly large blind spot around race.”

“For such a keen observer of social norms and an effective satirist of the ways gender is complicated by them, Schumer has a shockingly large blind spot around race. Her lacklustre stint hosting the MTV Movie awards (a rare misstep) featured lazy jokes about Latina women being “crazy” that left Jennifer Lopez as unimpressed as the online commentariat.”


“While a much-lauded sketch from the show featured an ad for a training centre where old people learn not to be racist, Schumer’s stand-up repeatedly delves into racial territory tactlessly and with no apparent larger point. Her standup special features jokes like “Nothing works 100% of the time, except Mexicans” and much of her character’s dumb slut persona is predicated on the fact that the men she sleeps with are people of colour. “I used to date Latino guys,” she says in an older stand-up routine. “Now I prefer consensual.””


The citation of a mere three examples – two from the past, and one from an awards show gag which traditionally produces quality material with a strike rate of barely a full percent – notwithstanding, the insinuation was enough for Schumer to fire back with her now-typical conviction.

“I am a comic. I am so glad more people are laughing at me and with me all of a sudden. I will joke about things you like, and I will joke about things you aren’t comfortable with. And that’s ok. Stick with me and trust I am joking. I go in and out of playing an irreverent idiot. That includes making dumb jokes involving race.


I enjoy playing the girl who time to time says the dumbest thing possible, and playing with race is a thing we are not supposed to do, which is what makes it so fun for comics. You can call it a “blind spot for racism,” or “lazy,” by you are wrong. It is a joke and it is funny. I know that because people laugh at it. Even if you personally did not.


I am not going to start joking about safe material. And don’t ask that of me. I love what I do and won’t let anyone take that away. I ask you to resist the urge to pick me apart. Trust me. I am not racist. I am a devout feminist, and lover of all people. My fight is for all people to be treated equally. So move on to the next person who is more deserving of your scrutiny and not the girl in your corner.


Sincerely, Amy (a dirty half-Jew).”


And this is where the modern issue of analytical equality and the art of comedy clash. Because the goal of all art is to provoke, and because comedy is the brashest and loudest art form, questions of material suitability will forever arise. But ultimately it’s the responsibility of the performer to handle their own material. No topic should be considered out-of-bounds, but performers do require both a deep understanding of their source subjects and their impact, and the self-awareness to not use degradation as a primary laugh-getter. Amy Schumer, quite handily, has both of those things.

The assessment posed by Heisey and The Guardian – which closes by extolling Schumer as “providing something we’ve been hungry for: a walking, talking, occasionally farting counter-argument to the idea that feminists aren’t funny” – isn’t necessarily unfounded.
But the bottom line here is that the wheel will never be reinvented without roots in the traditional blueprints.
Photo: Robin Marchant via Getty Images.


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