The stand-up inspires French television. A few months after the very successful Young and Golri on OCS, which followed the rise and love troubles of a comedian played by Agnès Hurstel, it’s Netflix’s turn to infiltrate small Parisian scenes with Funny. Created by Fanny Herrero, to whom we owe the now cult Ten percent on France Télévisions, this series in six episodes of about forty minutes follows the journey of four young comedians who try to break into the ruthless world of stand-up.
Four characters like cardinal points: one has experienced success and can no longer move forward, the other sees one of his sketches meet with significant buzz on YouTube and launch his career; the third, from a very bourgeois background, hides from her parents her desire to make humor her profession when the last one does a series of small jobs in order to meet her needs and those of her aging father. The very nice surprise of Funny, even beyond his very meticulous observation of the stand-up world, is found in the portrait that is made of French youth. By featuring characters from minorities, but also from sometimes opposite social backgrounds, the series shows that the battle for laughter is not only played out on stage but also behind the scenes.
Funny fascinates by the way in which she confronts her characters with environments that are often unknown to them: the discovery of celebrity and TV sets, that of large Parisian apartments or more cramped housing, large suburban towers when one has known than the upscale districts of the capital. All these discoveries, which can sometimes seem futile or totally banal, end up nourishing everyone’s sketches and creating a very strong close relationship with the viewer. The stand-up as if you were there, but better since you move forward with the characters. The writing of the series also knows how to be impertinent and allows itself to laugh at everything, achieving the feat of not offending anyone – a particularly rare occurrence in French comedy for it to be mentioned.