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The life of Louis CK, a divorced comedian with two kids living in New York.

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535 ( 1)

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Top Rated TV #111 | Nominated for 2 Golden Globes. Another 20 wins & 82 nominations. See more awards »

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Cast

Series cast summary:
...
 Louie (61 episodes, 2010-2015)
...
 Lilly (32 episodes, 2010-2015)
...
 Jane (30 episodes, 2010-2015)
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Storyline

Louie is a stand-up comedian and divorced father of two girls. This series follows him through his everyday life, as he meets various characters, struggles with his love life and pursues humor. Written by Anonymous

Plot Summary | Plot Synopsis

Taglines:

Misery loves comedy. (season 3)

Genres:

Comedy | Drama

Certificate:

TV-MA | See all certifications »

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Release Date:

29 June 2010 (USA)  »

Also Known As:

Lui  »

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1.78 : 1
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Did You Know?

Trivia

This show is currently the one exception to the intervention process from network executives. After a bad experience with HBO with his show Lucky Louie (2006), the comedian had no particular interest to return to TV and rejected offers from the networks. By his own admission, he made enough money with the stand-up tours and his duties as a divorced father prevented him from working half the week. John Landgraf, FX's president, met with C.K. and committed to work on his terms. To the actor, that meant absolute creative freedom, no control from the network whatsoever, no notes and only the money for the show. Without putting it in writing, Landgraf agreed to C.K.'s conditions, so the comedian receives $300,000 to make each episode and collects the minimum wage for DGA and WGA. He shoots on the days he is not in charge of his daughters, films on his own and sends the episodes to FX once they are edited, mostly by him. Therefore, the executives are watching them as another viewer and can not give notes. See more »

Connections

Referenced in The Tonight Show with Jay Leno: Episode #20.167 (2012) See more »

Soundtracks

Brother Louie
Written by Errol Brown and Tony Wilson
Performed by Ian Lloyd
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Frequently Asked Questions

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User Reviews

 
An Everyman's Misanthrope
4 April 2011 | by (Cincinnati, OH, United States) – See all my reviews

Seinfeld revolved around a stand-up comedian constantly sabotaged by the catastrophic social faux pas of himself and the people inextricably involved in his life, intercut with performance sets by the actual comic. So is Louie. But where Seinfeld was purportedly "a show about nothing," Louie is a show in which from moment to moment, you can safely expect nothing. Not only does Louis C.K. straddle the gaps in social protocol and everyday confrontations we all understand, but also the extremes of comedy and tragedy. It's a gallows comedy, in which we can find ourselves laughing in elation at the both wry and surreal absurdity of one moment, then clenching our chair arms in both tension and incredulity at moments of agonizing pain and even at times a true sense of impending brutality.

There is no continuity from one episode to the next, or even from one vignette to the next. Each episode is comprised of usually two scenarios book-ended by stand-up sets by Louie, which may or may not turn out to be part of one of the scenes. It's the direct inversion by an observant everyman's misanthrope of the TV sitcom. Whereas every sitcom we've ever seen has one essential soundstage, an ongoing play-like farce that runs before two cameras, all the same characters show up and everything not only works out but is just the same as before by the end, each week Louie will give a stream of consciousness an unsystematic narrative silhouette almost invariably a sequence of encounters with characters who enter and exit, yet very few ever return. Some actors and actresses return in different roles. Louie's mother is at one point played by an old woman as an appalling malignant narcissist and in another episode a humble, warm-hearted young working-class woman.

The show is written, directed and edited by its star, and he creates a visually realistic look and atmosphere for his small stories, captured quite cinematically. In the God episode, arguably the boldest, most powerful episode, he injects solemn amber tones, almost I dare say comparable to Gordon Willis' work on the Godfather films. There is a considerable proliferation of long takes in which two characters will share dialogue that sounds and feels no less real than that which we'll share with someone tomorrow. Sometimes, he's bold enough to prolong a single, stationary take in which nothing is being said on-camera, but all the action that affects the character in the shot is occurring off-camera, and in that very single take, we're carried seamlessly and steadily from deadpan absurdity to genuine terror. Then comes the cut: Life goes on; nothing's really that big of a deal. Simply put, each week, C.K. delivers one or two of the most powerful and memorable short films you may ever see.


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