Review: ‘Sorry/Not Sorry’ (2024) starring Jen Kirkman, Abby Schachner, Megan Koester, Noam Dworman, Cara Buckley, Jodi Kantor and Melena Ryzik

July 22, 2024

by Carla Hay

Megan Koester in “Sorry/Not Sorry” (Photo courtesy of The New York Times/Greenwich Entertainment)

“Sorry/Not Sorry” (2024)

Directed by Cara Mones and Caroline Suh

Culture Representation: The documentary “Sorry/Not Sorry” features a predominantly white group of people (with one African American and one Latina) discussing the #MeToo scandal of comedian/actor Louis C.K. and how it speaks to larger issues of what “cancel culture” really means.

Culture Clash: Louis C.K. had his career temporarily derailed, after he admitted in 2017 that a New York Times report was true about him sexually harassing women for decades; his comeback attempts after his #MeToo scandal have gotten mixed responses. 

Culture Audience: “Sorry/Not Sorry” will appeal primarily to people who are interested in watching a documentary about what “cancel culture” really means when a famous entertainer had a #MeToo scandal was able to make a semi-comeback.

Noam Dworman in “Sorry/Not Sorry” (Photo courtesy of The New York Times/Greenwich Entertainment)

“Sorry/Not Sorry” needed more information about people who helped Louis C.K. make a comeback after his #MeToo scandal. The documentary still capably explores difficult questions about the difference between forgiving and enabling admitted sexual harassers. The situation with comedian/actor Louis C.K. is complicated by people’s varying definitions of what type of scandal they think should ruin someone’s career and for how long.

Directed by Cara Mones and Caroline Suh, “Sorry/Not Sorry” had its world premiere at the 2023 Toronto International Film Festival. The documentary is produced in part by The New York Times and is based on the 2017 reporting on Louis C.K. by New York Times investigative journalists Melena Ryzik, Cara Buckley and Jodi Kantor, who are all interviewed in the documentary. In November 2017, the trio broke the story about Louis C.K. being a serial sexual harasser, with his known harassment going back to the 1990s. An epilogue caption in “Sorry/Not Sorry” says that Louis C.K. did not respond to requests for comment or to participate in this documentary.

Lous C.K.’s targets were women (usually other comedians with less power and less fame), whom he would masturbate in front of and/or tell graphic details about his sex life or sexual thoughts, often without their consent. In cases where he did get consent to masturbate in front of a victim, she later reported that she was either in shock or thought he was joking when she said yes. These stories about Louis C.K. had been circulating for years and had been an “open secret” in the entertainment industry, but he had publicly denied or refused to address these allegations in interviews. It wasn’t until the day after The New York Times published its November 2017 exposé on Louis C.K. (with several of his victims going on the record) that Louis C.K. publicly admitted that the reported sexual harassment stories about him were true.

Louis C.K. (whose birth name is Louis Alfred Székely) was born in 1967, in Washington, D.C., although for the first seven years of his life, he was raised in Mexico. His father Luis Szekely
was of Mexican Jewish heritage, while his mother Mary Louise Davis was Irish American. Louis C.K. rarely talks about his Latin/Hispanic ethnicity and the fact that he spoke only Spanish until he was 7 years old, when his family moved back to the United States (in the Boston area), and he learned English. Louis C.K. identifies as a white American and lets people assume that he is fully white.

The racial issue is important because several people in “Sorry/Not Sorry” say directly or indirectly that Louis C.K.’s white male privilege has allowed him to get away with more and make a career comeback faster than someone in the same circumstance who isn’t a white male. The business of stand-up comedy—where Louis C.K. first rose to fame and which was the first part of the entertainment industry where he made his comeback—is also dominated by white men, the demographic that makes the most money from stand-up comedy.

Sex and masturbation have been frequent topics in Louis C.K.’s stand-up comedy routines, where he usually has smirking commentary about how terrible men are to women. Louis C.K. would become even more famous as an actor—most notably, starring in and executive producing his own FX comedy series “Louie,” which was on the air from 2010 to 2015. He has also won several major industry awards, including Primetime Emmys for his screenwriting and Grammys for his comedy albums. In his personal life (which he often talks about his in stand-up comedy act), Louis C.K. was married to artist Alix Bailey from 1995 to 2008, the year that they were officially divorced. He and Bailey have two daughters together.

The fallout of Louis C.K.’s #MeToo scandal was swift and severe. He was fired from the FX comedy/drama series “Better Things,” which he co-created with “Better Things” star Pamela Adlon. The show was later cancelled in 2022. He had a lucrative deal with Netflix that was also cancelled in 2017.

Also resulting from the scandal, Louis C.K.’s comedy/drama movie “I Love You, Daddy,” which he wrote and directed, had its 2017 release cancelled. In “I Love You, Daddy,” Louis C.K. starred as the father of a teenager (played by Chloë Grace Moretz), who is the target of a sexual predator in his 60s (played by John Malkovich), but it’s all played for laughs. There are also scenes in the movie where men pretend to masturbate in front of women.

“Sorry/Not Sorry” features interviews with two women who say that they were the targets of Louis C.K.’s sexual harassment: TV writer/producer Jen Kirkman and artist/comedian Abby Schachner. Both women talk about how they were initially reluctant to go public with their stories because Louis C.K.’s sexual harassment was known and accepted by numerous people in the entertainment industry.

Kirkman describes sexual harassment encounters with Louis C.K., who worked with her in 2002 as a voice actor on the animated comedy series “Home Movies.” She remembers sharing a car ride with him during a “Home Movies” business trip to Massachusetts in 2002, and he began telling her about his sex life without her consent.

Kirkman says she later turned down his offer to be his opening act in Florida (even though she says she really needed the money for that job) because she instinctively felt it would lead to more sexual harassment from him. On a separate occasion, when she saw Louis C.K. again, he grabbed her by the neck in a private moment and whispered to her, “We’re going to fuck one day.” Kirkman says she was disturbed by this incident but knew she would have a hard time proving it happened because it would be her word against his.

After a Gawker article in 2015 began dropping hints that Louis C.K. was a serial harasser, Kirkman decided to semi-out him on her podcast by describing her own sexual harassment experience with Louis C.K. but without naming him. People figured out anyway that she was talking about Louis C.K., and Kirkman says she wasn’t prepared for the backlash. She was also disheartened by how many people knew about Louis C.K. being problematic but did not publicly support her.

“It was like being thrown into war with no battle training,” Kirkman comments. In the documentary, Kirkland says that Louis C.K. personally contacted her during this time to make amends, but he refused her request to make a joint statement where he would publicly admit to his wrongdoing. Kirkland remembers that Louis C.K. would not say that what happened to her was an isolated incident or that he would stop sexually harassing other women.

Kirkland admits her ambivalence about publicly naming Louis C.K. as her sexual harasser caused her to publicly deny at one point that he was her harasser because she was tired of the bullying and hate that she was getting from his supporters. She also says that she wanted the negative media attention on her to stop. Kirkland mentions that she chose not to be interviewed for The New York Times’ 2017 coverage of Louis C.K.’s sexual harassment because he did not masturbate in front of her, and she feels her experiences with Louis C.K. weren’t as heinous in comparison to the victims who were subjected to watching him masturbate.

In the documentary, Kirkland reflects on her negative experiences with Louis C.K.: “I don’t know if I was traumatized by what he did. I was disturbed. As the years went on, and I had more of a sense of self, I was like, ‘Oh my God. That is so fucked up.’ And this culture of people who think it’s normal—they’re fucked up.”

Schachner (who got masturbation sexual harassment from Louis C.K. in 2003, during a phone conversation) hasn’t given up on wanting to be a full-time entertainer, but she says she was traumatized enough by her Louis C.K. experiences, she took a few breaks from the entertainment industry and did some “hiding.” Schachner says at the time, she was afraid of retaliation if she went public about Louis C.K. being a sexual harasser.

Schachner says that in the private phone conversation that she had with Louis C.K., she thought that they were going to discuss business, but he ended up sexually harassing her. “I felt duped,” Schachner says. She also mentions in her documentary interview that she never consented to Louis C.K. masturbating while he was talking to her. Schachner also says that Louis C.K. tried to reconcile with her in 2009, when he reached out to her for an in-person meeting at Canter’s Deli in Los Angeles. She agreed to the meeting but didn’t get complete closure because he wouldn’t say that he had stopped his sexual harassment.

Comedian/writer Megan Koester said she heard stories about Louis C.K. masturbating in front of women as sexual harassment, but she was still surprised by how far people were willing to go to cover it up. In 2015, after Bill Cosby’s career was torpedoed when numerous women came forward accusing him of drugging and raping them, Koester says she was at the Just for Laughs Comedy Festival as a reporter for Gawker. Koester asked people at a Just for Laughs event what they thought of the allegations against Cosby and the sexual harassment stories about Louis C.K.

According to Koester, Just for Laughs executive Bruce Hills (who was the chief operating officer of Just for Laughs in 2015 and has since been promoted to president of Just for Laughs) yelled at her to stop asking those questions about Louis C.K. because Hills said that Koester was on the turf of Just for Laughs, and Louis C.K. is a friend of the festival. Koester says that this intimidation rattled her. In the documentary, Koester comments that she was so disgusted by seeing how Louis C.K. was coddled and celebrated in the entertainment industry by people who knew he was sexual harasser, she ended up quitting her pursuit to be a full-time entertainer. Koester says she now sells items on eBay for her income.

One of the main criticisms that Louis C.K. accusers get is that they are jealous of him and his career. It’s victim blaming that unfairly ignores that Louis C.K. has admitted to the harassment that has been reported about him. Victims who didn’t report the harassment right away are also blamed, as if what happened to them couldn’t possibly be true because they kept it private for a long time—even though the perpetrator admitted it happened.

The documentary mentions Dave Chappelle (who has also gotten much criticism for being misogynistic and transphobic in his work) as one of the celebrities who’ve publicly supported and excused Louis C.K. for the sexual harassment. Louis C.K.’s supporters usually argue some version of this comment: “What Louis C.K. did is not that bad compared to someone like convicted rapist Harvey Weinstein.” However, it’s a flawed argument because sexual harassment is sexual harassment, whether someone gets into legal trouble for it or not.

Also interviewed in “Sorry/Not Sorry” are two people who employed Louis C.K. at different times and have very different perspectives. Michael Schur, co-creator of the comedy series “Parks and Recreation,” hired Louis C.K. as a guest star for six “Parks and Recreation” episodes in 2009. Schur said he heard the sexual harassment stories about Louis C.K. at the time but he ignored them because he thought, “It’s not my problem.” Schur says he now regrets this dismissive attitude and should’ve been thinking more of the people being hurt by this sexual harassment.

Noam Dworman, owner of the Comedy Cellar nightclub in New York City, was the first person to hire Louis C.K. for a stand-up comedy show after Louis C.K.’s #MeToo scandal derailed the comedian’s career in November 2017. Louis C.K. returned to the spotlight by doing an unannounced appearance at the Comedy Cellar in August 2018, which led to Louis C.K. doing subsequent Comedy Cellar appearances that were announced. Dworman and the Comedy Cellar got a lot of public criticism and backlash for the decision to give Louis C.K. these comeback opportunities. However, Dworman and the Comedy Cellar received a lot of praise from people who say they dislike “cancel culture” and think Louis C.K. deserves a chance to resume his career.

Dworman is defensive of this decision and thinks, as the owner of a private business, he has a right to decide to book performers whom audiences want to see. Dworman comments in the documentary: “You can feel however you want to feel about these things, but to feel you have the right to impose on a private business who’s employing a free person, who’s performing in front of people who want to see him in a free country, [and] that you feel that this is your business, I think that’s very, very dangerous. And that is where I’m drawing my line.”

Also interviewed in the documentary are comedians Michael Ian Black, Aida Rodriguez and Andy Kindler. Several journalists/critics are also interviewed, including Alison Herman of Variety, Wesley Morris of The New York Times, Jesse David Fox of Vulture, and freelancer Sean L. McCarthy, whose specialty is comedy journalism. Most of the journalists say that Louis C.K. cleverly hid his predatory ways in plain sight by making his crude sex talk and “men are pigs” jokes as part of his comedy persona.

Rodriguez performed at the Comedy Cellar during the period of time the club was in the midst of the the Louis C.K. comeback controversy. She says she didn’t give in to pressure by certain people to cancel her Comedy Cellar shows and boycott the club until further notice. Rodriguez says she felt she shouldn’t have to lose any income over someone else’s misdeeds that had nothing to do with her. She further comments on why people excuse Louis C.K.’s sexual harassment and why “cancel culture” doesn’t really apply to Louis C.K.: “My reality is that usually, white men get away with the stuff that they do, because if they didn’t, we wouldn’t be where we are today.”

In 2018, Black got backlash for posting a message on Twitter saying he was excited to see what Louis C.K. was going to do next and questioned how much longer the disgraced comedian deserved to be shunned because of the scandal. Black later made a public apology and says he learned that he should have been more sensitive to the people who’ve been hurt by Louis C.K.’s sexual harassment.

In the documentary, Black comments: “Louis had a whole bit [in his stand-up comedy act] about how the greatest threat to women is men. Louis can still do that bit and say, ‘I was one of those guys. And let me talk about it.’ And it feels like such a missed opportunity that he didn’t do it.” Instead, Louis C.K. has addressed the issue in his stand-up act by joking that if anyone asks permission to masturbate in front of an acquaintance, they shouldn’t do it, even if that person says yes.

The documentary also has some brief interview clips with a few unidentified Louis C.K. fans (all of them are men under the age of 40) who were interviewed at one of his post-scandal concerts. One of the men says of his support of Louis C.K., who has been called a hypocrite by many critics: “Everyone lives with a certain amount of hypocrisy. This is the amount I’ve allocated for myself.”

Has Louis C.K. learned from his misdeeds and stopped being a sexual harasser? Did he make apologies and amends to all of his victims? Did he ever get professional counseling for this sexual harassment addiction that he has publicly admitted to having? Did he spend time meeting with any victim rights groups to learn about the harm he caused and what he can do to help the victims of his harassment? Louis C.K. isn’t saying if he’s done any of those things, but at the time this documentary was released, there hadn’t been any complaints about him sexually harassing anyone since his #MeToo scandal in 2017.

Kirkman says, “I have never asked anyone to denounce him so he wouldn’t work.” However, she comments that a major problem is how predators who are famous are often excused and rewarded while their less-famous victims are often blamed and blackballed. “Everyone letting all of these predators back, while some people never had a chance, it really hurts,” Kirkman says, “especially in this culture where it seems like nobody cares.”

Although “Sorry/Not Sorry” does a very good job of giving background information (much of it already covered in The New York Times and other media outlets) and assembling archival footage, what’s missing from the documentary is a better examination of the culture and the people who allowed Louis C.K. to make a comeback. Louis C.K. hasn’t been able to star in a network series or major-studio movie since the scandal. But since 2018, he’s been doing sold-out live performances (including at New York City’s Madison Square Garden) and selling his content directly to fans. He also won one of his Grammy Awards (Best Comedy Album, for 2020’s “Sincerely Louis C.K.”) in 2022, five years after his #MeToo scandal.

In other words, Louis C.K. is still making millions and getting accolades—just not at the level that he was experiencing before the scandal. Critics of Louis C.K. say that he hasn’t shown enough remorse or willingness to make things right with his victims. Supporters of Louis C.K. say that he has suffered enough and deserves to make a comeback in his career. It speaks to a larger issue about what redemption or punishment should be in Louis C.K.’s situation. There are no easy answers when people can’t agree on what type of punishment should be given and for how long.

Greenwich Entertainment released “Sorry/Not Sorry” in select U.S. cinemas, on digital and VOD on July 12, 2024.

Review: ‘Call Your Mother,’ starring David Spade, Louie Anderson, Awkwafina, Roy Wood Jr., Norm Macdonald, Kristen Schaal, Bridget Everett and Fortune Feimster

May 10, 2020

by Carla Hay

David Spade and his mother, Judy Todd, in “Call Your Mother” (Photo by Jenna Rosher/Comedy Central)

“Call Your Mother”

Directed by Heidi Ewing and Rachel Grady

Culture Representation: The documentary “Call Your Mother” features a racially diverse (white, African American and Asian) group of mostly American comedians talking about how their mothers have affected their lives, with some of the comedians’ mothers also participating in the documentary,.

Culture Clash: Some of the comedians describe having nonconformist or dysfunctional childhoods that are often used as material for their stand-up comedy acts.

Culture Audience: “Call Your Mother” will appeal primarily to people who want to learn more about the family backgrounds of some well-known comedians.

Louie Anderson with a picture of his mother, Ora Zella Anderson, in “Call Your Mother” (Photo by Alex Takats/Comedy Central)

If you ask any stand-up comedian who’s the family member most likely to inspire material for their stand-up comedy act, chances are the comedian will answer, “My mother.” With that in mind, the documentary “Call Your Mother” interviews a variety of comedians (and some of their mothers) to talk about how with these mother-child relationships have affected the comedians’ lives. Directed by Heidi Ewing and Rachel Grady, “Call Your Mother” might not have a deep impact on society, but it accomplishes what it intends to do. The film is a mostly light-hearted, sometimes emotionally moving and occasionally raunchy ride that will give some psychological insight into how and why these comedians ended up where they are now.

“Call Your Mother” includes interviews with a notable list of comedians (almost all of them are American), including Louie Anderson, Awkwafina, Jimmy Carr, Bridget Everett, Fortune Feimster, Rachel Feinstein, Judah Friedlander, Jim Gaffigan, Judy Gold, Jen Kirkman, Jo Koy, Bobby Lee, the Lucas Brothers, Norm Macdonald, Jim Norton, Tig Notaro, Yvonne Orji, Kristen Schaal, David Spade and Roy Wood Jr.

In some cases, the mothers of these comedians are interviewed alongside their comedic children: Everett, Feimster, Schaal, Spade and Wood all have wisecracking moments with their mothers, who are also shown in the audiences while their children are on stage, as well as backstage or at home. Former “Saturday Night Live” star Macdonald is also interviewed with his mother.  (For whatever reason, no Latino comedians are in the documentary, which is a shame, because there are many Latino comedians who talk about their mothers in their stand-up acts.)

Bridget Everett’s mother, Freddie Everett, is memorable for being as foul-mouthed and crude as Bridget. (Freddie even gives the middle finger to the camera, but all in good fun.) Bridget Everett says, “My mother is really one of a kind. She’s the person you meet that you never forget. She can be kind of mean, but somehow she gets away with it.”

Bridget continues, “She’s got a real naughty streak in her,” when describing how her mother was the type to wear very revealing outfits in places where it would be inappropriate for a woman’s breasts to be openly displayed. “There’s something really liberating about that in a small, conservative town.”

Like many of the comedians interviewed in this documentary, Bridget Everett is a child of divorce. After her parents’ divorce, her mother Freddie (who raised six kids) would take a pre-teen Bridget with her to stalk her ex-husband, mainly to see if he was dating anyone new or other reasons to spy on his post-divorce love life.

Bridget remembers her mother telling her to look in windows and report what she saw to her mother. These experiences are part of Bridget Everett’s stand-up act.  And just like her mother used to do when she was young, Bridget Everett dresses in cleavage-baring outfits on stage. “My mom pulses through my performance,” she says. “It’s really a tribute to her.”

British comedian Carr says although his mother “was the funny person in the house,” she often suffered from depression. He turned to comedy to help cheer her up. He says of stand-up comedians: “Most of us come from unhappy childhoods.”

Fans of Louie Anderson already know about how he grew up in a home with an abusive, alcoholic father and a loving mother, because he’s used his childhood as joke material in his stand-up act for years. In the documentary, Anderson (who’s been doing stand-up comedy since 1978) says that he started out doing self-deprecating fat jokes, but he eventually switched to mostly jokes about his family when he saw that it got a stronger reaction from audiences. He also says that dressing in drag for his Christine Baskets character in the FX comedy series “Baskets” was a tribute to his mother, Ora Zella Anderson.

Anderson believes that there’s a reason why so many stand-up comedians come from dysfunctional, often abusive households: “I think comics are about control. They’re trying to control the whole situation, because we had no control growing up.”

Anderson also echoes what most stand-up comedians said in Comedy Central’s documentary “This Is Stand-Up” about gravitating to stand-up comedy because it was their way of being the center of attention and getting unconditional love from people, even if it’s for the limited time that the comedians are on stage.

Spade is another child of divorce. His father left his mother when he was a child, and he says it had long-lasting effects on him and undying respect for his mother, Judy Todd. “My mom is very positive and upbeat and also very funny and clever.”

Todd is seen visiting the set of her son’s talk show “Lights Out With David Spade” on her 82nd birthday, where the audience shouts “Happy Birthday” to her, and she’s invited on stage with the interview guests. Todd is somewhat “normal,” compared to what other comedians have to say about their mothers. She’s almost downright reserved, since she doesn’t do anything to embarrass her son.

The same can’t be said for what comedians Koy, Lee and Gold have to say about their mothers, whose cringeworthy mothering techniques have been fodder for much of these two comedians’ stand-up comedy acts. Koy, who was raised by his divorced Filipino mother, Josie Harrison, remembers how his outspoken mother would inflict terror on anyone who would dare to criticize him.

Bobby Lee talks about how his Korean immigrant mother, Jeanie Lee, used to call his name to get his attention, just so she could fart in front of him. And when they would go to a shopping mall, she would encourage Lee and his younger brother to play in the shopping-mall fountain, while she would take a nap on the floor in a store. Lee, who is a recovering alcoholic/drug addict, also claims that his mother was fairly good-natured about his multiple trips to rehab, whereas most other mothers would be horrified or ashamed. He describes a moment during a family rehab meeting where his mother got the family to laugh so hard in what was supposed to be a serious gathering, they almost got kicked out of the meeting.

Judy Gold says in the documentary that she had the quintessential nagging, over-protective Jewish mother, Ruth Gold, who liked to leave long, demanding phone messages. Gold’s mother passed away in 2015, but Gold still plays some of her mother’s phone messages in her stand-up comedy act. She also plays some of the phone messages in the documentary and remembers that she did not get much overt affection from her parents when she was growing up.

Gold also says that her parents weren’t the type to hug their children and say, “I love you.” Instead, in her family, people would be rewarded based on whoever did the best to “one-up” the others with a quip. Still, Gold says that toward the end of her mother’s life, she did express her love more openly, and she shares an emotionally touching memory of what happened the last time she spoke with her mother.

One of the issues that the documentary covers is how mothers react when they find out that their children want to be professional comedians. Roy Wood Jr. says it was a very uncomfortable experience for him, since he had dropped out of Florida A&M University after being put on probation for shoplifting. He secretly started doing stand-up comedy in 1999, and when he told his mother, Joyce Dugan Wood, that he wanted to do stand-up comedy full-time, she was very upset.

“She definitely felt my priorities were in the wrong place,” he says. So, in order to please his mother, Roy went back to Florida A&M. And when he graduated, he gave his mother the plaque of the college degree that “I didn’t need” and began pursuing a full-time comedy career. Now that he’s become a successful comedian (including a stint as a correspondent on “The Daily Show”), Wood says of his mother’s approval: “These days, I feel supported.”

When comedian/actress Awkwafina (whose real name is Nora Lum) was 4 years old, her mother died, so when she was growing up, her paternal grandmother was Awkwafina’s main mother figure. While most people in Awkwafina’s family had expectations for her to going into a traditional profession, her paternal grandmother encouraged Awkwafina to pursue her dreams in entertainment.

Although many of these comedians say vulgar things about their families in their stand-up acts, the documentary shows that a lot of stand-up comedians have a soft spot for their mothers and like to hang out with them. Kristen Schaal and her look-alike mother, Pam Schaal, are seen shopping together at a fabric store. Norm Macdonald and his mother, Ferne Macdonald, play Scrabble and golf together. Wood’s mother Joyce accompanies him to a tuxedo fitting.

But not all of these mother-child moments are warm and fuzzy. Some of the comedians, such as Norton and Spade, admit to changing their shows to being less offensive and less raunchy if they know their mothers are going to be in the audience.

Norton says that he’s felt uncomfortable at times when his sex life (which he talks about in his stand-up comedy routine) is a topic of conversation with his mother. Norton remembers how after he did a stand-up show where he talked about his experiences of hiring hookers, he got a call from his mother suggesting that he join a gym to meet new people and improve his dating life. (In the documentary, he even plays the voice mail from 2001 to prove it.)

As for talking about their mothers in their stand-up comedy acts, Koy says that it was hard for him to do at first, but his mother and the rest of his family have gotten used to it. Feinstein says about her mother: “She likes it when I impersonate her. She gets upset if I don’t.”

Fortune Feimster says something similar, in an interview seated next her mother, Ginger Feimster: “She would rather me talk about her and be the center of attention than me not talk about her at all,” Fortune says. “She’s a good sport and she likes the attention.” Ginger Feimster says in response, “That is so true.”

Whether these comedians’ relationships with their mothers have been good or not-so-good, one thing that most people can agree on is a sentiment that Gold expresses in the movie that is a tried and true cliché: “There’s nothing like a mother’s love.” And at the very least, this documentary might inspire people to get in touch with their mothers to express gratitude if their mothering wasn’t a complete disaster.

Comedy Central premiered “Call Your Mother” on May 10, 2020.

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