TIME Comedy

Amy Schumer: ‘I Have a Belly. And I Have Cellulite. And I Still Deserve Love.’

Amy Schumer Glamour
Glamour

The comedian talks feminism, sexism and body image in her new Glamour cover story

Though Amy Schumer got her start in the comedy world more than a decade ago, 2015 has finally brought her to center stage. Clips from the third season of her Comedy Central show, Inside Amy Schumer, become instantaneously ubiquitous after episodes air. Her first movie, Trainwreck, which hits theaters July 17, is one of the summer’s most highly anticipated comedies. And with her newfound responsibility as a feminist icon comes her very own Glamour cover. Schumer sat down with her sister, Kim Caramele, a writer and producer on Inside Amy Schumer and Trainwreck, to discuss feminism, sexism and what exactly she plans to do with her influence. Though the issue doesn’t hit stands until July 14, the magazine offered some excerpts from their interview:

Being a feminist is not a conscious decision: “I don’t try to be feminist. I just am. It’s innately inside me,” she says. “I have no interest in trying to be the perfect feminist, but I do believe feminists are in good hands with me.”

Talking about being able to sleep with men whenever she wants shouldn’t be equated to a man making the same comment: “For women, we’re taught to eat less until we disappear. And trained to believe that if you don’t look like everyone else, then you’re unlovable,” says Schumer, who said at the Glamour U.K. Women of the Year Awards that she weighs 160 pounds and could sleep with a man anytime. “And men are not trained that way. Men can look like whatever and still date a supermodel. I’m proud of what I said. I think it’s good to see somebody saying: I have a belly. And I have cellulite. And I still deserve love.”

She wants to do good with her influence, and take advantage of a few of the perks while she’s at it: “I want to make women laugh,” she says. “I want to make them feel beautiful in their own skin. I want to empower them to use their voice and not apologize. And I want a jet.”

TIME celebrities

Why Bill Cosby’s Admission Should Put an End to the Era of Cosby Defenders

The comedy legend, long silent about accusations lodged against him, admitted to getting drugs for the purposes of drugging women—in his own words

On July 6, the Associated Press reported that Bill Cosby testified in 2005 he had obtained Quaaludes to drug young women and had indeed dosed at least one woman. This admission, from a lawsuit that was settled in 2006, should move the Cosby controversy forward in a major way. Certain aspects of it just can’t be controversial anymore.

Since Cosby’s alleged practices of drugging women with sexual intentions came under new scrutiny last year—thanks in part to a Hannibal Buress comedy routine—there’s been an easy out for any of the comedian’s defenders. As accusers began to come forward in startling volume, those who believed in the Cosby’s innocence could plead that the comedy icon was being tried in the court of public opinion, rather than in a court of law, and that “outrage culture” was leading women to lodge charges that might or might not be true. Always implied, and sometimes stated, was the idea that Bill Cosby, a comedian known by millions of Cosby Show viewers as paternal, warm, and aspirational, was simply incapable of such deeds.

“This is about something else. This is about the obliteration of legacy,” his Cosby Show costar Phylicia Rashad said; the accusers were perceived as out to take down an icon. After all, it was the word of sometimes-anonymous accusers against the word of a legend.

This newly released testimony, clearly, doesn’t address each one of the accusers’ claims. But it puts an end to the idea that such claims were motivated by a desire to boost the accusers’ own profiles, or to take down a comedy hero, because Cosby reportedly admits culpability in his own words. Bill Cosby is, in fact, the sort of person who would do such a thing; he said so himself, in testimony he presumed would remain sealed post-settlement and that only became public through dogged reporting.

For those inclined to trust the preponderance of evidence, the fact that there was eventually definitive proof of Cosby’s behavior towards women comes as no surprise. What’s more surprising is that the man himself—one who allowed fans, costars, and family members to defend him for so long—had confessed his behavior in his own words. Cosby has only spoken publicly about the allegations against him in the vaguest of terms, leaving an opening for his defenders to read into his silence anything they wanted. That period of debate, in which Cosby’s level of culpability remained entirely in doubt, is now over. The question is whether, the heat of the Cosby scandal having died down as suddenly as it blew up, the public will still care.

TIME Television

Amy Schumer Is ‘Taking Responsibility’ for Controversial Joke

Amy Schumer at the CinemaCon Big Screen Achievement Awards in Las Vegas on April 23, 2015.
Michael Buckner—Getty Images for CinemaCon Amy Schumer at the CinemaCon Big Screen Achievement Awards in Las Vegas on April 23, 2015.

She took to Twitter to clarify

Just over a week ago, Amy Schumer defended her self-described “dumb jokes involving race” after a Guardian writer wrote that the comic “has a shockingly large blind spot around race.” “I will joke about things you like and I will joke about things you aren’t comfortable with,” Schumer wrote in a lengthy response on Twitter. “And that’s ok.”

She expanded on the topic Monday when a Twitter user brought up one of the jokes The Guardian cited (“I used to date Latino guys, now I prefer consensual”) and asked, “What is your responsibility/value system as a storyteller?”

Schumer started off her reply by clarifying that she sometimes plays a “dumb white girl character on stage” and that she wrote the joke in question two years ago. “Once I realized I had more eyes and ears on me and had an influence I stopped telling jokes like that onstage,” Schumer said. “I am evolving as any artist.”

She went on to say that she’s “taking responsibility” and hopes she hasn’t “hurt anyone.” “And I apologize [if] I did.”

See the full exchange below.

This article originally appeared on EW.com.

TIME celebrities

Stephen Colbert Takes the Wheel in ‘Comedians in Cars Getting Coffee’ Finale

The incoming 'Late Show' host is Jerry Seinfeld's final guest this season

Jerry Seinfeld saved Stephen Colbert for last.

The incoming Late Show host is the final guest on this season of Seinfeld’s Crackle series Comedians in Cars Getting Coffee.

In the episode, which starts streaming at 11:30 p.m. ET on Wednesday, Seinfeld picks up Colbert in a 1964 Morgan Plus 4 Roadster. According to the preview posted Monday, Colbert even takes the wheel for a while, struggling to drive stick, with Seinfeld panicking in the passenger’s seat.

Once they get to their coffee shop destination, Colbert and Seinfeld talk about whether Colbert or his father is “more feminine” and what Colbert, still sporting his full gray beard, has been up to since he ended The Colbert Report.

This article originally appeared on The Hollywood Reporter

More from The Hollywood Reporter:

TIME celebrities

Tracy Morgan Visits Disney World as He Celebrates Daughter’s Birthday

(July 2, 2015): Actor-comedian Tracy Morgan, fiancée Megan Wollover and daughter Maven Morgan, 2, take flight July 2, 2015 on Dumbo the Flying Elephant at Magic Kingdom theme park. The family celebrated Maven Morgan’s second birthday at Walt Disney World Resort in Lake Buena Vista, Fla. (Chloe Rice, photographer)
Chloe Rice—Disney/Getty Images Actor-comedian Tracy Morgan, fiancee Megan Wollover and daughter Maven Morgan, 2, take flight July 2, 2015 on Dumbo the Flying Elephant at Magic Kingdom theme park

Tracy Morgan and his family kicked off their July 4 holiday weekend with a visit to Disney World in Florida on Thursday.

The former 30 Rock star was accompanied by his fiancée Megan Wollover and daughter Maven as they hit the rides at the Magic Kingdom to celebrate the little girl’s second birthday.

Morgan, 46, has come a long way in the year since a fatal bus crash left him in critical condition and fighting for his life.

The funnyman had to re-learn how to walk, sit and stand, and continues to work with therapists as he deals with the lingering effects of traumatic brain injuries.

“I am happy to be alive,” Morgan told PEOPLE last month. “I have my good days and I have my bad days … I just want to get better and become healthy.”

Morgan said that he’s looking forward to walking his fiancée down the aisle, and is “determined to play with my little daughter and chase her around.”

“All of those things [are] what keeps me going.”

This article originally appeared on People.com

TIME remembrance

Comedian Jack Carter Dies at 93

Jack Carter
NBC/NBCU Photo Bank/Getty Images Actor/comedian Jack Carter in 1951.

A familiar presence on the TV variety shows of the '50s and '60s, he forged a career that stretched from Milton Berle's Texaco Star Theater to Showtime's Shameless

Jack Carter, the rapid-fire, wisecracking comic who was a familiar presence on ’50s and ’60s variety shows from The Ed Sullivan Show to Laugh-In, died June 28 of respiratory failure at his home in Beverly Hills. He was 93.

During a long career that began shortly after World War II and ranged from Broadway through the early days of television to, most recently, appearances on Showtime’s Shameless, Carter served as a TV host, took on both comedic and dramatic roles, frequently showed up as a game show panelist and also directed.

Born Jack Charkin on June 24, 1922, to Jewish parents who had immigrated from Russia, Carter began flexing his comic muscles while still in his teens, appearing as a mimic on The Major Bowes Amateur Hour radio show. With hopes of one day becoming a dramatic actor, he also attended the Academy of Dramatic Art.

He served in the army in World War II, then found himself on Broadway in Call Me Mister. After first appearing on Milton Berle’s Texaco Star Theater on TV, he spent two years hosting the television variety program Cavalcade of Stars, which led to his own show on NBC, The Jack Carter Show, which lasted three years and was part of the Saturday Night Review.

Carter made more than 50 appearances on The Ed Sullivan Show and also guested on shows such as The Dean Martin Show, The Andy Williams Show, The Jackie Gleason Show, Laugh-In and numerous Bob Hope Comedy Specials. He was a frequent panelist on Match Game through the ’70s and ’80s as well as a guest star on The $10,000 Pyramid.

Carter took on dramatic roles as well, appearing in The Last Hurrah with Carroll O’Connor, The Sex Symbol with Connie Stevens and the Dr. Kildare series. He received a Daytime Emmy nomination for The Girl Who Couldn’t Lose, which aired in 1972 on ABC Afternoon Playbreak. His TV credits encompass everything from The Rockford Files and Murder, She Wrote to 3rd Rock From the Sunand Desperate Housewives. On film, he appeared in such movies as Viva Las Vegas, Hustle andMel BrooksHistory of the World, Part I.

Additionally, he worked as a director on TV shows such as Lucille Ball’s Here’s Lucy, as well as in theater, directing productions of A Thousand Clowns and Mouth-Trap. In addition to Call Me Mister, his own Broadway acting credits include Mr. Wonderful and Top Banana. And he hosted the first televised Tony Awards in 1956.

Carter is survived by his wife of 44 years, Roxanne, sons Michael Carter and Chase Carter, daughter Wendy Carter and grandchildren Jake and Ava.

This article first appeared on HollywoodReporter.com

TIME Humor

Political Correctness Is Not Ruining Stand-Up Comedy

microphone-stage-spotlight
Getty Images

xoJane.com is where women go to be their unabashed selves, and where their unabashed selves are applauded

Feedback and constructive criticism are what help comedians and the art form to grow

xojane

Jerry Seinfeld is the latest comedian to insist that political correctness is ruining stand-up comedy, but I contend that people with this mentality are the ones doing more harm to the art form because they’re trying to shut down criticism.

When I started stand-up comedy, I was very outspoken against this so-called “PC culture.” I’d go onstage, say the most offensive things I can think of, and then get angry at the crowd for not laughing.

“This is a comedy show!” I’d yell. “Get a sense of humor!”

Not once was it ever my responsibility to be funnier.

My philosophy at the time was simple: “Say whatever you want, and people who get offended are always wrong.” I’d go on tirades about SJWs (Social Justice Warriors), a pejorative term to describe people who engage in arguments about social justice on the Internet, and I’d rant about how people getting offended were ruining my right to say whatever I wanted. I’d scream and accuse everybody else of being emotional while claiming that I was the only calm one in the room. (By the end of these discussions, my blood pressure rose more than anybody else’s.)

I realized years later that by engaging in online arguments about the “holy sanctity of comedy,” I was actually acting like an SJW myself, and my “cause” was gallows humor. I felt like the only real truth in life was the ability to tell offensive jokes without repercussions. But I never owned my emotions. I was the one shouting about how little I cared when it was obvious that I very much did.

Since I was so angry, I couldn’t take criticism, and this was very harmful to my comedy. Feedback and constructive criticism are what help comedians and the art form to grow. With stand-up comedy, the comedian receives feedback right away. If an audience doesn’t laugh, it could be due to a number of factors: the venue wasn’t right for comedy; the comedian wasn’t a right fit for the room; the joke isn’t finished yet; the joke itself isn’t funny; or the audience simply didn’t find the comedian funny. Ideally, this is when the editing process would take place, like figuring out a puzzle. “What went wrong with this joke? Why did this punchline not work? Did I deliver it correctly? Maybe this crowd didn’t like it but I should try it somewhere else?”

The worst reaction a comedian can have is lashing out at an audience for not laughing. Even though it can be frustrating and hurtful when an audience doesn’t laugh, it’s not their job to laugh at your jokes; it’s your job to make them laugh. Whenever I see comedians lashing out at an audience, I’m reminded of how ego-driven and angry my comedy used to be. I automatically assumed they didn’t laugh because they were “oversensitive” and “too PC.”

Shouting into a microphone with the sole intent of being carelessly “edgy” is not art. It’s stroking your own ego to feel powerful, and some audiences have had enough.

I know lots of comedy fans who are just yearning for something new and different, and they’re tired of hearing the same old clichés and stereotypes. There are only so many times you can hear jokes about black people stealing, Asians’ inability to drive, and heteronormative dating jokes where “women do this but men do that” before it gets exhausting, boring, and unfunny. These comedy fans are generally progressive-leaning, and they’re oftentimes unfairly accused of being humorless.

Many progressives love Inside Amy Schumer, a show that is not “PC” at all, and more liberal-leaning websites are constantly posting articles about what a genius Louis CK is. A few of these liberal comedy fans may take some jokes too personally, but to brush this entire group as humorless and PC is dishonest and lazy.

Just because some comedy fans want something new doesn’t mean that other pre-existing kinds of comedy are going to disappear. There is room for everyone! There are spaces for politically incorrect comedy, clean comedy, liberal comedy, conservative comedy (although let’s be honest, Bill O’Reilly probably isn’t the greatest stand-up in the world), club comedy, and alternative comedy. This is a good thing! Having a diverse variety of comedy styles and hearing different perspectives means that the spectrum of comedy is continuously getting broader, and this opens opportunities to explore even more topics that haven’t yet been talked about. Many of these new spaces opened up due to criticisms of old comedy tropes, and there was a demand for something different. Comedy is better than it’s ever been because so many people have voices now.

This fear that there is no more room for politically incorrect comedy is just untrue. This year, The Comedy Central Roast of Justin Bieber had several comedians tell jokes about Bill Cosby, Ferguson, and 9/11. Louis CK released Live at the Comedy Store where he uses the N-word on several occasions. Chris Rock did a monologue on SNL about the World Trade Center and the Boston Marathon bombing (on network television!). Amy Schumer produced a sketch on her show about a football team that couldn’t grasp the foreign concept of “no raping.”

None of these topics are “politically correct,” yet the comedians that produced this provocative material still have careers. These jokes are still being aired on NBC and Comedy Central. If anything, the publicity actually helped the comedians gain even more visibility.

The main problem with people who complain about political correctness is that they’re thinking lazily. I’ve voiced my disdain for hacky stereotypical jokes about trans people (and I have a vested interest in this since I am transgender), and some people have angrily asked me, “Oh, are you not allowed to make fun of transgender people anymore?”

I never said that. I’m just curious about how hard the comedian worked on the joke.

Last year, I heard Dave Chappelle tell three different iterations of the same joke about transgender people, and it evolved every time. The first iteration was that he refused to gender trans people correctly because he didn’t feel like he had to participate in somebody else’s self-identification; the second iteration was Chappelle reluctantly agreeing to gender trans people correctly because he wanted to be more accepting, but he was still confused about trans people’s body parts; in the third iteration, Chappelle completely scraps the entire first part of the original joke, genders all trans people in his story correctly, learns more about the LGBT community, and jokes about almost getting into a fight with a trans woman at a club.

The final iteration was by far the funniest with the most receptive audience reaction; it was the most complete and well thought-out version of the joke and it still pushed boundaries. It wasn’t “PC.” He listened to the feedback and kept working on the joke. Dave Chappelle did NOT get upset at people for either disliking the joke or getting offended.

In fact, here’s what he had to say on Inside the Actor’s Studio regarding a woman who was offended by a sketch from Chappelle’s Show: “There was a lady from Texas who called Comedy Central damn near 100 times. She was furious with me. I wasn’t mad at her for being mad at me. I was like, ‘Okay, that’s good.’ It’s not good that she’s mad at me, but she’s entitled to her opinion. And maybe she’s right, I don’t know, I just thought it was funny and that’s why I did it… people I love tell me I go too far sometimes. Maybe I went too far, but I did it. And plus, the only way you know where the line is is to cross it, and I think about what it’s like if nobody is crossing the line? You just wanna be on the right side of history, and sometimes what’s going on in the immediate present is not as important as the long-term. The truth is permanent, and everything else falls by the wayside.”

If I’m making stand-up comedy sound like too much work, that’s because art is supposed to take hard work. Otherwise, comedy would just be egomaniacs screaming into microphones hitting any and every target without regard to anybody else’s feelings and then getting upset the second someone hits them back. That hardly seems fair, because stand-up comedians shouldn’t be immune to criticism, and stand-up comedians are not above the art of stand-up comedy.

Robin Tran wrote this article for xoJane

TIME Ideas hosts the world's leading voices, providing commentary and expertise on the most compelling events in news, society, and culture. We welcome outside contributions. To submit a piece, email ideas@time.com.

TIME movies

It’s Will Ferrell vs Mark Wahlberg in Daddy’s Home Trailer

May the best dad win

Mark Walhberg and Will Ferrell are trying to one-up each other in the “Best Dad” department – just in time for Father’s Day – in the first trailer for their upcoming film Daddy’s Home.

The comedy, which reunites the stars five years after their buddy-cop comedy The Other Guys, features Ferrell as Brad, a mild-mannered radio executive who’s always wanted to be a parent. He gets his wish when he marries a woman (Linda Cardellini) with two children, but bonding with them gets harder when their cooler, special-ops agent dad, Dusty (Wahlberg), comes back into the picture.

The fatherly feud begins mildly (Dusty offers the kids cash to distract from Brad’s bedtime cuddles) but things escalate quickly to ponies, puppies and an unfortunate incident with a Lakers cheerleader and a basketball. (That scene was filmed during an actual NBA game, and footage went viral earlier this year.)

Daddy’s Home opens on Christmas Day. Take a look at the trailer above.

This article originally appeared on EW.com

TIME remembrance

Comedy Actor Rick Ducommun Dies at 62

Ducommun is best known for his role in 'The ‘Burbs'

Comic actor Rick Ducommun died at age 62, EW has confirmed. Known for his role in Joe Dante’s The ‘Burbs, Ducommun died on June 12 at a Vancouver hospital after suffering from complications due to diabetes.

Dante tweeted a RIP message to Ducommun on Wednesday night, and later passed along some old photos and fun facts about Canadian actor.

Fellow Canadian Alan Thicke brought Ducommun to Hollywood after noticing him on a children’s show. Ducommun appeared in Die Hard,Groundhog Day and Scream, and had small roles in The Last Boy Scout, Spaceballs and Gremlins 2: The New Batch – the latter as a favor to Dante. He also hosted HBO comedy specials in 1989 and 1992.

This article originally appeared on EW.com

TIME Music

Amy Schumer Will Open Madonna’s New York Shows

The 74th Annual Peabody Awards Ceremony
Daniel Zuchnik—WireImage/Getty Images Amy Schumer attends The 74th Annual Peabody Awards Ceremony at Cipriani Wall Street on May 31, 2015 in New York City.

The Comedy Central star is bringing her talents to Madison Square Garden and the Barclays Center

Good news for ticket holders to Madonna’s New York City tour dates who are also fans of Amy Schumer: the Trainwreck star will be opening for the pop diva.

Schumer announced the news on Twitter by posting a home video of herself singing Madonna’s “Like a Prayer” as a child.

Schumer may not have Madonna’s pipes, but her raunchy comedy and feminist bent should pair perfectly with Madonna’s “Rebel Heart” tour. Interested parties can still get tickets for the Sept. 16, 17 and 19 shows.

Your browser is out of date. Please update your browser at http://update.microsoft.com