But like her recent comedy, steamy or more bodily transgressive things become, the less she seems to say. Expecting Amy works best as an exploration of the messy boundaries of comedy – what personal interactions are filtered, rationalized and edited as a whole, what moments of irony and lightness off stage form a character on the stage, what shame or fear performance can excise or exploit. The series avoids any talking head or a lot of formality, rather relying on freehand images of Schumer and often of Fischer, his sister Kim Caramele and his friends Rachel Feinstein and Bridget Everett in cars, bathrooms , the trains, on the backstage sofas, on stage.
Looking at Expecting Amy, you get the feeling that being “on the move” is not so much an act as who Schumer is; confined to the emergency room for dehydration after days of vomiting, she always jokes with her sister, disarmingly and directly with the nurses. If she already had a conscious on / off performance switch, she had long since lost sight of it. But while Schumer’s show and taboo mark is unlimited – an intro to one episode finds her sitting on the toilet in her hospital gown, half asleep, struggling to pee – Waiting for Amy’s stops revealing much about his ambition, clearly intrepid, or struggling with the scrutiny of millions of people; like Taylor Swift’s Miss Americana, Schumer’s series is more interesting not in most of what is revealed, but what moments are suggested, seemingly uncontrollable, or left out.
Expect Amy to convincingly portray her as Everywoman – the stars who vomit during pregnancy, they are like us! – except that Everywomen does not receive emails from Netflix giving the green light to its special offer while eating takeaway meals. When fame and criticism encroach on the frame – when she smiles and trains with a man who takes her picture on the train to Long Island, for example – the friction with Schumer’s roll-with-it layout is palpable , fascinating, discordant.
There are moments that seem to lead to a whole different set of diffuse but terribly under-explored tensions, particularly with regard to Fischer’s diagnosis with an autism spectrum disorder (formerly Asperger’s), which occurs at during the shooting and is moved by the couple. . Schumer, used to exploiting his personal life for jokes, frequently evokes Fischer’s sweetness, hers as she calls the “different” brain, in its entirety. But after a song in which a gift intended to make her feel better is played to the laughter of the public, at the end of the second episode, he broaches the subject, apparently uncomfortable but not expressing it in as many words . “It’s not a normal circumstance, the circumstances we have,” he says. “We also talked about the separation between performance and your art and your act with reality too. “
Schumer reacts defensively, more to the tense communication of his marriage than to his comedy. “Are we celebrating your strength, or are you telling me that you have a problem with me when I say something on stage?” “She said, adding,” My standup is no more important than our marriage. The argument goes on and on, his sons are picked up and dropped off, and feels raw and dangerously vulnerable in a way that Schumer’s many nausea blows don’t; one wonders what these conversations looked like on the border between reality and performance.
In press for Growing last year, Schumer seemed to embrace an evolving life, in the thorny expansion potential of comedy. “I am ecstatic and furious,” she told the New York Times. “And happy and peaceful and maniacal and hopeless and so optimistic, it’s crazy. “In its best moments, Expecting Amy embraces this kind of mess, contradictions, blurred lines between reality and performance and self-awareness -” I know how I am, no one else can deal with it, I know it, ”she said to Fischer through tears. But while his special alluded to the constraints of work, stardom and motherhood, then rushed into familiar terrain of excess body, too often, Amy waited for a return on what, for Schumer, is familiar terrain and secular: raw, underrated and unprepared, often downright funny – a brand expansion of the genre covering growth left out of the box.